CONTRAIRE DE LA CHANSON

I wouldn't feel exactly obliged to continue blazing this Marco Minnemann trail were it not for the remarkable lack of reviews for the man here. But also, my respect for the Mann has only increased. To say, on the other hand, that a 2 and 1/2+ hour album was daunting would be a blatant understatement. Without knowing any of the styles explored beforehand, this factor alone was interesting to me, given Contraire de la Chanson followed Mieze (2004), which explored variations on Power Pop. There are a few favorite tracks which I often return to from that release. Returning in collaboration with Marco is the great Paul Gilbert on guitar throughout.

The stripped down opener "Not Why Not" was a move. Quirky Hard Rock on "Focus On Myself" evokes something Mike Keneally-esque, but... just not a great start here thus far; low in the mix, the guitar is the most interesting element present. In the sense of popular music, I do party get starting with material so straight-ahead, but it's just disappointing personally; his discography to this point, like anyone human's output of course, has had its share of inconsistencies. So then, feeling like a Finally!, "Butterflies" is next, evocative of the spirit of adventure I feel on his first two albums, and likewise Gentle Giant and Happy The Man. Jammy, lightly psychedelic Prog-Fusion, praise be! "Roundtrip" naturally follows, like some dad's carousel-themed Jazz Rock? "What Have the Romans Ever Done For Us" is a lot of fun, a heavy 'harmonizator' (y'all know Publio Delgado?) of spoken dialogue from Life of Brian.

Also a la early-YouTube-core reminiscent is the constant, frantic Q&A of "Are We There Yet[?]" ("No"). In the least, it stands appreciable. Back in, to me, finest Marco form is the dark "Stars N Stripes", with vocals I can't help but associate with Marilyn Manson (not a reflection on the music itself, I assure you). We roll right along into the next, "A Body of Drums", really beautiful tension here at the start...to a 9 minute track; stylistically called to mind his (personally) much-praised '98 debut in particular, The Green Mindbomb. "Brother Bruce" is... different; not sure what he's going for with this voice (like a horny, more Western Reagan joins forces with Les Claypool and a gaggle of aliens until the final minute of admittedly nice Pop Rock); likewise have no idea if this is a reference to anything in particular, other than some Bruce Best, active in Guam for Operation Christmas Drop(?). Not much to say on "Fragen Ob Man Etwas Tun Darf", other than that it's German for "Ask [Question?] If You Can Do Something"; on par with most.

"Xmas Cellphones" is a happy reprieve in a sense; blazing fast, rhythmic experimentation, and markedly upbeat even through a certain, sharp dissonance. Probably my favorite thus far. "Wapping Pussies" presents a sort of dark Jangle Pop-Rock(?), clearly first featuring vocalist Petra Lukovic, sharing the role with Marco; the final half is pretty great. "Heaven's Above" comically starts with a potentially real vocal slip-up outtake; then Petra sounds helluva lot stronger here, for whatever the reason. The interesting element present here is a slithering saxophone lead, sharing the sonic stage with what must be Gilbert's guitar. Carrying on, this time Raga-overt is "X", immediately the grooviest thing around, a surefire highlight. Psych remaining in the wings, "Going Nowhere" is a sort of Power Pop owing to the likes of Jason Falkner. Then there's the bridge--not exactly a surprise from Mr. Minnemann--a whisper, a harsh minimalism, just for a moment; either way, can't ensure everyone will love it. Delighted, really, to hear so much from the realm of psychedelia, "S.F. is so N.Y." is next, certainly a very interesting, uhhh, idea; we'll call it avant-Psych-Noise? Truly very cool.

Continuing on in the interesting metro-geographic ponderings is "Perfect Berlin". Loving this, making me think happily of '90s [Guitar] Fusion mixed with some of the best of what I can only broadly call Progressive Pop. Meandering yet lovely. Shockingly bucolic, if not shockingly (quietly) American in particular, is "If Even I Were You", offering us a moment of peace. For some tracks there might be nothing to say; not so with "Sorry". The thing I have always appreciated about Marco is his willingness to apparently do whatever the f*ck he's set his mind to; well-performed as one expects, yet I can't warrant "Sorry" much in the way of 'success' ('sorry'), the second sax solo toward the close being the best offering. Didn't think I'd have anything to say on "Listen Up", but the little trills of guitar feel oddly like Johnny Marr (The Smiths); the track definitely drew me in more and more.

Bleeding nicely in from "Listen Up" is "Empty Cinema", immediately and increasingly the correct title. It's dramatic, yes, cinematic, frisson-inducing. "Nuage" is the next in this silky-smooth run of tracks (Petra returns most angelically). This droning heaviness in the midsection definitely drew my attention back into the song. Flowing ever still, "I Care"; I really do [hard to explain, but this is such a Marco Minnemann title haha]. Do 'I care' for this flaccid Adult-Contemporary radio cry-track, though? Can't say I really do at all. Moving on. I sort of just hate "Restaurant"; like I said, moving on. "Need Some Time" is another needed sigh of relief for me, opening things back up for some groove and fun. That Adult Contemporary sound more or less returns (met with more radio Pop) on the Paddy Kelly feature "Lost And Found", a much more attractive success in this general category; great melodies, ear-catching and solid vocals. Kelly isn't a certain traditional Irish singer of that name, nor any of the various athletes I found, but Michael Patrick Kelly of The Kelly Family fame [I didn't know of them]. His feature, I'd say thankfully, continues on "Going Home", a more interesting, moodier number; his higher-register, tinnier voice works in good juxtaposition to Marco's warmer timbre.

Are we approaching the end? What compels someone to release such a ridiculously long album exactly? This isn't the Flower Kings, for god's sake. The next few are boring disappointments, frankly... But then, with "Un Coeur Mechanique" we do get a return to some cool, though still in a softened mood. "Chaton" is a pretty, cleanly played neo-classical number, which had at times (only amplified by the drum machine throughout) a passing resemblance to '00s Math Rock, if I can pinpoint it. They keep it clean and purty on "Briefly", French-sung vocals resumed by Lukovic, and featuring a truly beautiful, dare I say Zappa-esque guitar solo (a la "Watermelon in Easter Hay"?). I presume, despite Marco's own remarkable abilities on the instrument, this is Gilbert; so crisp and pure in tone. Yet another track married to the next, "Love and Innocence" carries on the beauty from "Briefly" and turns dissonant, briefly sour. This dark drone breaks for acoustic/clean singer-songwriter Marco to take over, to close this out.

True Rate: 2.75/5.00