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CRÉATION DE L'UNIVERSXing SaZeuhl3.85 | 114 ratings |
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Cesar Inca
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Special Collaborator Honorary Collaborator |
Zeuhl is still alive and kicking in some sectors of the new breed of France's experimental
rock and jazz scenes. Bands line Neom and Setna keep on providing exciting progressive
musical journeys from the Fatherland of zeuhl to the world: Xing Sa, an off-shoot of Setna,
brings its own stance and vision to this 21st century zeuhl mission. Take Setna and bring
away the vocalist, the saxophonist and one of the keyboardist and what you get is Xing Sa,
whose repertoire is marked by Nicolas Goulay's compositions: "Création de'l Univers" is
the result of this amazing musical adventure. The jazz-rock factor is more pronounced in
Xing Sa than it was in Setna, which enables it to create more robust atmospheres and
more vibrant interplaying: while the mother band put a special emphasis on atmospheric
moods and subtle developments, the Xing Sa guys are heading for a more elaborated sort
of jazz-prog sonorities in which the majestic vibe is more noticeable at face value ?but
again, this does not mean that this band does not utilize subtle deliveries now and then.
The thematic axis of the album's concept follows the sequence of fire, earth, metal, water
and forest, in this way channeling the universe's creation from the individual elements
toward Mother Nature. 'Feu 1' starts with cosmic cymbal and synth effects that develop
eerie atmospheres gradually spreading an area for what will soon be the main body of 'Feu
2', a solid exercise on RTF-meet-Potemkine. The magical confluence of Moog and bass
guitar is stated on the tight dynamics provided by Candé's dexterous drumming. This track
easily comprises much of this album's ultimate greatness, but again, there's still more to
be enjoyed along the way. With equal energy but a more somber attitude, the third delivery
of 'Feu' settles in and brings a pertinent continuation of the current sonic incandescence.
The 'Terre' sequence gets started with ethereal layers of chorale and synthesizer: not really
disturbing, but definitely mysterious as if something distant threatened to make itself
present and break some sort of order. The second 'Terre' is an exercise on jazz-fusion that
is equally robust and warm: early Weather Report and 69-70 Soft machine are the most
likely references here. The third 'Terre' deepens the warmth and shapes an introspective
landscape, not devoid of tension due to the electric piano's dissonant nuances and the
spacey textures on synth. 'Metal' continues on the same vein albeit enhancing the spacey
factor: the rhythm duo's litany and the pompous melloton washes make Xing Sa lean
closer to the Guapo we loved from the "Black Oni" and "Five Suns" efforts: authentic zeuhl
for our modern times! 'Metal 2' bears a more grayish mood, languid as a winter night,
bringing a majestic climax of semi-constrained gloom for a 5 minute span. On the other
hand, the 'Eau' sequence begins on a most powerful note, delivered on a propelling swing
that states a first 3 minutes of pure extroverted avant-prog. The final 30 seconds state a
calm coda in order to pave the way for 'Eau 2', which in many ways retakes the warmth
of 'Terre 2' with added spacey touches we had already heard on 'Metal 1'. 'Bois 1' starts the
album's concluding passage as a serene prelude of majestic quietness to the catchy
swing of 'Bois 2'. The presence of a guest saxophonist helps to feed and enforce the
piece's current colorfulness, which in itself was mostly based on the synth washes. 'Bois
3' ends the album with a relaxed atmosphere that partially regenerates the metaphysical
abstraction portrayed in 'Feu 1', only with a subtler delivery that reflects the retraction of a
gradually waning magic. This sort of calculated dramatics is the best way to end such a
terrific album: to my eras, Xing Sa's debut album is an undisputed member of the
progressive Top 10 of any list at the end of the year.
Cesar Inca |
4/5 |
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