My favourite part of the first “Shrek” film comes when the title character tries to explain the resemblance of ogres to onions in the simplest form possible…they both have layers. It is always troubling when people fail to acknowledge that music, like ogres and onions, is also all about the layers. Breton are certainly a good example of this. This band clearly enjoys mixing things into compositions that are delightfully unexpected and this passion for the surprising has paid dividends on this debut full-length.
Those wishing to reduce this kind of experimental electronic music to its core would argue that, whatever Breton stick over the top, this is still sound all about the beat. In some ways that is true. The loping dub / trip hop backdrop on which Breton work is the basis allowing them to explore but it is when they let rip and pile up all sorts of textures on top that they are really at their best. It’s notable that avant-garde modernist Volker Bertelmann (or Hauschka to give his stage name) provides occasional touches to add further depth to Breton’s cataclysmic mix of electro-acoustic elements.
Despite their undeniably enjoyable sound collages however, Breton do have a problem. The vocals, sadly, seem a bit superfluous to the mix. On some tracks they add an additional pleasant sheen of immediacy but on others they grate and, at their worst, can be accused of taking away from rather than adding to Breton’s music. It is not really difficult to listen to 'Other People’s Problems' whilst ignoring the vocals altogether and focusing on the layers expertly arranged below them. Rather than being the proverbial cherry on top of Breton’s cake, the vocal parts occasionally feel like they are stymieing the development of tracks. The biggest shame is that Breton should be confident enough to let their music do the talking. There is no reason for them to focus on bringing the sing-alongs to sit atop their already adrenalised sonic cocktail. For every potential hit that the singing makes (see 'Edward the Confessor' and 'Interference') there is a track brought down to earth with a bump through the addition of voice ('Electrician' being a particularly disappointing example).
Breton deserve praise and attention. They certainly could be one of the most exciting electronic musical diversions to come from these shores for quite some time. 'Other People’s Problems' sometimes suffers from being a bit overdone but it should still prompt this band to start a deserved rise. Whether they develop into an increasingly sound focused act or work more in the direction of writing ‘songs’ remains to be seen, and there will surely be listeners fighting vehemently for both directions. This is certainly worth giving a go.
'Other People’s Problems' is out now via FatCat Records.
Breton play London’s Corsica Studios this Wednesday, Manchester’s Islington Mill on Thursday and Nation of Shopkeepers in Leeds on Friday.
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Those wishing to reduce this kind of experimental electronic music to its core would argue that, whatever Breton stick over the top, this is still sound all about the beat. In some ways that is true. The loping dub / trip hop backdrop on which Breton work is the basis allowing them to explore but it is when they let rip and pile up all sorts of textures on top that they are really at their best. It’s notable that avant-garde modernist Volker Bertelmann (or Hauschka to give his stage name) provides occasional touches to add further depth to Breton’s cataclysmic mix of electro-acoustic elements.
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