GABLE' - CuTe HoRSe CuT

Having already released three albums full of experimentation and role-reversals for their instruments, the French outfit Gablé finally bring together a coherent, structured whole with “CuTe HoRSe CuT”, one capable of leaving a real mark on the art-rock landscape. Starting from a folk attitude, the trio pairs traditional instruments with improbable sound sources, drawing on a century's worth of musical stimuli ranging from chamber classical music to punk, from jazz to electronica and world music. What could easily have been a sonic mess instead yields stimulating sound blobs that invite repeated listening; the constant fragmentation of styles and references plays out like a theatrical piéce with no director, left entirely to the skill of its performers, through improvisations born of remarkable artistic command — a flow that cites countless cultural heritages in an attempt to belong to none of them.

In a globalized world that allows indiscriminate access to any sound source, “CuTe HoRSe CuT” is an improbable compilation of fragments, skillfully steered toward something cohesive and original. As if by magic, in “uNBeaTaBle” you can find traces of Animal Collective, of Sparks' disco period and of remix versions of Tunng. Elsewhere, as in the evocative “CyaNuRe”, prog impulses creep in, along with Philip Glass, electronic rock in the vein of Polyrock, before flowing into polyphonic vocal fragments (“HauNTeD”) and the granite-like post-rock, tribal convulsions of “Day”, whose almost orchestral arrangement clashes with the rest of the sound.

Among the traditional instruments are toys, electronic gadgets played like primitive instruments (somewhat in the manner of the liveliest episodes by Four Tet); the three musicians' ability to coax alien sounds out of their gear can recall certain aspects of Penguin Café Orchestra, especially in the opening triptych “FuLGe”-“BuNCH”-“BRiCK TRiCK”, which leaves no doubt as to the real scope of the Gablé project.

Every track feels like a collection of fragments that strangely possesses a clearly defined lyrical shape: the folk-punk of “WHo TeLLS you?” is irresistible (it sounds like a Kraftwerk concert with the Pixies as special guests), the sonic emphases of “BuNCH” are chamber-rock laced with glam flashes, and the vocal quirks of “PiLLs” stem from a constant swapping of roles among the musicians, who move from guitars to percussion, inverting their sonic techniques.

This swapping of instrumental roles keeps the sonic solutions consistently brilliant and engaging; the sense of irony and fun that animates the whole project is plain to see, drawing the listener into the playful, deconstructed architectures of tracks like “LeS FeuiLLeS” and “Too FaT To FaRT To FiGHT”. The vocals get the same treatment, and the brief passages of “oPPoSiTe PaRTy” and the following “eeZy PeeZy” are a pleasure for any well-trained ear.

What's clear throughout “CuTe HoRSe CuT” is the band's immense inventiveness, which also stems from a very intense live schedule. Gablé are one of the most exciting emerging acts around, and their performances are unpredictable yet always rich in atmosphere and fun; their music is an imaginative, erudite puzzle of tones, colors and timbres, rarely assembled into such a cacophonous whole with such an outsized melodic impact — a cascade of notes that overwhelms the senses while still gliding with sonic grace and a sense of eccentric joy. If you're looking for an album that will reconcile you with the creative power of music, you cannot afford to ignore Gablé's genius.

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16/03/2011