Nothing went as planned. The suicide of Philippe Pascal, in September 2019, closed like a lead lid the tomb of Marquis de Sade, just exhumed. The Rennes group, flagship of post-punk frenchy but chic, active until 1981, had taken thirty-six years to cauterize his wounds of pride, and the reformation on stage in 2017, in their stronghold then the following year on a few lucky stages, was already a miracle. The announcement of the start of a third album, on the impetus of the rediscovered incandescence and in order not only to reactivate old embers such as vulgar Insus (the Resuscitated Telephone), was to come and seal this improbable rebirth. Alas, the cloudy Philippe Pascal will only have had time to record two songs (not included here but planned for later in the year as a bonus for the reissues of the first two albums) before later choosing a fate to Ian Curtis. End of Marquis de Sade, certainly not sadness, but the three original members still in the running (Frank Darcel, Thierry Alexandre and Eric Morinière) preferred to wear the new habit of Marquis rather than that of mourning. The substitute album is called Aurora, not “Crepuscula”, and it often vibrates with an intact, raging fever, despite the tiles that are not accumulated on its roof. Thus Dominic Sonic, another accursed legend of Rennes rock, invited to dive into theOcean Velvet, in turn disappears during the summer of 2020.
Fortunately, the living form a cast that recalls the history of the group, its famous triangulation between Brittany, New York and the heart of Europe, without making it stutter. Etienne Daho, an intimate witness from the start, delicately takes charge of the beautiful I won’t write so often anymore, of a final blessing to Pascal, but on the whole the (more very) Mödernes Young People are still looking ahead. A singing recruit, the Flemish Simon Mahieu, 32, brings the necessary sap without falling into the trap of imitation, while other voices from the past, such as Christian Dargelos (co-founder of the group, quickly left for the era among the Nudes) or the Dutchman of Mecano Dirk Polak make representations in expressionist shadows. Carried from Brittany to New York (where Ivan Jullien, Richard Lloyd and James Chance brought their tithes), via Brussels, Paris and Amsterdam, these bands, resistant to all damage, have the only fault that their too rich appetite for wanting make up for all wasted time. Aurora could thus never appear as the controlled manifesto of a single cell, it is far too filled and varied during thirteen titles which scoop a thousand influences at once. It is also this generosity, however, this touching way of making this return to light a collective epiphany (luckily, we escape Obispo, who had been playing elbows for months, after having succeeded in taking the stage with his idols) together with a necessary catharsis.
Aurora de Marquis, (Caroline, Universal).
Source: Libération by www.liberation.fr.
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