The raw material used to create this record is, to be honest, as improbable as the artist's career, who since 1999 has been capable of oscillating between contemporary music and hip hop (Psykick Lyrikah). Here, John Carpenter samples cross paths with those of Jacques Tati, a baby music box cohabits with a radial saw, and a drunken answering machine message finds its place amidst samples of old vinyl records found at flea markets and large steel tubes that are struck to make people dance. But you'll still have to listen carefully to discern everything amidst this funky maelstrom. Because ROBERT LE MAGNIFIQUE, like his old idol Squarepusher, knows how to give a sensitive soul to all these sounds, so much so that you no longer know if they exist or if they are invented, skillfully blending traditional instrumentation and everyday noises ground through an MPC. The result can be by turns moving, surprising, or purely exhilarating, borrowing as much from post-rock as from video game music. One thing is certain, however: all the tracks feature a gimmick that sticks in your head for the rest of the day. And all without a stapler, of course.
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