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act 116 · axiome · ça ne nous rendra pas le congo · cd

woaw... - la frigolite m'irrite - cramique - un paquet à 50 - eh, dis, heu... - cuistax - spotchi - du brin, c'est pas de l'or - in v'la co pou ein an - mystère au ministère - fille des bois, fille de joie - électromoustique - marchand de glace, marchand de rêve

the firstborn has grown up. and axiome (aka olivier moreau of imminent and performance artist c-drik fermont) developed dramatically. the intense rhythmic straightforward distorted percussion has been put aside and replaced by structured feedbacks, samples and tremendous loops.

' ça ne nous rendra pas le congo' is different - different by all means. here subliminal sounds dominate the scenery - the effort has been put here not on the violence of the tracks, but more on the adequation of the ensembles of sounds. on first sight this is still unstructured, unspoken chaos (the reminder of "rictus") - here it is uncomfortable ambience overlaid with reduced machine rhythms and schizophrenic metamorphoses.

' ça ne nous rendra pas le congo' generates a hypnotising, trance like atmosphere adding resonant vibrations and looping samples at best to reach a certain state of intensity. axiome's ability in creating sounds resides in their vicious use of noises to hit your nerves at the most unexpected moments and stimulate your vulnerable brain cells while influencing the palpitating tempo of your tender heart.

although ' ça ne nous rendra pas le congo' favours a cold, intense and experimental atmosphere it still hits directly in the centre of mind, body and soul. expect the unexpected ...


orkus nr.11 november 2001
und wieder treffen wir auf den energiegeladenen belgier c-drik fermont, der dieses mal zusammen mit seinem landsmann olivier moreau (imminent) den zweiten longplayer ihres gemeinsamen projekts axiome an den start bringt. auf dem debutalbum war das bestimmende element ihrer musik noch der gemeine verzerrte industrial-beat, der mit allerlei klicks, bleeps und lärmfetzen garniert wurde. dem zum trotz geht das duo auf dem zweiten werk völlig andere wege. es verzichtet auf die clubtypischen zutaten und schlägt sich eher auf die seite der electronica-frickler-fraktion. ganz ohne vorgefertigte rhythmen oder Ôphysische gewalt' spielen axiome auf dem neuen output lieber mit vielen verschiedenen schichten von knister- und klickgeräuschen, die sie zusammen mit dünnen lagen fetten noises und flächensounds zu rhythmischen, aber sehr zerbrechlich wirkenden klangcollagen montieren. oval, pan sonic oder autechre hätten sicher ihre helle freude an dem treiben der beiden, allerdings sollten freunde des debuts wenn möglich vorher probe hören. (alexander maciol)

mais qu'est-ce qui peut bien passer par les têtes d'olivier moreau et de c-drick pour nous fourguer un titre pareil ? ? ? faut croire que c'est une expression populaire belge (pour mémoire, le congo est une ancienne colonie du plat pays). enfin bref, de toute façon on l'attendait depuis longtemps cette galette métallique. ah, le plaisir de retrouver le gros son et la frénésie caractéristique de " rictus ", leur précédent opus... et bien, non rien à voir, essaye encore. " ca ne nous rendra pas le congo " est en rupture complète avec les précédents travaux de notre belge préféré. plus calme, moins sombre, comme si olivier moreau avait passé un cap. moins industriel également, beaucoup plus proche de délire idm à la autechre, ou pan sonic, le tout en plus crade quand même. pas dansant pour un sou, l'album évolue doucement entre ambient et morceau à la rythmique millimétrée, s'insinuant doucement entre nos deux lobes cérébraux. attention cependant : franck zappa c'était demandé il y a déjà plus de quinze ans si l'humour avait sa place dans la musique. ceux qui pensent que non peuvent tout suite passer leur chemin. car le contenu de ce skeud est à la hauteur de son titre. pour exemple, voici le tracklisting : " woaw... - la frigolite m'irrite - cramique - un paquet à 50 - eh, dis, heu... - cuistax - spotchi - du brin, c'est pas de l'or - in v'la co pou ein an - mystère au ministère - fille des bois, fille de joie - électromoustique - marchand de glace, marchand de rêve ". le dernier morceau se compose de la répétition de son titre par une voix éthérée, sur fond de " la lettre à elise ", délicieusement massacrée. une question de go×t.

black #25
das gemeinsame projekt von olivier moreau (imminent starvation) und c-drik (ambre) geht nach dem erstling "rictus" in die zweite runde und laut unbestätigten insiderinformationen hatte das duo nur eine woche zeit und die aufnahmesession verlief eher ulkmäžig, was sich aber höchstens in den tracknamen widerspiegelt, denn zu hören ist davon nicht viel. gegenüber dem zerrigen distortion-sound von "rictus" klingt das neue album viel intelligenter und flächiger. klickende loops und white error-sounds werden mit strangen stimmsamples gekreuzt und mittels noise-infektionen und sporadischen rhythmusattaken in eine fliežende form gebracht. über den ganzen aufnahmen liegt eine flirrend-knistrige atmosphäre, die durch das knittrige folienartwork noch unterstützt wird und hierbei ebenfalls eine steigerung zum debüt vorliegt, welches ja eher an die morbiden arbeiten von francoise duvivier für dive erinnerte! eine absolut spannende arbeit und der zwei belgier und grože weiterentwicklung von axiome, die auf weiteres hoffen läžt! (m.f.)
certamente subliminale quest'album degli axiome, duo formato da olivier moreau e c-drik, in cui il concetto di costruzione e melodia cede il passo a quello di inconscio, introspedione ed induzione. freddo ed analitico, a tratti quasi casuale nell'accostamento degli elementi, 'ça ne nous rendra pas le congo' si articola in un infinito susseguirsi di click & drill scanditi dalle percussioni ora minimali ed appena accennate, ora prepotentemente alla ribalta. le voci sono sparse e filtrate da conduzioni metalliche ed in certi momenti vengono in mente le pazzie dei v/vm, ma l'aspetto inconcludente dell'album prevale sulle atmosfere da trance di 'spotchi' ed i simpatici giochi artificiali di 'in v'la co pou ein an'. un disco difficile da digerire ma certo non sconsigliabile, alla cui unità di intenti non corrisponde una precisa individuazione della ratio artistica. (michele casella)

axiome is the side project of imminent's, olivier moreau, one of the artists that truly encapsulates the fundamental qualities required to be an ant-zen act - that being a proponent of unstructured, experimentalism in sound. moreau takes us through a catalogue of stimulating, palpitating samples, designed to strike at the centre of the futuristic side of your aural senses. this is the sound of machines communicating with each other, in their own, to us, incommunicable language. it's an interesting premise, humans built the machines and can only suppose at how they would communicate, given a lifeforce. moreau does a fine job as he takes as through this journey of thought provoking, highly atmospheric, and ambient by nature adventures in sound. particularly, 'spotchi', which is a truly innovative piece of work. however, being entirely divorced of melody and musical rhythm, one shouldn't expect an enjoyable experience from ça ne nous rendra pas le congo in the musical sense. i would rather equate it to that initial feeling of wonderment when you first took your screwdriver to your favourite broken down stereo and examined the insides.

l'ame electrique #2 november 2001
c-drik and olivier moreau (call me imminent) are back in town. this time they have conceived some brand new torture tactics. unlike 'rictus', in their latest cd there are no terrifying rhythmic parts or relentless chaotic violence; instead, they manage to shock with persistent ups and downs, or ascending and suddenly descending moods. the absence of all forms of solid song structure warns us to expect the unexpected and walks us through a painful experience. i would recommend it to those who think that they can put up with everything, including self-abuse (monsieur x)

side-line #38
adhering to his directive of "being too lazy to find a new name each time i change style?, c-drik once again confounds expectations. in his collaboration with imminent s oliver moreau under the name of axiome, the second album has traded industrial and technoise for experimental, looped noisebient. click'n'cuts for the silly-minded. it seems as if this was a product of just goofing around in the studio, making associative loops and generating noisy jokes for francophiles. a glitchy, humming cut-up approach which borders on academic laptop aspirations. if they wouldn't create such fine original sounds and if they wouldn't mold them into mounds of musicality as in "la frigolite m'irrite?, eh, dis, heu...? and spotchi?, i think i would hate this album. but its crackling timidity and sampled brittleness gives it this sophisticated touch which makes it interesting after all, although not necessarily mind-blowing, and leads them out of the faster, harder, louder cul-de-sac of their first rictus? album. still, judging by their appearance at this year s maschinenfest when they blew everybody away with their seriously fast-paced and fucked-up breakcore set, i think i'll be looking forward to the next album since they seem to be bored with the current album's style already. (till)

re:mote induction
ca ne nous rendra pas le congo is the second release by axiome, a collaboration between olivier moreau and c-drik fermont appearing on ant-zen. with that it should be said that this album is very different from the duo's previous release for this project - less an "imminent" side project and probably more in keeping with their recent work with the urawa and ambre projects. crackle and skip track sets up the intro of woaw, hello, here is your friend...the voice of europe... wow! buzz and grind, enthusiastic detail of glitched sighs. rapid little brushed skips and abrasions, buzz and repeated voice cuts. followed by la frigolite m'irrite, where bass pulse and vinyl crackle plays in a loop, sustained in throbbed repetition, streaks in rising details towards the one minute mark. stroke percussive lines flexing in the mix, high whines on the edges of detail. the initial feel is maintained, even past a faltering moment, vocal sigh hinted at, bass groan triggering triangle strikes. a repeated click plays through cramique, slowing and faltering to allow progression, other details working in at those points. low dunt and bass movement part of that process. while the clicks at their peak are quite well paced the over all feel tends towards a more considered delivery. signals and static adding periodic touches. bass pulses in a percussive inclination, hi hat flickers transitory as the gravity of un paquet a 50 builds around the core percussion and glitch track. notes playing as odd dips and echoes, tumbling background rhythm hints at the distorted highs more expected in an imminent piece. going for an understated, but significant gambit on the whole. the rough rhythm impression gains ground, with an ethereal vocal sigh wafted across its front end in contrast. click track plays pitter patter on the spatial front of eh, dis, heu..., rough stroke attempting a background construction. deliberate signal blips play while a warmer bass starts to work in the background. working towards subdued pulse and signal forms, gaining gravity and turns in the process. voices purr in filtered incomprehension that seem to trigger the end of this piece and the move to the pulse/interrupt rhythm of cuistax. catching bass hums and quick drill tones in the sustained loop of click and particle tracks. building in a tracked manner, regular in contrast to the increasing presence of bursts. grinding electronic growls start up, working the pace up to a potential for frenzy, its noise potential a contrast to the constant click-click-skip that it pulls along with it. wire pulse purity dipping forward in a clean sequence, subduing the rest of the elements for the moment, before stripping down itself to the barest levels. bass in spotchi plays in cut pulses, wet glitch strips momentary elements through this building presence. slowing to a low oscillating cycle, wub-wub-glitch/splash, plip dip and resume once again. rustles of tones play along as the layers giving a mounting sensation, providing a regularity and distinct vibe in the process. ghostly bass! works in sweeps while kinetic detail plays through the thickening. tapping details play with little flurries of du brin, c'est pas de l'or (significant string and metallic tap all caught up in those brief moments). plodding pace, with little rotary whirrs, subjective atmospherics rising from these sensations. sparse whisper of abraded particles and darkness. dank with sensation, wire buzz streaks and cerebral bass scraps, suggestive in its continuing expression. stray signal particles play like mouse squeaks in in v'la co pou ein an, leading to burst of celebratory melody filtered by mild distortion, cut off by fire work bursts. resuming in tape loop squalor and balancing the outcry of appreciative crowds with further pops and bursts of flashed gunpowder lights. working to an awkward conclusion that brings the squelch delivery of mystere au ministere. stray sounds suggest a bareness, a wavering doubt, but layered together we get something else, strand melodies and repeated dunts that string beat work. moody resilience in the swatches, and d! ips, sighs and taps. building dispersed agitation, oscillated signal lines in wavered cuts, the blunt strikes gaining strength. with fille des bois, fille de joie we have repeated buzz and line plays, bass at work in the steps that follow, some sparse line again behind that. notes play in wavers and there is a low chatter somewhere in the mix. a voice works through, rubbing against the listener's perceptions and adding to the understated and moody feel of this piece. then rounded clicks play with reluctant blips to give electromoustique, buzz and vibration adding to this growth. maintaining the abstract, fractioned front, inferring potential in the process. sweep and gasp, structural chatter, zipper accelerations. with the last track, marchand de glace, marchand de reve, chimes play lightly, piercing at moments as they play with a muffled voice, all backed by low bass. classical melody plays beneath these elements, wandering and wistful, focussed in comparison to the persistence of glass-steel glimmer work. the melody bursts through, synthetic and over driven with suggestions of reverb and increased ! depth. variations being introduced in the process, the voice now more ephemeral. (ptr)

infra tunes
qui a dit que electro et humour ne pouvaient pas s'entendre ? sans doute un de ces "journalistes" engagés pour "une musique électronique sérieuse". car malgré des critiques, parfois acerbes, envers "ca nous rendra pas le congo", axiome persiste et signe. malgré les (trop) prévisibles reproches d'une certaine catégorie d'élite de l'analyse, d× au simple fait qu'axiome a eu le malheur de produire un album un peu moins rythmé et basique que son précédent, olivier et c-drik n'en font qu'à leur têtes, tant mieux pour nous, et tant pis pour les déprimés des oreilles à l'objectivité toute relative. en fait, "ca nous rendra pas le congo" peut s'écouter comme on peut lire un livre de recettes. mais de recettes pour cuisine expérimentale. par exemple, prenez un cd du style "j'apprend l'anglais en 10 leçons", samplez de beaux morceaux de la voix ridicule du pseudo-professeur de service et noyez le tout dans un bon gargouilli de cliquetis, agrémentés à convenance d'écorces de fréquences ultra-aigues, et vous obtenez "woaw ...". ou bien, passez en boucle un craquement de vinyl et saupoudrez-le d'une pincée de remous aux tonalités graves. on appelle ça "la frigolite m'irrite". de la même façon, si vous mélangez dans une grande casserole quelques éléments méchaniques avec une rasade de bruits liquides, en laissant mijoter 5 minutes, vous obtenez "hé dis, heu...". une salade de nappes souterraines aux craquements minimalistes, on appelle ça "du brin, c'est pas de l'or". une bonne mélodie torturée entre deux tranches de rythmes organiques devient, comme par enchantement, "mystère au ministère". imaginez à présent qu'un moustique (qui n'y connait pas forcément grand-chose en cuisine) s'enferme de son plein gré dans votre mixeur tout neuf pour y réfléchir sur la condition des insectes à l'aube du 6í millénaire (ils sont très en avance) et sur sa vie de parasite notoire en général. voici "electromoustique". enfin, dernière idée recette du jour, demandez à un ami schyzophrène de vous répéter sans cesse la phrase "marchand de glace, marchand de rêve", en se prennant pour elephant-man, pendant que vous jouez "la lettre à elise" grâce aux touches musicales de votre téléphone. ca ne se mange pas, mais (surtout) ça coupe l'appétit. très honnêtement non, ça nous rendra pas le congo. maintenant, libre à vous de choisir entre nostalgie coloniale ou découverte de nouveaux territoires.

jackthetab on
how do words describe this venture.
Artistically placed, heavily sampled, over sampled and resampled to death. Noise thrown in for good measure.
Track two starts off nicely with the loop of a scratchy record (sounding). It slow builds with spacey noisy samples which seem to high light the continuous beat the loop makes. It is slow beat, yet it is pulsating in your body. A track that could seemingly going on forever and still be able to keep you at bay.
Track three has some wonderful stereo samples in the intro. A disconnected beat makes its way in. Some interesting experimentalistic qualities highlighted with a quirky bass beat bouncing off the walls.
track four and five are nicely done. The music has become less noisy, and more experimental, yet in an ambient sense. The music is spacey, yet mechanical sounding. Drones seem to hover around the quirky high pitched sounds. heavily chopped up voice to close out track 4.
Track five continues along the same lines. The BPM's have increased a little, creating a faster pace. The looped samples are still present. A flash noise returns, and returns to the sounds at the beginning of the cd.
Track six and seven mix well. The ambience in a light noisy sense splurges into a looped mix of liquid samples, creating a texture of goo and darkness.
Track eight starts off in a deep trance way. The beat is very hypnotic. Some quiet noise builds around the beat and brings you to the next dimension. A groove track for the psychedelic dancefloor. By far my favorite on the disc. The beat is heavy, and saturated with drugged out ecstasy. This track demands to be loud.
And just when you thought it were to end, it brings you back to your bliss.
Track nine is rather comical and cartoonish sounding. It however is still a top notch track in the disc. You hear fireworks, quirky annoying old computer game sounds. It is short lived, and could have gone a little longer.
Track ten reverts backs to some serious listening. It seems to become more serious and defined at this point. It starts to resemble experimental techno from the start. The beat is choppy and disconnected. Duel beats at 4:09, mixing with some flagrant noise.
Track eleven becomes a more environmental sounding track. You can hear looped and oversampled frogs/cricket type sounds reverberating around a single consistent bass beat. Interrupted by some foreign voice. There are many layers in this track which takes the ambient shape.
Track twelve is again quirky samples taking shape of something, (:52 is the start of interesting samples.) resembling and insect infestation or a mouse/rat infestation. It was quickly paced and filled with mechanical creature sounds.
Track Thirteen reminds me of a demonic music box with a ballerina. Some evil, yet sounding so sweet to the ears. It sound's like "evil" chimes are trying to overcome the "good" The music quickly becomes the opposite sound or rendition of the above. It is dark, and ritualistic sounding.It is the "evil victory" cry. Sounding as sinister as evil is. Another highlight track. This is truly an amazing track. (I need to replay this one).
This is an excellent cd.

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