Intriguing
new release from Mark Van Hoen’s Locust, Wrong
is not, as the notes on the sleeve warn, a double album,
but a twin CD format. Both CDs are designed to be played
simultaneously, preferably in different rooms. CD1,
or shall we, for our purpose, call it the main CD, contains
nine delicately crafted songs, while the second presents
a series of isolationist textural drones which, when
listened to on their own, reveals nothing of the intrinsic
beauty of Van Hoen’s music.
Entirely conceived around guitar samples and electronic
structures, supporting the voice of Holly Ashton (main
vocals) and Lisa Millet, the songs forming the backbone
of this record are made of complex layers of sounds
and vocals intricately woven together to the point where
they sometimes form a single element. Miss Ashton’s
presence is essential to the general atmosphere of this
album, pouring hot and cold on Van Hoen’s warped constructions,
alternating between neurasthenic little girl and divine
goddess, and constantly bringing a strange sexual underlying
to the compositions. The appearance of Van Hoen himself
on vocal duties on the beautiful Impossible Adventure,
probably the most accessible song of the album, gives
Ashton yet another chance to challenge him, this time
on her territory. The sound constructions featured on
the additional CD also give a rather interesting third
dimension to the tracks. Whether played in perfect synchronicity
or with a slight delay, this second part ensures a continuously
renewed listening experience.
Despite a handful of strong-minded moments, (Make
A Difference, Believe In The One), Wrong
is overall delicate, fascinating, and typical of previous
Locust releases. Van Hoen develops further his particular
blend of polymorph electronic structures that now can
be traced in the work of bands such as Hooverphonic
or even Goldfrapp.
But the Locust mood is unique, and, with beautiful melodies,
fine vocals and clever arrangements, Van Hoen’s work
is set to remain out of the ordinary.
Wrong does not depart greatly from its predecessors.
It however shows Van Hoen at his finest, most at ease
with his increasingly mechanical sonic universe, which
he counterbalances by allowing Holly Ashton a place
of choice here. This is future pop!
5/5 |
