Bosse de Nage

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Bosse De Nage (2010) , 7/10
II (2010), 6.5/10
III (2012), 5/10

San Francisco's metal outfit Bosse De Nage recorded Demo I (The Funeral Agency, 2006) and Demo II (The Funeral Agency, 2006) and (in 2007) a debut album that was released only three years later as Bosse De Nage (Flenser, 2010). The influence of Don Caballero and Slint turns the moody and hypnotic introduction Marie into a cerebral game, with horror screams appearing to coming out of a severe psychological convulsion. Marie Pisses Upon The Count starts furious and the screams quickly acquire an anthemic quality The Untitled gives up trying to stage a narrative and simply unleashes a whirlwind of instrumental bacchanal and tormented howls, thus achieving a stunning degree of tension.
The music subsides in Excerpt From The 5th Canto, a lethargic and uncertain plodding shuffle that suddenly erupts into a frenzied rhythm sustaining a demonic rigmarole sung in a vomit-like register; and Van Gogh Cooks His Hand restarts from that zombie epilepsy and then increases the dose of pain in a dreadful crescendo. The voice slows down its growls like an exorcising witch while the drums accelerate the blastbeats and so Excerpt From Paris Spleen I sounds simply like a monotonous iteration, but, when the rhythm slows down for a minute, the tragic pathos emerges and laids the groundwork for Excerpt From Paris Spleen II, the final full-throttle rush towards the cathartic apocalypse. These unstable structures straddling the border between post-rock and black metal stand like terrible metaphors for the human condition.

Bosse De Nage II (Flenser, 2010) was better produced and played, but displayed less courage in dynamic excursions. The elegant craftmanship overflowing from Volume Two Chapter One (drumbeats that sound like funereal death tolls, a lightnign-speed drumming assault, desperate screams in the background) crafts a metaphorical piece that creates angst without naming it, That fervor becomes a tidal wave of desperation in Marie In A Cage (super-frenzied drumming and slightly more articulate and melodic vocals). The slow, grinding nine-minute march of The Death Posture feels like the breathless screaming of a terrified child. Its delirious motiv segues into the eleven-minute Why Am I So Lovely? Because My Master Washes Me, that can only push it to the extreme of absolute chaos. The problem with these ferociously architected constructs is that they don't quite seem to know how to end, what to do next: once you terrorized your audience, what do you with them?

III (Profound Lore, 2012) marked further progress in synthesis and integration, while the songwriting reached the maturity of an intellectual singer-songwriter of the 1970s, despite the violent outburst of opener The Arborist. While even more relentless, the gallop of Desuetude is actually less brutal than usual, because it reveals melodic riffs and has moments of quiet. One can actually breathe in between the torture sessions. Perceive There A Silence has passages at agonizing pace and a prolonged drums-driven instrumental break. The eleven-minute The God Ennui is even a laid-back sparse ballad for most of its run, and so the explosion of the second half feels stronger. The band is looking for a way to package their improving skills into new forms, but the original, amateurish form may have been more interesting.

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(Copyright © 2010 Piero Scaruffi | Terms of use )
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