You Can Be My Wave

If you're at all tapped into the latest happenings in music, you might have found Saguenay, Québec's Angine de Poitrine virtually inescapable. Since their KEXP set dropped in early February, the duo has become a genuine phenomenon, amassing nearly eight million views in two short months. The duo's virality begins with their striking, anonymous visual identity; outlandish, polka-dotted paper-mâché costumes that come complete with long, orange braids and phallic noses. But the intrigue quickly shifts to the hardware. Khn wields a custom instrument that looks like a reverse Buddy Guy Stratocaster that underwent binary fission; a double-necked beast with a fret board that allows for a 24-tone octave. Flowery language aside, it's a serious custom job; a unique instrument that serves as an extension of the duo's alien design.

Once you see Khn begin playing it, then you start to get a grasp of the instrument's function. Khn seamlessly toggles between the guitar and bass necks, weaving puzzling, intricate riffs and surprisingly groovy basslines that utilize the guitar's microtonal capabilities. Then there's the looping aspect, a logistical tightrope walk. Khn not only builds the track with layers of guitar and bass, but also manages an ever evolving arrangement with the buttons at their feet. Meanwhile, drummer Klek remains impeccably locked into grooves that Khn would have laid down two or three steps ago. In fact, both Klek and Khn's internal meter is inhumanly accurate. Summing everything together: the visual, the auditory, and the technical components make for a stunning display. One that is easily shareable.

I've had my fair share of weird musical encounters over the years, and usually, the projects that truly push the envelope rarely receive the recognition they deserve. Seeing the world actually stop and take notice of a project this uncompromising and strange is a rare victory for experimental music. Now that the spotlight is finally on them, it feels like a moment worth amplifying and celebrating. Especially since the duo are striking while the iron is hot with a brand new set of songs.

Vol. II opens with Fabienk, which immediately disorients with its mathy, aggressively ring-modded intro. The track transitions through a series of familiar dance beats, but with the wacky compound riffs and microtonal sourness, we find ourselves in a mutated disco. The intensity builds with Mata Zyklek, a relentless, fiery jam that is largely fun thanks to Khn's kooky riffs. The first half of the album caps off with Sarniezz, the first major highlight. It initially begins with a slow, minimal groove that misleads you into thinking this will be a simple rhythmic exercise, but then the song launches in earnest with a nasty bassline that will surely bring about a case of stank face. What follows is a clinic in overdubbing; Khn layers guitar and bass with a level of rhythmic and harmonic congruency that feels miraculous given the microtonal nature. It's possible there could be a little bit of studio post-production to get all the parts perfectly in sync, but judging from their live performance on KEXP, I wouldn't be surprised if that wasn't the case.

Getting into the second half, the duo make their first misstep. The first half of Utzp is a jaunty, Romani-inspired instrumental that is perhaps a little comedic in tone. Although, they are somewhat redeemed in the back half by returning to what was successful on the first three jams. The duo is firmly back on track with Yor Zorad, a wild rock odyssey in 7/8 time that sounds like the prog-rock answer to Flight of the Bumblebee. Khn's riffs are especially acrobatic on this cut, making it easily one of the most thrilling moments on the record. Klek also shines thanks to all the variation in their drum grooves throughout the track. Just when you think the tension can't get any thicker, the tune culminates with ninety seconds of a droning, half-step, dotted riff backed by a muscular drum breakdown.

While a great deal of the material on this project is very impressive and a lot of fun, I do have some very small grievances that are mostly a byproduct of the looping approach. Since these tracks are often built layer by layer, the progression can feel incremental and slow, thus ending up with track lengths that average six and a half minutes. I think with a little trimming, jams could be paired down to four minutes and be just as effective. The meditative closer Angor is a prime example of this, and unfortunately does conclude the record on a lukewarm note. Additionally, adhering to these loops keeps things noticeably rigid when it comes to time and tempo. This affects Klek especially as they occupy the role of strict metronome as opposed to being a living, breathing entity. Given the duo's adventurousness and technical ability, I would like to hear them explore more unstructured and free territory. I understand how this approach may be a necessity in a live setting, but in the studio, they shouldn't have to be held by the same constraints.

While the looping logistics end up being a bit of a musical straight-jacket, Angine de Poitrine's first release since becoming a viral hit is a very stimulating experience. With millions of eyes on them, the duo really rose to the occasion; once again demonstrating their bewildering musicianship and tightly interlocked chemistry. It's wild, but by capping these past two crazy months with Vol. II, I think the Québec duo have firmly cemented themselves in the experimental rock landscape.