La Fille Verte is a far removed from what the world actually needs right now, it represents an utter delerious joy it's almost worth having it's own memorial day. Essentially, if anyone can remember the glory days of when Tool fans discovered electronic music and sales of Matmos, Boards of Canada and 'Druqs' went through the roof and into the ears of pseudo-schizophrenic pretzel poppers, you know, the ones who hated George W Bush before he became present, then let's party like it's post-post rock in 1999. Since these people are now the necklined gawkers who can turn on and off our electrcitiy, and design new and exciting ways for use to bully them over the internet, I'll take a wide berth La Fille Verte, is described reliably, and in a variety of online guises, as "sometimes conceived for evolved cyborgs with a new perception of time and space" which is a recycled stab at the age-old "if you don't like it, you don't understand' playground taunt loved by Radiohead fans, but whilst I'm not going to even remotely pretend that I know either a) the software used for making 'La Fille Vert', or whether the time signatures echo past efforts. Heck, I'm not even going to c) use the phrase 'Warp-esque". The important things to stress about Syl Kougai, is that he is completely insane, and not in a jovial neanderthol-photoshop way like Richard D James, we're talking unavoidable delusional madness: " (my music) is vibrating, wild, it alternates or mingles strong breakings with timid radiation for all the lovers of musical audacity" which even without the obviously language translation issues, is barking. Secondly, this nightmarish lunacy is neatly tied up with little pink bows the second you hit play, and are met with an avalanche of noise, which threatens after ten seconds to sound like the first official Burial poacher, but then cascades into audio bile, allbeit one tersed away from Atari Teenage Riot and other late nineties hellraisers, despite it's notable similarity, and descends down into horrific glitchy, cds-players-fucked drivel which sounds like someone trying to Morse-code a death threat using microsecond snatches of industrial waste. It's unlistenable, jarring, but best of all, completely compelling. By track 7, when things get really cooking, and you're happily losing your sanity to a cross between Voodoo People by the Prodigy, and a tumble drier being tortured - check it, it actually wails for help at one point. So far, what's the point? There isn't one. The osmosis of track 7 into a frustratingly rhyhmic and whilst, 'radio friendly' isn't the word, at least we're less than 30 miles from sounding like something that even vaguely takes the form of a piece of recorded music and not a digital butchering, is fascinating, as it suggests that if Syl Kougai could tone down the machismo plagues by so many tortured noise artists by trying to make more noise than anyone else, and just write a goddamn pop song, then we'd have something to grasp too. For the rest of the time, it's akin to being permanently stuck in 'Eraserhead' with no parole.
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