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act 226 · lingouf · ange et gruikk · cd

1. le carnaval des animaux
2. ange et gruikk
3. garage
4. vifoogy
5. st-geniez
6. dorpramepasu

download the promo-sheet as pdf

lingouf's second album on ant-zen illustrates a further exploration into this artist's very special aural and visual thinking. to him, music and the corresponding artwork are allegories of a general emotion - moments of happiness brought by love, but importantly happiness overlaid with the knowledge of sadness, melancholy and loss. 'ange' (angel) and 'gruikk' (lingoufs onomatopoeia for distorted mind / thoughts) can be seen as ensigns for this symbiotic emotion. which is also represented on the front cover: a homage to the 1594 french painting, 'portrait of gabrielle d'estrées and duchesse de villars'.

on this release's six tracks, lingouf allows each composition to blossom and transform. from the megrim of 'le carnaval des animaux' (influenced by the programme music cycle of the same name composed by camille saint saëns in 1886), the drifty bass pulses/beat shuffles on 'ange et gruikk' and 'garage', the straight and partly distorted floor burners 'vifoogy' and 'st-geniez' and lastly the broken beats and rich melodic layers of 'dorpramepasu'. 'ange et gruikk' abducts the listener into a very unique cosmos of deep spheres, sounds, emotional atmospheres and hypnotizing sonic playfulness. an audiolicious mélange of ambient, technoid and industrial music.

discography 09.2k9:
ange et gruikk. cd. ant-zen act226. 2009
area keloza. cd. ant-zen act218. 2008
kovoclak. 12", ark-aik ark004. 2007
ecritomate. cd. ark-aik arkcd004. 2007
printemtrash. cd. teknomad records tnm cd 02. 2006
internazional fratricide. cd. ark-aik arkcd002. 2005

lingouf webpages:


enochian apocalypse
welcome to the bizarre; yep the latest release from the rather peculiar 'lingouf'. once again we have wonderful, fantastical and downright creepily addictive artwork to feast upon, this time based as a homage to the 1594 portrait of gabrielle d'estrees and duchess des villars' whilst gorging on his latest collection of aural oddities. purely a concept album based upon the megrim of 'le carnaval des animaux' and the musical of the same name composed by camille saint sans in 1886, this takes aspects of lunacy and the classical and melds them into the modern era in the same way you would imagine the old world welcoming in the new some time in a distant place, long ago. its actually pretty hard to tie lingouf down in all respects; electronic elements are wonderfully crafted amongst beats that range from the distorted to tribal to dub to trip-hop and then mashed together with classic orchestral compositions, insane samples and the overwhelming feeling you are at some crazed masque ball for the downright insane, dissembling power noise handing it over to circus freaks and playfully handing it over to a drug laced daft punk; excellent. with lingouf you actually feel there is something i haven't experienced from a lot of releases; the fact that this is steeped in effort. it's nice to see full artwork and a concept behind something, a full thought process has gone into making this album as he has on previous releases; it is genuinely entertaining and in a word 'unique'. (tony young)

a review in russian language can be found on the machinist's website:

a review in greek language can be found on the's website:

connexion bizarre
time to come clean, first. despite various people playing previous lingouf releases to me, i'd never got around to listening to his work of my own accord prior to getting this to review. the website, while a little out of date, helps to give an idea of what you are letting yourself in for - an extraordinary, cartoonish construction that appears utterly unique, with some fantastic artwork and some very, very odd interactive pages that appear to be mini games. so what of the album itself, and the music therein? well, things aren't much less strange, and wildly inventive. the opener is the glittering highlight, though - "le carnaval des animaux", which, as its name suggests, borrows some inspiration and moments from camille saint-saëns' glorious 19th century suite. i played it to a classically-minded friend, whose jaw dropped when she realised which part of it was being used ("aquarium"), followed by a big smile as the languid, lazy beats allow the magical atmosphere to unfold. to lingouf's immense credit, though, it's not all about what has been borrowed - it's more about what he does with it. samples and beats sweep around the central motif, gradually consuming it and moving onto other ideas. really, though, the nine minutes of this don't feel like enough, which i mean in the best possible way. it would almost be fun to wonder what lingouf would do with the whole suite, rather than just one movement? of course, that then begs the question of what i think of the remainder of the album, shorn of such a recognisable reference point? well, it's no less interesting, just somewhat less immediate. none of the tracks here are short - the six tracks take things well over fifty minutes - meaning that they certainly take their own sweet time to develop. the title track is a case in point - and it feels almost like something is being held back. rhythms bubble away, but rarely take centre stage, but even so it's more approaching a tribal feel when they finally do for a fleeting moment. the leash is finally released a few minutes into the (very) lengthy "garage", as a bruising, distorted metallic beat punches through, but even that is twisted and morphed into different forms in a brisk fashion, and imperceptibly - initially, at least, picking up pace before being subsumed into some mightily odd effects. the finale, "dorpramepasu", sees the leash released in a totally different way, as just about everything is almost allowed to spin out of control, listening to it being a (pleasantly) dizzying experience as you try and keep up with the multitudes of melodic features that (gently) assault your mind, before it is all coiled back in for the album to close and gently as it began. what is most remarkable, though, is that there is a coherent, thematic link that i can't quite put my finger on through the whole cd. i think it's in the playful nature, of the willingness to experiment, of the surreality of the whole thing. this isn't breakcore, or industrial, or any other pigeonhole you want to chuck it in. this is the sound of an astoundingly talented electronic music composer, taking reference points from wherever he damned well feels, and making a striking album from the pieces that result. needless to say, it's perhaps time i investigate the rest of his work, eh? (adam williams)

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