“I welcome the end of impotence”, sings Marie-Ève Roy on the opening track of the new album of Les Vulgaires Machins whose title is as simple as it is powerful: Live. Imbued with both strength and vulnerability, his voice and his words turn out to be a kind of call for empathy, and it is like everything else in disruptionwhich comes out 10 years after the previous one.
Posted yesterday at 9:00 p.m.
“I need love so badly in this crumbling social fabric,” will later launch on Asylum Guillaume Beauregard, a cry from the heart that echoes what the father of the family explained in an interview, namely that cultivating a nihilistic spirit becomes meaningless, especially when one becomes a parent.
The members of the Vulgar Machins remain angry with our society dominated by screens and online social ties, but they allow themselves to believe a little bit in a better world or, at least, in our power to act.
Musically, we find the melodic fiber unique to the group that gave us the rock bomb Count the bodies, but the Vulgar Machins — completed by Pat Sayers and Maxime Beauregard — allow themselves to leave the punk rock framework. On OKwe are pleasantly surprised to hear synth-pop keyboards, while the shadow of different groups hovers subtly here and there (Interpol and The Strokes, in particular).
We’ll tell each other, it’s life-saving to reconnect with nervous and thunderous rock that tirelessly multiplies the incendiary guitar chords and choruses with pop curves of which only the director Gus Van Go has the secret (let’s quote Obsolete and Unspeakable).
The arrival of Marie-Ève Roy at the microphone and writing for half of the songs brings sensitivity to the return to the charge of the Vulgar things. At the very end of the album, Guillaume Beauregard, with whom she shares her life, also raises her glass “to the health of love”, and even the most rebellious of punks cannot speak out against that.
Rock
disruption
Vulgar Things
Costume Records