The young French band Orgöne has released its first full-length album “Mos/Fet” via the Italian music label Heavy Psych Sounds, which is difficult to characterize stylistically, because this kind of music can’t be successfully categorized or framed. Orgöne from the beginning didn’t afraid to explore avant-garde scene, and this time the use of term “avant-garde” is totally justified, creating something absolutely unique and indescribable.
This conceptual album is dedicated to two important themes. The first one is about a Soviet cosmic flights (“Soviet Suit”), but the second one is dedicated to Egyptology and pan-Africanism (“Anubis Rising”). Despite that this album was recorded year ago, sometimes it sounds so old-fashioned, that it seems like it came straight from the 60-70s with all its hippie and rebellious attitude. Meanwhile “Mos/Fet” is so isolated into itself, that it’s not possible to ponder about time frame.
The album starts very loudly and aggressively with song “Erstes Ritual”. The singer Olga Rostropovitch bursts out her screams of pain and desperation and insanity with such a force, that it becomes clear, no mercy emotionally! The album sometimes stretches so slowly in accustomed sludge-doom metal reality, but every song consists of some kind of culmination with a drastic emotional change of mood, and in these moments usually can be heard all the uncommon musical instruments (like clarinet, electric organ or mandolin). Even the most joyous and positive moments drown in messy sounding, making it even dirtier and closer to garage rock. The main parts of the album are based rather on stoner space rock and sludge metal, but a lot of acid and psychedelic rock elements strangely influence the listener’s emotional psyche, because the album is full of extraordinary moves and surprises. The messy and dirty sound is tuned in such a way, that it is possible to enjoy every instrument, though the main accent on “Mos/Fet” isn’t based upon technicality or audibility of every instrument, but rather on strange music passages and atmosphere.
The guitar played by Marlen Stahl creates this constant fuzzy southern sound throughout all the album in the most integrated way. The various guitar and synth sound effects make the album even more richer and versatile (like the songs “East Song” and “Mothership Egypt”), and the long minimalistic instrumentals help to forget about the previously expressed feelings. But these little breaks don’t last long, because the multi-layered instruments and the dirty sound fill the music with a restrained chaoticness (when it is still possible to grasp the sense of chaos). The ritual aura is perfect in songs “Erstes Ritual” and “Mothership Egypt”, but the most cheerful songs (like the ending of “East Song” and “Rhyme of the Ancient Astronaut”) remind of rock ’n’ roll, folk and dance music. The design of the songs often is non-standard, besides all the relative self-restraint is totally destroyed by the voice of Olga beyond the traditional, since the most important part of it lies in emotions and feelings. She uses all kind of techniques in her singing manner. Sometimes she screams like crazy (“Soviet hot Dog (Le Tombeau de Laika)” and “Mothership Egypt”, sometimes she bleakly drawls (“East Song”), but sometimes she recites in Russian (“Soviet hot Dog (Le Tombeau de Laika)”). Her voice is full of various feelings and senses, making the music brighter and emotionally magical.
When you mix a rich cocktail of musical genres, overfilled with strong emotions, it’s pretty much near impossible to interest the wider audience, this kind of music demands an enormous concentration, only then it is possible to experience it at the appropriate level. But the psychedelic doom metal scene starts to inquire about these avant-garde French musicians, giving them an opportunity to evolve their multifaceted talent. Because does it happen often, when one album is structurally multi-layered and technical at the same time with an absolute opposite idea of minimalism? But Orgöne achieved it!
Release date: June 19th 2020
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