Ronan O'BrienViral math rock sensation Angine de Poitrine return with their second album. A duo whose appearances are as bizarre as the music they produce, they are certainly an enigma.
Khn et Klek
Hailing from Saguenay, Québéc, Angine de Poitrine first performed in 2019. While the duo have been playing together since their teenage years, one of their first performances occurred in a local venue. Per the venue rules, a band cannot play back-to-back weeks, the duo hatched an idea that became synonymous with their personae. Emerging the following week as two seven-foot beings, embellished with monochromatic polka dots and absurd cardboard papier-mâché heads. Initially conceived as joke, the outfits became their hallmark.
The duo’s debut album, Vol. 1, was released in 2024. While largely unknown by the mainstream at this stage, the album was praised for its use of microtonal sounds, complex rhythms and nonstandard tuning. While math rock is not the most palatable for the average listener, the duo somehow developed a knack for making it work incredibly well.
The duo soon received international recognition following the viral impact of their live performance at KEXP. From the bizarre outfits, ridiculous talent and the use of a double-necked hybrid guitar by Khn de Poitrine, viewers were hooked. As a result, the band’s debut album gained revived interest and the follow-up was in huge demand. Last Friday saw the release of Vol. II and the first pressing of the album instantly sold out.
Attache ta tuque
The album opens with the glitchy “Fabienk“, which is the second single of the album. While I was already a fan of the song, it provided a great introduction of what’s to come. Khn and Klek are in the pocket from the offset, with the microtonal guitar chattering alongside the groovy bassline. The layers are added with the drums firmly playing in the pocket. The sole lyrics consist of only the names of “Fabien” and “Sébastien”, who are both producer and manager of the duo respectively. A slight break welcomes a bass solo, which only adds to the dance-like elements of the track.
Another oddly conceived track ensues in the lead single, “Mata Zyklek“, roughly translating as “Klek’s motorbike”. The stop-start drums and guitar are wonderfully syncopated, before the song really takes off. Accompanying an addictive looped guitar riff, Klek holds nothing back from thunderously smashing the drums. The tempo is quick, but the skill is certainly on show with cymbal holds and hi-hat lifts scattered through the relentless drumming. The alien-like vocals are robotic in a sense and another stripped back interlude foresees an almost hallucinogenic outro.
C’est sacrament bon
The raw bass and drum combination opening “Sarniezz“ is a bit deceptive at first due to it’s conventional straight-edge approach. Quickly dispelled, the looped melody is slightly off-key and dizzying, while the drums continue that standardised swing. Another breakdown naturally comes, before the instrumental is lifted to new intensity. It’s quite remarkable how something can sound completely out of tune yet work ridiculous proportions.
“Utzp“ takes a complete u-turn, looping a melody that borders on a Soviet cartoon jingle. A head-bopping bassline accompanies the upstrokes on guitar while the drums are cymbal heavy in parts. Almost skipping along throughout the track, the heaviness becomes more intense before a false break. A defiant cry of “Perep utz!” cuts through the silence, before more lunacy resumes in an ever-evolving melody. There are elements of psychedelic and progressive rock existing in many pockets, but it all stemmed from an almost cartoonish melody.
Tiguidou
The unsettling intro of “Yor Zarad“ has me anticipating more climactic melodies and boy was I not wrong. The duo bounce off each other in otherworldly methods across the instrumental. It sounds like both are let off the leash to do their own thing before returning to the starting position at the end of each bar. An incredibly funky interlude brings the intensity back down, before all hell is let loose once again. Yet another change in melody occurs, this time the duo channelling a metal breakbeat with screeching guitar to boot.
The final song “Angor“ opens with staccato-laced drums prodding at the looped bassline. The tempo changes in such a clunky yet smooth manner, with the looped melodies slowly picking up pace. Elements of King Gizzard & The Lizard Wizard come through as a strong influence in many sections, but the duo firmly place their own signature on the track. It’s unsettling again in a way, like the song threatens to explode at a moment’s notice. Naturally, this does not come in a predictable way. Instead, the slow growth of intensity is abruptly ended with feedback-ridden guitar before falling into silence.
Final Thoughts
Every year sees an act emerge from nowhere to become the hottest thing in the music industry. While the previous obsessions from the RYM crowd, like Geese or Geordie Greep, were lost on me, I fully understand the rage about Angine de Poitrine. While the music is not something that will be heard on the radio, the duo are certainly on the rise. And for good reason. Their art is not only good, but it’s a breath of fresh air. Despite it sounding like it came directly from Mars, that is.
In terms of this album, it’s more of the same from the duo as what was heard in their debut. The microtonal and off-key elements, combined with their natural talents and plain absurdity is nothing short of enjoyable. Albeit unsettling at times, it’s not something I’ll be listening to while trying to concentrate. Although it’s “more of the same” in a way, it’s anything but unoriginal. For Angine de Poitrine, the sky is the limit, and the competition in their musical sphere is limited. It just helps that they’re really, really good at what they do.
