LA THEORIE DES CORDES

La Théorie Des Cordes is the French jazz rock band with Mathieu Torres M'Z at the helm; this 2nd album features the logbook of suicidal pilot Andreas Lubitz, of Germanwings flight 4U-9525 which crashed with 149 people; good whether you are a Bokononist or not the titles are supposed to get you to the final station without too much risk; rock, prog, jazz, RIO, Canterbury, hard, avant-garde, ambient, gently musical madness.

'YYC' - Blanc de Calgary for a languorous piano declination with the addition of the guitar which rises in a frenetic crescendo. 'HKG' - Serra 'Subway' Low Summer Cancer as an appetizer; the jazzy drums announce the color for a bewitching melancholic digression; the free-jazz-rock guitar points to wild, breathtaking Al Di Meola. 'LAX' - The death of the Buddhist with the overriding bass roaring from the speakers, a sign of the pilot's last moments of lucidity? A moment of introspection or irremediable drift. 'ALP' - The colossus of Anatolia jazz-rock, oriental sounding, heavy rise with this bewitching guitar putting in trance; a more aggressive title surfing on Zappa; the last minute? furious madness hard challenging. 'CDG' - Need for speed again this disconcerting jazz-rock frame due to a rise associating a variation; when the notes intertwine. '???' - The laws of attraction or doubt is no longer allowed; the dark declension reminds 'Sorcerer' of Tangerine dream, a bit of psyche à la Pink Floyd and here we are in the final trajectory; passengers were aware at the time? Ask the musical notes, the angst is noticeable. 'DBA' - The big hotels whether or not you like this musical genre, it becomes scabrous given the intensity provided; the plane dives, the controls are blocked, the passengers panic, move in the plane but cannot make it resume a normal curve; the jazz associated with the madness of a man who wanted to become famous in an ephemeral way? angry guitar, the dive; 8 minutes not to listen to if you have lost a friend in this flight, otherwise it is twirling and sickly enjoyable. 'BCN' - Terminal soaring for the final fall or the impossible hope of seeing it rise again? How notes can accommodate each other and show this is what Mathieu did. 'DHS' - There will be nothing left where the shock, the fumes, the explosion, the end without detour.

La Théorie Des Cordes, Stéphanie, Hugo and Heiva accompanying Mathieu for a particular journey guiding us on a jazz rock fusion base to hurry; an alternation of soft moments with aggressive, unstructured flights; apart from this traumatic episode why not sit down, listen and imagine that we are all currently in a huge plane out of control and savor the last moments of our musical life?(3.5)

After their 2011 "Premières vibrations", the French band La Théorie des Cordes returns in 2023 with a new album. Stéphanie Artaud/piano, prologue, Mathieu Torres/bass, electric guitar, Hugo Lemercier/mandolin, acoustic guitar and Heiva Arnal/drums return with the work "4U-9525" and right from the beginning it can be said that the wait was worth it.

The twirling piano wraps bewitching melodies, carried by guitars with a velvety touch. Far from being simplistic, the underlying rhythms also contribute to the growing interest that emerges over the minutes, the latter being reinforced by the regular breaks that dot each title. The beauty is that this work requires that time and attention be dedicated to it and that the listener ultimately remains totally immersed and absorbed in it for the whole duration. Only in this way will you be able to savor each passage, without losing the leitmotif of listening which gradually and progressively becomes more demanding over the minutes but at the same time, with the (inevitable) increase in emotional involvement, even more interesting and enjoyable. Of this record I like first of all the complex but extremely balanced writing, usable and without unnecessary burdens, the variations on the musical themes that recur during the listening giving a comfortable feeling of continuity, the captivating design of the melodies, the choice of arrangements and finally of the sound registers.

An incredible atmospheric story that has a special and enchanting touch is quite hypnotizing in its introduction to the world of high-quality sonic landscapes. The compositions possess brilliant tempo changes, walks in jazz fusion realms, progressive moments, and small hints of alternative rock, making this work a unique and very interesting journey. Attention is also drawn to alternating moments that are now calm and more aggressive. There is no lack of melodramatic atmospheres and the music sometimes veers towards almost psychedelic territories with the rhythms in evidence. At certain moments, it gets tense, growling bass lines, jazzy piano patterns, various playful to excessive guitar escapades, and the massive drums often connect in the foreground, leading to an extremely entertaining, lively and colorful phase. In the mentioned moments, the album moves a little away from the jazzy eclectic phase, to give space to greater research, sometimes bordering on the avant-garde. Then, the sounds, even those that at first might appear powerful, seem to soften and at times even dose off. All these elements come together in an elegant and often introspective musical form, melancholic and often introverted.

Music, technically and emotionally is at the highest level. Anyone who manages to enjoy these compositions in peace should have found a companion for many years to come.

Guitarist Mathieu Torres and keyboardist/pianist Stephanie Artaud have been playing together long before forming La Theorie Des Cordes.Their first band was Pilgue & Nus and later they also formed the Prog/Grunge/Post-Punk combo The Post Modern Watchers.But in 2009 they gave birth to their most serious attempt, La Theorie Des Cordes, recruiting drummer Tadzio Gottberg.They debuted two years later on Musea Parallele with ''Premieres vibrations'', their music contains no bass lines at all, except for one track, played by guest Maxime Jaslier, who also provided some sax in another composition.

This is all instrumental Jazz Rock with proggy and Heavy Rock leanings with the band citing ALLAN HOLDSWORTH, Canterbury acts such as SOFT MACHINE, CARAVAN and GONG as well as FRANK ZAPPA as their main influences.I do not hear much of a Canterbury taste throughout the album, which still remains a technically delicate experience throughout.The music ranges from soft, piano-based themes with supporting jazzy guitar moves to more sharp material with electrified atmospheres and some impressive soloing in the guitar, which has definitely a slight ALLAN HOLDSWORTH edge.Despite the limited instrumentation, the guys here keep a good balance between atmospheric soundscapes with a spacey background, dense and angular Fusion instrumentals and mellow, almost melodious themes with light guitar/piano interactions.Influences also go as far as Latin Jazz Fusion with ''Le bas art de l'epouvante'' having some sort of Andalusian color in the process, combined with more dramatic, jazzy interludes.Maybe a more pronounced sax addition resulted a better effort with ''Reves premonitoires'' being a nice piece of Jazz-influenced Rock with lots of great guitar, piano and sax lines.Even so, the trio performs in a variety of tempos and moods, bursting some beautiful and versatile instrumental ideas.

Balanced Jazz Fusion with a modern vibe.Kudos to the guys of La Theorie Des Cordes, who managed to deliver atmospherically diverse music, while basically performing only on guitar, piano and drums.Recommended.

La Theorie Des Cordes were a bit of an underdog band for me when they released their debut album back in 2011. I took a chance on their debut album without hearing a second of it beforehand, and was amazed to find a youthful, talented and clever band of musicians taking on the jazz/fusion/progressive rock instrumental genre, playing with incredible skills way beyond their relatively young years, and bringing their own unique and playful individuality. It was one of the most fresh takes on those styles I'd heard in ages, and I promptly gave it a rave review. But it's even better when that same personal favourite band returns with a new album that not only manages to surpass the achievements of their first effort, but show the musicians maturing and pushing their signature sound in more complex, emotional and clever directions, all the while keeping their usual sense of colour and spark. Certainly not a case of a `second album pressure' slump, instead this two-disc `live in the studio' work "Singes Electriques" (apparently translating to `electric monkeys'!) sees the band shining a light on a long exciting future full of possibilities.

Through much of this album, the band bring a love of the Canterbury Scene sounds of old and mix it with their own unique ideas full of spontaneity and unpredictable energy. Lovers of bands such as Gong, the middle fusion period of the Soft Machine and even a pinch of early King Crimson and the eclectic unpredictability and humor of Zappa will find much to enjoy here, with interjections of heavier sounds, avant-garde experiments and a general `anything goes' sense of daring that ensures this is not merely a case of remaking what has come before.

Disc 1's `L'Oeuf Schizo - part 01' drifts in on a swirl of dangerous approaching noise, the band settling in before a naughty strolling piano and sax melody kicks off that will have your foot tapping in no time! Alexandre Henri's bass snakes around the background, mixed nice and fat, there's endless spontaneous ragged electric guitar soloing from Mathieu Torres, dazzling jazzy piano runs from Stephanie Arnaud, all combining to bring some searing rough charm. It's cheeky and spiky while still bringing a strong musical intelligence. Cutting Soft Machine-like abrasiveness, percolating percussion and a definite sleazy sax, creeping bass and winding snarly electric guitar melody run through the very jazzy `Le Process du Tempes'. Spiced with occasional doses of heavy riffing to build some tempo, some lovely slower and thoughtful passages with very moving guitar soloing, wailing deranged sax blowing, while drummer Fah Pigny expertly moves back and forth around all the sudden direction changes. Gong fans will go crazy when they hear the floating `Shamal' atmospheres from about the 10 minute mark, all drifting droning sax full of lonely deserts of shifting sands and lurking dangers!

Although the band is notable for their quirky humour, it's their willingness to settle down if a piece requires it that again shows that newly found extra maturity. Stephanie and Julien really steal the show on `I.T', a slightly sad, heart-wrenching drifting reflection. There's a child-like innocence to the calmer moments, drummer Fay expertly and carefully picking up the tempo to drive the more excited sections. I almost expected the Mother Gong herself Gilli Smyth to come drifting in and weave around the players with her precious space whispers. `Circus' is the sound of smoky dungeon cafes hidden down unknown city alleyways. Snapping and gnashing dragon-like guitarplay, all teeth and slashing claws, cocky strolling bass/drums and waffling dingy Soft Machine- like sax. The band displays here a level of subtlety and mastery that only absolute first-rate professional musicians can execute so perfectly, just listen to the sublime build driven by Alexandre's bass from about the six minute mark! So much prickly energy and danger on this one!

Despite opening with drowsy, disorientating, hallucinogenic noise, disc two's `Paysages Urbains', with its mix of up-tempo melodic plucky fusion-era Soft Machine-like guitar soloing so full of joy, floating treated sax that wafts through the balmy dark air, evocative never-ending piano runs, pulsing bass and complex drumming, is your soundtrack to a sparse city at night, possible danger or unexpected excitement just around the corner, reminding you of the thrill of forcing yourself to take a new chance, of bringing about new possibilities and starting a whole new chapter in your life. A truly relentless, exhilarating and dynamic piece! `Nomads Land' by contrast is a maddening, intimidating, feral and occasionally comical devilish carnival, only Stephanie's twinkling piano and Fay's playfully light drumming offering us any sort of relief or possible safety, reassuring us that that the sights we may be seeing are actually quite amazing and wondrous. Some lovely slow- burning fusion dueling from Mathieu in the middle, draining every inch of spiritual life-force from his guitar, with Alexandre's nimble bass, before snapping mischief and saucy bluster in the finale.

The shortest piece on the album at six minutes, `L'Oeuf Schizo - part 2' still manages to bend chugging guitar serrated aggression and wailing, blistering soloing with some sonic sax violation and a surprisingly victorious, upbeat finale. `Sasha Grey', named after the adult entertainment personality, brings back the emotional heart again, a wistful, sultry and sad finale led by mournful sax, floating sympathetic piano and considerate solemn guitar noodling. It's a molten fusion meltdown splashed with brooding build and a thought-provoking climax.

How this band seems to keep flying a little too far under the radar of progressive audiences is beyond me. The skill with which the band members respond to and feed off each-others musical directions is absolutely first rate, and it's rare to hear live musicians so faultless and inspirational. Already this year has brought some superb instrumental albums, but this one may be the best of the bunch. `Singes Electriques' is two discs of impeccably produced instrumental jazz/prog/fusion music with an eclectic and often Canterbury flavour that will never become dated, will keep thrilling more and more with every repeated listen that you can treasure forever and spend a lifetime enjoying.

Absolutely exceptional, and well deserving 5 stars.

One of my favourite instrumental progressive related albums of the last few years, the debut album `Premieres Vibrations' by French band La Theorie Des Cordes is a confident mix of snappy jazz, electric fusion with some gothic/cabaret drama and occasional harder moments, though rarely heavy enough to actually be metal. The band is impossible to pigeonhole into one genre, with most tracks diverting in different directions throughout and never ending the same way that they started. There's a real cracking energy to the performances, and although all the band members are first-rate talented musicians, there's a loose sound to their compositions that ensures the album never gets overly stuffy or lifeless.

Piano player Stephanie Artaud is a revelation here, sprinkling so much of the album with endless varieties of energetic and refined jazzy playing. Guitarist Mathieu Torres plays with a fire that jumps from manic attacks to thoughtful and emotional soloing, while Tadzio Gottberg's drumming is varied and commanding. Maxime Jaslier also contributes wonderful sprightly sax and fluid bass playing that compliments the band perfectly.

Opener `Supernova' is an emotional and slowly unfolding piece full of frantic and passionate electric guitar playing, bolero-like themes and tip-toeing piano soloing with just the right balance between delicate beauty and slight unease. There's some occasional heavy grunt and brooding tension throughout but pay special attention to the dreamy and haunting outro.

I cannot express how much I love the Canterbury foot-tapper `Reves Premonitoires'! Almost seven minutes of instrumental jazzy perfection with a slight Latin influence, full of snappy percussion/drumming and plenty of Gong-like sax. Winding sneaky guitar twists through dazzling piano that moves from upbeat, cheeky playfulness and slight eeriness before a wild cascading climax. This tracks always makes me smile and puts me in a great mood every time I hear it - 10 out of 10!!

`D'Hêtre A Etre' is a dramatic slow-burner with an emotional extended electric guitar theme constantly reprised throughout, plus dark jazz piano interludes, snarling heavy distorted guitar and very impressive deep melodic bass soloing. Listen to how expertly the band contrasts the moody improvised middle section with a frantic race to the finish full of classical flourishes, wild electric soloing and crashing percussion!

`Singes' begins as a floating early 70's Pink Floyd shimmering mystery, lots of tasteful dreamy guitar and hypnotic piano, with a very reflective and thoughtful guitar theme that plays throughout the piece. Then half way though the piece kicks up a storm with uptempo piano, urgent drumming and snarling guitar before falling away into the psychedelic ambience of the beginning.

`Le Bas-Art De L'Epouvante' is another devilish and fiery bolero/Canterbury concoction with some gothic/classical drama amongst the dizzying piano storm and truly ragged dirty guitar soloing, `Berceuse Moderne' is a beautiful heartfelt piano/guitar ballad with a subtly romantic melody and just a hint of danger. `Renaissances' is a dark and heavy spacey finale that opens with very sinister bass soloing, before jazzy drumming, swirling electronics, maddening middle-eastern themed electric guitar riffs and nightmare inducing ghostly piano finish the album in a very dramatic way that leaves you wanting ever more.

All in all, a varied, original and exciting first release from a talented band that offers so much potential. Highly recommended to all lovers of instrumental progressive rock, why not give them a try if you're after an exciting and accomplished young band with real personality and technical skills? Hopefully we'll also get a live DVD or CD from the band sometime in the future, as I have a feeling these guys will be in another league altogether live!

An easy four stars...perhaps four and a half!