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Category: electronica

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It has been five long years since Cape Noire unconspicuously released her “Ad Nauseam” debut on an unsuspecting world. We had just about given up on ever hearing something from the enigmatic Paris, France electro/triphop diva again until “Javel” (French for ‘bleach’) quite unexpectedly turned up in our social media feed. A lot can (and will) happen in five years and just when we thought Cape Noire had retired her cape to the vestiaire she strikes back with “Javel”. Just like its illustrious predecessor “Javel” is 5 tracks or about 15 minutes of smooth, catchy triphop with a pulsating electro bend. One French newspaper dubbed her “gothic electronic” in 2015 and that is perhaps the most accurate way of describing what Cape Noire sounds like in lieu of actually hearing her yourself. There are worse ways of spending 15 minutes than in company of Parisian fashion icon Cape Noire.

For the last couple of years we feared that the curtain had fallen over Cape Noire. Yet nothing could be further from the truth. The mysterious blackcaped musician returns with “Javel” after a 5-year exile. Just like on “Ad Nauseam” the question on everybody’s mind is, “who is Cape Noire?” and the answer is obvious and evident to those in the know. What is certain is that Cape Noire is a versatile and experienced performer who has been a mainstay in the French pop – and rock world at least since the early 2000s. As a musician Cape Noire has tried her hand at a multitude of genres before taking on her current alter ego. That Cape Noire even extended beyond the initial “Ad Nauseam” EP is cause for celebration in and of itself. “Javel” builds upon the aura of mystique of the debut and cements that Cape Noire is one of the most fascinating new voices in the world of electro, industrial, and triphop. Cape Noire is the sound of the future…

In case there’s any doubt “Javel” sounds like an illicit lovechild between “Pretty Hate Machine” Nine Inch Nails, Kosheen circa “Resist” with bluesy vocals à la KT Tunstall. It’s amazing just how close to Sian Evans that Cape Noire sounds. Now even moreso than on “Ad Nauseam”. Instantly laying waste to any doubts opening track ‘The Prey’ has a bouncing beat and reassures that “Javel” is a continuation from the first EP. ‘Till It’s Over’ borrows not only part of the title but also a chorus line from Lenny Kravitz’ ‘It Ain’t Over Till It’s Over’. ‘Geometric Love’ opens with a romantic piano sure to make you think Cape Noire is going to get her Vanessa Carlton or Tori Amos on. ‘Kiss Of the Virgin’ strays the widest from anything Cape Noire has done previously. Only after almost 2 minutes of just piano and vocals the drum machine kicks in. It’s the closest thing to an actual ballad you’re likely to hear from Cape Noire. Just like “Ad Nauseam” before it “Javel” is catchy, soulful, and danceable. There are the occassional darker moments and melodies, but things never get as harrowing, dissonant, and ungentle as, say, Chu Ishikawa but neither does “Javel” ever succumb to forcing itself into any subdued pop hooks present just below the surface .

So far Cape Noire has persisted with the EP format but we’d love to hear what she could come up with the ebbs and flow within the context of a full album. At the quarter of an hour “Javel” is over before you know it. If we were to split hairs it could be noted that the piano doesn’t feature quite as prominently as it did on the first EP. The vocals on the last two tracks are somewhat more nasally than in the first three. The production is virtually identical to that of “Ad Nauseam” but everything is a little fuller and warmer sounding. If “Javel” is testament to anything, it’s that Cape Noire is more comfortable in her niche. “Javel” possesses a great focus and the hooks are catchier than ever before. For those who keep track of such things, the artwork of both EPs is identical – except that the dominant color on “Ad Nauseam” was black whereas here it is white. We wouldn’t be the least bit surprised if Cape Noire ends up ghostwriting for other Francophone artists (we’d love to hear what she could write for Jamie-Lee Smit, for example) and we’d love to hear Cape Noire tackle dub techno, progressive electronic, or even ambient. Hell, we’d love a Cape Noire piano-pop record. It would probably sound something like “Rabbits On the Run” or “Liberman”, and that’d be wickedly awesome.

We’re looking forward to hearing in whatever direction Cape Noire decides to move from here. It would be interesting to hear what she could come up within the full album format or whether she’s going to perservere with EPs for the time being. It’s good having Cape Noire back after a five-year hiatus and it remains a question for the ages why the mainstream hasn’t picked up on her yet. Cape Noire would go over well over alternative festivals, high-end dance temples, as well as goth clubs. The beauty of Cape Noire is that there’s something for everybody. “Javel” was very much worth the five-year wait but we can only hope that Cape Noire will return sooner rather than later with the follow-up. A release like this only intensifies the mystique surrounding Cape Noire and her music. Whether her insistence on anonymity is a boon or a bane to the overall enjoyment of her music is entirely up to the individual listener. Good having you back, Cape Noire.

Published on Leave a comment on Amaranthe – 365 (single)

The prospect of a new Amaranthe single is always reason for excitement, especially when it serves as a precursor to a new album. “Massive Addictive” and “Maximalism” were both great Eurodance records that largely coasted off the work of Britpop band Republica. Whereas Republica fully embraced their 80s wave-synthpop component on their “Speed Ballads” album, Amaranthe insists on its rock band setup, even though that is arguably their weakest and most redundant aspect. This advance single does nothing particularly novel with the sound that Amaranthe has been pushing for the last two records. It leans closer to “Massive Addictive” in terms of composition and is the recording debut for freshly-minted male singer Nils Molin who replaced Joacim "Jake E" Lundberg. Not that anybody comes to Amaranthe for the male singing. Amaranthe is all about Elize Ryd. Elize über alles…

‘365’ is the lead single and precursor to the new “Helix”. If the techno beats that serve as an opener are anything to go by you’d think that Amaranthe finally at long last abandoned the guitars and drums. Nothing could be further from the truth, however. Why Amaranthe still insists on a drummer is anybody’s guess as the standard 4/4 drumming could have been easily been replaced by computer beats by now. The sound effects in ‘365’ are something straight out of 90s Eurodance song (or a recent Dimmu Borgir album) and if it weren’t for the prevalent and apparently very necessary and completely vanilla groove riffs this would’ve been a straight up techno club banger. The highlight is, of course, doe-eyed Elize doing what she does best. Which is shaking her hips, singing, and engaging in the occassional spoken word and sultry whispering. It’s telling enough that ‘365’ is at its best when the guitars and drums are silent giving Ryd and the techno beats the space they require. Amaranthe has no need for male singers in two contrasting styles much in the same way their insistence on rock elements is redundant in lieu of the prominence of dance beats and electronics in their sound.

If past records are any indication for Amaranthe’s surge in popularity then it would be only just to acknowledge just how important Elize Ryd has been for the brand. Ryd was instrumental in Amaranthe changing from a stock symfo metal outfit into a full-blown Eurodance rock band. There’s no contesting that Olof Mörck is the creative force behind the entire operation but he’s practically invisible once Ryd takes centerstage. Amaranthe would have just been another modern rock band if it weren’t for her presence. On “Massive Addictive” Ryd took the forefront and hopefully “Helix” will capitalize on her considerable talents, both as a mascot and as a singer. Not only can Elize sing with the best of them, her outfits are always among the best too. There’s a good reason why she features as prominently in the music videos as she does. “Helix” returns to the band photography artwork from the early days after "Massive Addictive" and "Maximalism" opted for actual digital art. Amaranthe would be wise putting Ryd on the frontcover and finally leaving the last remnants of their rock band past behind. It’s now more clear than ever that Amaranthe wants to be an Eurodance-pop band and that’s okay. They shouldn’t in any way feel obligated to keep including duelling male vocals and standard rock instruments to please the old fanbase. ‘365’ is first and foremost a catchy pop song – and that’s when Amaranthe is at its best.

We will continue to cherish slim hope that Amaranthe, or Mörck rather, will come to their senses and realize the redundancy of their latent rock element. Amaranthe never was, is or will be, about riffs. Plenty of other bands are, but Amaranthe isn’t one of them. The switch to Eurodance was one of Mörck’s best creative decisions and the sooner he rids Amaranthe of every unnecessary instrument and band member, the bigger his band will become. The only thing keeping Amaranthe away from mainstream popularity and radio airplay is their insistence on heavy rock guitars and gruff vocals, both of which they don’t need in the first place. ‘365’ is a great enough teaser for the “Helix” album that will be released in October 2018.  We can’t shake the impression that Amaranthe would be an even much larger a band if they focused their efforts on and around Elize Ryd. If only Amaranthe themselves realized it, then they could arrange their efforts around her. It sort of makes you wonder when we're finally going to get that much overdue Elize Ryd solo album...