DE LA PERSISTANCE DE LA MYTHOLOGIE CHOTTIENNE EN ??? VÉLOS

It's difficult not to lose one's bearings listening to this album, which is made by a band that sets out to be as eclectic as possible. It quite sounds like one is changing radio stations in one's car, as the group will play something in one style and abruptly switch to a completely different genre. I do not mean subtle changes- I mean to say that this is a band that will play heavy metal one minute and polka the next, then decide to rap for a while, and then play some jazz, all with nary a transition. Such novelty is certainly amusing, but overstays its welcome after one song. It's a lot like watching one of those awful performers on a TV show like America's Got Talent, where someone combines juggling, cross-dressing, and yodeling, all while farting Ashlee Simpson songs and calls it a talent. Let me press my buzzer now.

"Bienvenue a Babylone" A biting riff a bit reminiscent of early King Crimson forms the basis for the saxophone's work. The vocal sections are more bizarre than the music, ranging from quasi-chants to the shouting over hospital room sounds. While the track begins excellently, it quickly turns into nonsensical music, like something out of a hellish circus.

"Pinok'io" Rambunctious music that still has that dark whimsy makes up the second piece. Unexpectedly, there occurs a French rap (seriously) that is rather amusing and enjoyable. Later, the band invokes a harpsichord-led bit of heavy metal with trombone quavering along, followed by an all out traditional jazz passage. If that isn't enough eclecticism, the band throws in an a cappella moment immediately followed by more giddiness similar to the introduction. Then with a slapped and popped bass, some wild funk ensues.

"Le Cirque Des Enfers" Awful-sounding vocals carry on over pseudo-heavy metal music. Overall, this is a terrible, ugly, and nonsensical piece. It's intriguing that I wrote that earlier remark before I realized that the title of this track is translated "The Circus of Hell."

"La Comtesse Del Amafia" Enraged blasts of overdriven guitars and a banged piano start this one. During many parts, it seems as though Sebkha Chott is attempting to emulate Koenjihyakkei.

"Carpe Diem" Distorted vocals and suppressed rock music begin this track. There's more French rapping, this time over quirky sounds that remind me of parts of The Lamb Lies Down on Broadway by Genesis. Thereafter is some not unpleasant salsa-like piano work with a Latin rhythm. The lead guitar is similar in sound to modern Santana. A percussion solo leads to the conclusion of the song.

"La Chute D'Ohreland" The introduction to the final and longest track is intriguing, with a snake-like bass groove, light percussion, and strange electronic tones accompanied by brass instruments. There's a lot of wailing, a lot of brass blasts, some strange atmospheric passages, odd bass playing, and weird screeching, but not a lot I would consider music, let alone enjoyable.