Reinvented electronic metal is the description I read about the music of this band from France. Essentially this is lively modern metal with tributes paid to Meshuggah, Textures and unsurprisingly Oestre’s compatriots Gojira and Hacride.
Industrial noises, thunderous roars and a wall of sound melody couched in intricate technicality and electronic supplements are what I heard for the most part of this album. Cyber intrusions, fluttering electro waves and constant darkness and heaviness all add to the excitement, starting with “De l’Atome à la Lumière”. The electro incursions are well handled and are not just there to impress us and tell us that “hey, we do this cyber stuff”. In fact I switched on more to the djentiness and overall atmosphere which made me think of a charged-up version of Ananta or Uneven Structure, since we’re talking about French bands. So “Patient Zéro” has a brief robotic introduction before it launches off into that modern metal and a rich assortment of violent sounds. The level of intensity and power is good. At the same time it can be like running at speed through a windy tunnel. “La Sculpture de Soi” takes on a darker aspect but there’s no let-up, and then “Memento” is almost out of control with its frantically djenty and technical face, with the electro element adding flavour and fuelling the turbulent wind rush. The band don’t drop off but I did as I was being exposed to similar patterns, however I enjoyed the danger of “Fragments Oniriques”. The drummer doesn’t take breath so stops us listeners from doing so. Meanwhile there is sophistication among the electro-metal mayhem. “Palbe (La Dernière Renaissance)” is a continuation of the journey. It’s more of the same but the cyber-electro samples did stop me from diverting my attention from the job in hand. Haunting vocals add a new and welcome dimension. Bizarrely, the second from last track is a jazzy-acoustic interlude with electrical interference. The distorted electro drum n bass made e wonder if the aliens are coming. “Le Théorème de Moebius” brings this album to a close. It seemed to me to have an element of Hatesphere about it. Deep and growly but with an airy background, it becomes more threatening and sinister before rumbling anonymously to the end.
“La Dernière Renaissance” is belligerent and brash, and has an interesting musical mix. It didn’t however tip me over the edge with excitement, partly, I think, because each track is individual and there was no heightening intensity as the album progressed. It all seemed familiar too, but it’s well done and there is a good level of energy.
(6.5/10 Andrew Doherty)