Bronswick
Any band that gets compared with L'Ange Rouge is going to get my attention. Such was the case when BRBR reviewed the debut EP "Errances" ("Wanderings") from Bronswick, the Montréal duo of Catherine Coctu and Bertrand Pouyet.
The pair got together when composer Bertrand, seeking an R&B singer to record vocals over some beats he'd laid down came across Catherine - whose musical CV includes Montréal bands Like Elliott Did, Le Volume Était au Maximum and Police des Moues - the rest, as the say is l'histoire…
"Errances" consists of a quartet of multi-textural synth-pop songs. At one dark, mysterious and bittersweet, yet at the same time seductive, dreamy and richly orchestral. The EP's opening track, "Nuit numéro un", sets the mood; it's hypnotically slow with repetitive beats that weave in and out of dark swirling chords. But then there's Catherine's warming and angelic - atmospherically disembodied - vocals. Soaring and harmonious refrains shine as beacons of light piercing the shadows.
"Le goût des errances" sees both Bertrand and Catherine share vocal duties. The melody effortlessly meanders - a reference to the wanderings of both the song's and EP's title - as it gently embraces the listener before the song getting absolutely nailed by another enlivening chorus featuring Catherine's resplendent refrains.
"Toutes lets secondes" is all repetitive loops and synth-slaps before both keyboards and Catherine lift the melody and launch into another series of soulful choruses. There's a gorgeous middle-eight of bright and bubbling synths that is so 80s that I'm tempted to roll up my jacket sleeves, before everything is bought back down a notch as the song slows and fades and neatly counterpoises "En retrait", the EP's closer track, which is noticeably stark - almost monochromatic - and darker.
I'm not sure I quite agree or follow the Mylène Farmer comparisons. However, while there are traces of R 'n' B, and trip-hop, there is an indelible footprint of the 80s and new wave synth-pop stamped across the entire EP - including a nod towards Etienne Daho - but I'd actually argue that the pair would appear to have a lot in common with the synth-pop of fellow Montréalais Secret Sun, both bands making incredibly intelligent and adult electronic pop.
Ultimately though this is an incredibly warming collection of songs - dark, complex - dance music for grown-ups. There is something incredibly reassuring in the way Catherine's voice gently caresses and envelops. And in the way it perfectly complements Bertrand's rich and textural compositions.
The duo are signed with Montréal label Lisbon Lux - home coincidentally of Le Couleur, a band that I must get around to telling you all about at some stage - and there is rumour that the pair have enough material in the can for a follow-up EP later this year, one that on the evidence of their debut will be well worth listening out for.
"Errances" (Lisbon Lux)
I'm not sure I quite agree or follow the Mylène Farmer comparisons. However, while there are traces of R 'n' B, and trip-hop, there is an indelible footprint of the 80s and new wave synth-pop stamped across the entire EP - including a nod towards Etienne Daho - but I'd actually argue that the pair would appear to have a lot in common with the synth-pop of fellow Montréalais Secret Sun, both bands making incredibly intelligent and adult electronic pop.
Ultimately though this is an incredibly warming collection of songs - dark, complex - dance music for grown-ups. There is something incredibly reassuring in the way Catherine's voice gently caresses and envelops. And in the way it perfectly complements Bertrand's rich and textural compositions.
The duo are signed with Montréal label Lisbon Lux - home coincidentally of Le Couleur, a band that I must get around to telling you all about at some stage - and there is rumour that the pair have enough material in the can for a follow-up EP later this year, one that on the evidence of their debut will be well worth listening out for.
"Errances" (Lisbon Lux)
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