Record Review: Jacquemort

Jacquemort – Dent De Lait, (Grosse Boite.2007)



Montreal is known for its drama pop scene most visible by that one band that released their highly anticipated second record, but we aren’t talking about that action. The city should be known for a vibrant scene of indie bands making some amazing racket and singing in French, thanks to publications such as Pitchfork (see their glowing review of Trompe L’Oeil by Malajube), slowly these bands are getting noticed in the US. Jacquemort is a band fronted by Malajube’s keyboard rocker/vocals person, Thomas Augustin. Like his other band, Jacquemort plays it rough, tumble, and melodic.

Way back on March 8th, I gave Jacquemort, that precious spot as Song Of The Week here at This Is Not Entertainment. “Biscuit Chinois” was the track and it’s the third track and the first single off of Dent De Lait. I wrote:

“A quick drum roll, ding of a bell and super-bass synth riff open this song, three minutes of playfully intense dynamics and melody; part crazy-there’s-no-fucking-way and part rich-classic-pop. “Biscuit Chinois” is one of those songs that move. After each pass on the hook, the instruments drop out and the song goes somewhere totally different – a quirky synth jam emerges, a tense/angular guitar solo grabs the limelight, a jangle guitar passage pops up, etc. – only to return to that glorious hook where Augustin’s voice is slightly raw. His vocals can hush down on a dime, and soar ala Thom Yorke, Murray Lightburn, or Jeff Buckley. It should be noted that the persistent bass line in conjunction with the bass drum anchor the song through all the changes. There is this hint of the reckless, as the execution seemingly teeters, near shambles, the melody and changes maintain, and that makes for greatness.”

I shouldn’t have to point this out, but I will; that isn’t the only slab of juicy indie rock-pop that Jacquemort creates. “Age De Raison” opens this five-song EP opens with a zip of a melodic-percussive-something-or-other and a lovely piano (double melody played around middle C and rumbling an octave, or two, lower with some tinkling keys floating on top). Augustin delivers a super-quick-step melody and at the fifty-second mark a mournful lead guitar takes over, then is pummeled by a gorgeous racket and the band gets messy with layers of over-the-top vocals, which, deep breath, gives way to the main melodic/jangly passage, which, another deep breath, lays down ten seconds of that mournful lead, says au revoir, then the song explodes again. All of this occurs in the first two minutes. The song’s dynamics are jarring, as scattered as a hyperactive kid, yet it’s all centered by melody and hooks. For the remainder of the track, the band rocks out with guitars stumbling all over the place, synthetic and organic keys pounding away, rumbling fat bass lines jiggle, and cymbals and drum fills rack and crash the rhythm. The last thirty-five seconds are pretty and plaintive.

“Brise-Glace” is up next and it’s a groovy-riff-n-rhythm-heavy stomp. In a subtle, but telling, moment, Augustin runs his vocals through an effects box as a glockenspiel tinkles. The track is rife with those dynamics and the song has that masterful recklessness anchored by a disco beat. The instrumental breakdown at the mid-point is mind-boggling complex, shape-shifty and weird. When Augustin is joined by his bandmates on a gang-vocal of “AH-AH-ah-ah-ah-ah-oh!!” (thrice), it’s pure organized chaos. “Feu Follet” is a lazy jaunt/intense rocker marked by an addictive crazy-ass melody, jangle guitar and flippant keys with blasts of guitar riffs. The way the song revolves around on itself and then ascends is pure songwriting genius.

The five-plus minute “Coeur Saignant” closes the record as a perfect encapsulation of the previous four songs: distinctive and separate melodic passages coalesce into a singular piece, like a suite. A trippy campfire folky opening, classical acoustic guitar flourishes, jangle pop licks, indie rock riffs, bouncy tension inducing bass lines, driving keys in concert with intense drumming, post-punk push-and-pull, massive crescendos into head-snapping rhythms while the melody confidently strides through it all. The vocals are the most exhilarating and insane as the song reaches its inevitable climax.

The major problem with this release is a good one – it is too damn short. While the cynic may convince himself that Jacquemort has only these five songs, I just can’t see it. The record is an ultimate tease. Discerning music listener, it is time to put down that neon bible and listen to some truly compelling songwriting coming from that bilingual Canadian province. Plenty of you picked up the great Malajube record, and you’d be doing yourself major harm by not adding to your francophone collection. Malajube was your start, now you can augment with Jacquemort.

The proverbial x-factor of Jacquemort is juxtaposition. They are making crazy addictive pop mixed with the raw power rock, a concoction that is intense and captivating and not done this well since the Boo Radleys heyday.

Score: 83.28
File Under: Reckless.Francophone.Indie.Rock

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