Chef Menteur: Press
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May 2006 |
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We Await Silent Tristero's Empire Album Review, Terrascope's Rumbles. |
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Hailing from New Orleans Chef Menteur play songs, psychedelic improvisations and lo-fi experiments on We Await Silent Tristero's Empire, a collection of pieces recorded 2002-2004 before they became a full band. Opening piece "Europa" is a percussion led drone that slowly builds into a dark cloud of noise, the rhythms lost in the debris, before "Pointu" gets you dancing with it's groovy Farfisa organ sound, although this is soon surrounded by swirling noise that ensures nothing is too comfortable. Track three "Paysans De La Mer" is pure psychedelia, a shimmering eastern delight, complete with real Sitar, whilst "Matiasma" is an improvised noise/drone that unsettles and delights at the same time. Further in, "W.A.S.T.E." is a pulsing electronic piece that unexpectedly changes, full of street sounds and backward effects, and gaining a sun-drenched haze that slowly evaporates leaving the scratchy electronics and effects to slowly fade into nothing. The atmosphere is changed again when the slow motion space drone of "Caverns Of The White Widow" melts from your speakers, space made liquid, the sound of your soul leaving it's body. (If memory serves me correctly White Widow is also the name of a particularly trippy brand of marijuana that once left me grinning like an idiot for several hours, but that's another story). Final track "Io" is a vast expanse of medative sound, a pure drone that is like a heat haze, slowly changing yet remaining the same, a mirage for the ears that works perfectly, and is indicative of the quality and innovation that cuts across this album, offering an expansive palette of sounds that are blended together into a cornucopia of musical delights for the discerning listener. —Simon Lewis |
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March 2006 |
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We Await Silent Tristero's Empire Album Review, The Wire magazine (#265). |
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Now established as a working quartet compromising Mike Mayfield, Chris Sule, Alec Vance and Jim Yonkus, these tracks predate the full-time arrival of Mayfield and Sule. The background beats and ambiences that Vance and Yonkus had collected on old-fashioned tape machines have since been dusted off and overdubbed for this release. These expansive instrumentals are typified by Yonkus's surging, probing bass and the washes of synth both he and Vance favour. There's a cool detachment to the sitar tinged "Paysans De La Mer", and an epic rolling quality to the lithe "Europa". The disc closes with two lengthier, freer and more experimental tracks. A roiling chaos of sound finds form and focus through its course in "Pointu II", acting as an Ur-version of its earlier polished version. The shimmering, lush, synth wash of "10", named after one of Jupiter's moons, wears its wondrous space rock ambience on its sleeve. —Nick Southgate |
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March 15, 2006 |
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We Await Silent Tristero's Empire Album Review,
Prefix online magazine. |
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This is a great spot at which to bring up the issue of reviewer neutrality. Spoiler alert: The following might be biased, because the six members of Chef Menteur have three things that endear their band to my heart. For one, they're from New Orleans. Their name comes from a major Crescent City thoroughfare, and in the liner notes they thank college radio deejays whom yours truly used to work with. Second, the band recorded We Await Silent Tristero's Empire in the waning days before Hurricane Katrina; any art with such an antediluvian pedigree is bound to be elevated to mythic status. And finally, any indie band that uses an obscure reference from a Thomas Pynchon novel must be smarter than your average major-label bear. (Although Thrice just did that, too, didn't it?)
It's hard to talk about separate tracks on We Await Silent Tristero's Empire since as a whole it drones and throbs like one big continuous art piece - this is noise rock in the vein of Acid Mothers Temple or Kinski. The title track starts out robotically, sounding like a current Hot Chip track, but it then picks up a Caribbean vibe, not unlike something you'd expect from the Avalanches. "Paysanas de la Mer" stands out with its spicy sitar. And "Io," seventeen-plus minutes of faintly glowing ambiance, ends the album in very Eno-esque fashion.
Oh, and one more thing: don't ever antagonize the horn. |
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August 2005 |
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We
Await Silent Tristero's Empire Album Review,
Almostcool online
magazine |
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Chef Menteur is not the first and will also not be the
last band to reference Thomas Pynchon's literary classic
The Crying Of Lot 49 in their music. For their second release
(a full-length follow-up to their debut Vive La France!
EP), the group has taken the statement from behind the
secret organization within Pynchon's novel and turned it
into the title of their album. Pairing the mysterious statement
with their psychedelic long-form space rock workouts is
a marriage that actually works out quite well.
Apparently, the group holed away in their own studio over the course of the past
couple years for the creation of the twelve songs and well over seventy minutes
of music on the release. Analog synths crash up against organ grooves, guitar
workouts, a slew of middle eastern sounds (sitar, dulcimer, kalimba) and a mixture
of live and programmed percussion. The result is a stew of sonic experimentation
that at times touches on the work of the Shalabi Effect at at others drifts into
territory haunted by spaced-out guitar groups like Yume Bitsu and Landing.
"Europa" opens the release with unfolding sheets of guitar tones over
a rhythm section that grows increasingly impatient before rising up and turning
the end of the track into a kaleidoscopic freakout. "Pointu" locks
into a more sustained groove with programmed and live drums combining to form
a solid beat while dense layers of synths and guitar rumbles squeal over one
another in a track that's little more than one long crescendo, but works quite
well regardless. The group goes even more overboard on "Charlie Don't Surf," as
a blistering wall of sound mixes about 6 layers of guitars alongside a buzzy
synth melody for a squalling treat.
The album-titled (abbreviated) track of "W.A.S.T.E." is probably the
groups finest effort on the entire release, however, as they mix up styles successfully
and throw a slew of different styles into an insanely catchy track that runs
just about six minutes. After opening with some squelchy electronic loops, the
track progresses into an airy, light piece that strums along with acoustic guitar,
handclaps, and "whoot-whoot" vocals before dissolving into a third
section that combines the first two just about perfectly.
With two ten-minute plus tracks that close the release (and in a couple other
places on the album), the group seems to let their home-studio jams get the best
of them, but even when a piece sounds more like an outtake of a longer effort
(as on "Pseudologia Fantastica"), they still manage to wring scads
of atmosphere out and often cruise by on neat-sounding cinematic sounds alone.
Despite a couple soft spots, this really is one of the better releases that I've
heard in this genre in some time. If you enjoy any of the aforementioned artists
or just good guitar-driven psych rock, Chef Menteur is a lesser-known band you
should definitely hunt down. |
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25 July 2005 |
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We Await Silent Tristero's Empire Album Review, Stylus online
magazine. |
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Maybe when you’re actually getting
paid for it, you have to listen to whatever album the editor
deigns to shove your way, but for those of us in the more
free and easy terrain of the volunteer music writer, there’s
still the problem of selection. Oh, sure, I can drive over
to Stylus’ vast warehouse of promos and cherry-pick
a few tempting ones to tide me over for a few weeks, but
what is it that causes me to pick A and not B? The answer
is painfully mundane but also, I think, overlooked: They
are the exact same sort of often irrational, idiosyncratic
reasons that lead the non-writing listener to give a particular
album a shot.
In Chef Menteur’s case, I obtained their first album/clearinghouse purely
because of the abiding love I have for Thomas Pynchon’s novel The Crying
Of Lot 49. Those who have read it probably already noticed that We Await Silent
Tristero's Empire’s title comes directly from the book, and although this “collection
of songs, psychedelic improvisations and low-fi experiments” bears no real
relation to the strange adventures of Oedipa Maas aside from the title, something
eerie, silent and a little sinister lurks at the heart of both.
In sound the New Orleans outfit often veers close to the extended, gorgeous formlessness
of bands like Stars Of The Lid or | head | phone | over | tone |, with occasional
dips into bursts of noise. They claim to prioritize “texture and mood instead
of rhythm, harmonics over melody” on their website, and scattered among
the longer pieces on this album are short tidbits that don’t do much beyond
establishing a feeling before evaporating. They’re not bad, with the dusty
Western guitar loop of “Maida Vale” and the brief, sitar-aided “Paysans
De La Mer” in particular providing refreshing interludes, but mostly they’re
just distractions from the big slabs of sound that compose most of We Await Silent
Tristero's Empire and leave the most telling impressions.
“Europa” begins the album sounding like an out-take from Eluvium’s
masterful Talk Amongst The Trees album, but soon some muted drumming comes in.
Only some of these pieces were recorded after Chef Menteur became a full band
(as opposed to Alex Vance and Jim Yonkus working as a duo), and “Europa” is
one of the strongest indications that adding Mike Mayfield and Chris Sule on
drums and percussion was a good choice. For most of its seven minutes “Europa” is
dreamy motorik, but eventually it ends in a hollow explosion, jolting the listener
back to full awareness. “Caverns Of The White Widow,” Hammer Horror
title aside, is the gentlest track, small curls of feedback and tentative organ
welcoming you into its confines.
“Pointu II” and “Io” end the record with twenty-seven
minutes of similarly epic proportions. The former pits a grinding feedback howl
against persistent organs before the organ eventually sputters to a halt, exhausted. “Io,” meanwhile,
bears some resemblance to Spacemen 3’s ambient “Ecstasy Symphony,” or
maybe Canadian shoegazers SIANspheric’s “Where The Planets Revolve,
I Wish I Was There” but is, if anything, even less hurried. The sound does
ebb and flow during “Io,” but at the time it sounds seamless.
Probably the most telling track is also the most incongruous; “W.A.S.T.E.” was
made using only a computer and segues from deadpan beats into sunnily pastoral
acoustics and handclaps, before fizzling out in static. With regards to composition,
tools, sounds, and most other measures it should stick out like a sore thumb
here but it doesn’t. It just sounds like Chef Menteur. Their willingness
not only to throw caution to the wind to build an intelligible aesthetic but
also to show us the places where that aesthetic spills out into interesting directions
means that despite the one-size-fits-all nature of a collection like We Await
Silent Tristero's Empire it’s hard not to feel as if you’re in good
hands with this band, and that their eventual first album proper won’t
be one worth waiting for. — Ian Mathers |
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15 July 2005 |
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We Await Silent Tristero's Empire Album Review, Beat
the Indie Drum online
magazine |
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New Orleans' Chef Menteur specialize in
sprawling instrumental freakouts and ambience while tapping
into the Kraut heroes of yesteryear and Brian Eno's grab-bag
of sonic tricks. The band assembled bits and pieces of found
sounds over the last few years, beefing them up in the studio
and have delicately sequenced them into what has become their
debut LP. Backporch Revolution, a well-respected local record
label dealing with all things musically progressive and analog,
wisely released Tristero's Empire in Feb 2005.
There are standout tracks on the album but it would be an
injustice to single them out. 'Caverns of The White Widow'
is 7 minutes of creepy feedback, low-end
percussion and sounds pretty much like what I imagine the bottom of the ocean
to emanate, given I could descend that far and not be pulverized into tiny scraps
of angler fish bait. The heavily Eno-esque "Pointu' rumbles along on a deep
bassline slowly building up tension and could have easily found its way onto
the Lost In Translation soundtrack. Its sequel 'Pointu II' is basically an identical
extension of the theme, if not a slight bit more strangled and adventurous.
You can't help but be intrigued by the wide variety of samples and instruments
used to create We Await Silent Tristero's Empire. Various synths squeak and squabble.
Sitars clang all throughout 'Paysans de la Mer'. Banjo, handclaps, hootin', sparse
acoustic guitar and field recordings of a nearby neighborhood drive the latter
half of 'W.A.S.T.E.' (now the classic Pynchon references register) before it's
sealed up with a glitchy outro. The album is bookended by the aptly-titled 'Europa'
and 'Io', two of Jupiter's most significant moons or for you Bullfinch's buffs,
notable characters in Greek mythology. 'Europa' is a patient, yet glorious post-rock
epic, not only serving as a proper introduction but grabbing the listener's attention
immediately and preparing them for the rest of the album. The closer 'Io' sprawls
itself out over 17 minutes, utilizing a spacious, dirgey drone, not unlike the
movie score for 2001: A Space Odyssey when Captain Bowman ascends to his final(?)
destination. Some may consider this a bore but I most definitely feel life on
this satellite. Stunning.
Sometimes albums cut of this mold have a tendency to get lost on a listener.
Artists get the urge to pile on the gloss or, inversely, oversimplify the themes
and emotions they are trying to convey by employing staunch minimalism as a means
to perhaps give their music a 'complex' feel. We Await successfully bridges the
gap between these disparate ideals by leaving just the right amount of secrecy
to their mission while at the same time expounding upon its obvious musical influences
in a classy, not-totally-derivative manner. I can recount several moments during
the album where I was literally surprised at how gracefully the band formed structure
within a song without resorting to cacophonous noise or clashing time signatures.
Fresh, hauntingly beautiful and truly therapeutic. Hit 'repeat'.
RIYL: Brian Eno, Godspeed You Black Emperor, Boredoms, Stereolab, Pink Floyd,
Can |
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21 June 2005 |
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We Await Silent Tristero's Empire Album Review, Gambit
Weekly magazine |
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In Thomas Pynchon's novel The Crying
of Lot 49, the word "WASTE," written on seemingly
innocent trash cans, was revealed to stand for the same phrase
these prog-rockers used to title their first full-length
studio recording. In the novel, the phrase was part of a
complex conspiracy that was laboriously explored but never
satisfactorily solved -- in the traditional sense. Instead,
suspicion, subtle paranoia and layers of possible meaning
that floated through the plot were laid out for the reader,
sometimes coming together to create small solutions to the
larger puzzle, sometimes not. It was a confusing and unsatisfying
book.
What this has to do with the record is that Chef Menteur has created a sonic
text here similar, in a lot of ways, to Pynchon's literary one. Layers of sound
-- sculpted by as much traditional instrumentation as electronic effects -- create
a trancelike, ambient wash that's often lovely, but not necessarily cohesive.
The two core members of Chef Menteur, Alex [sic] Vance and Jim Yonkus, are known
for being relentless tinkerers with their sound, and the album is, according
to the
liner notes, a collection of "psychedelic improvisations and lo-fi experiments."
The standout track, "W.A.S.T.E.," nudges the listener out of a trance-drenched
fog with staccato electronic beats that dissolve into a wash of acoustic guitar
and dulcimer on top of what sounds like barely discernible human chatter. For
those who like their space-rock lulling the whole way through, the album might
fare better without the 17-minute closing track, "Io." The dissonant,
crashing experimental sound is a rude awakening after a long, pleasant psychedelic
naptime. -- Alison Fensterstock |
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June 2005 |
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We Await Silent Tristero's Empire Album Review, Offbeat magazine. |
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All-instrumental locals Chef Menteur remind
me of what the Flaming Lips or Radiohead would sound like if
they silenced their plaintive lead singers, finally doing
away with any pop preconceptions. It is tough to recommend a separate track on
We Await Silent Tristero’s Empire, as the entire CD works
as a singular
performance. Chef Menteur’s brand of extended prog-rock jams will likely
garner comparisons to Pink Floyd and King Crimson, but even those legendary bands’ albums
famous for their lengthy excesses can’t hold a candle to the monolith that
is We Await Silent Tristero’s Empire. Sure, half of the
CD’s tracks
are under five minutes, but they could be spliced together as longer pieces,
as they tend to run into and complement each other. Of course, this says nothing
about the music itself, which is at turns breathtaking, ominous, and downright
harrowing. Most of it sounds like the score to an odd indie sci-fi film, especially
the foreboding “Caverns of the White Widow” and “W.A.S.T.E.,” the
best track and the only thing resembling a dance number here. Its alternation
between sunshine-drenched acoustic guitars and minimalist, computerized beats
sound like one of Brian Wilson’s nightmares. Some of the longer numbers,
though, could have been either shortened or changed up to prevent monotony. This
is especially true of the 17-minute closer “Io,” which mostly sounds
like a symphony orchestra tuning up. Nevertheless, for the most part, this empire
is one worth waiting for.—Jeremy J. Deibel |
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May/June 2005 |
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We Await Silent Tristero's Empire Album Review, Six
Ten Split magazine. |
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Next time I travel it will be ticket-less
and with no known destination. When I am in an airplane, above
the clouds, hovering in a baby blue sky and need my anxiety fed,
I will reward myself with We Await Silent Tristero's
Empire in
my headphones. This unpredictable, sprawling soundtrack tells
my tales. It strays from convention and deceives all my pre-conceived
notions. When I think I have this band pinned down--classified
and defined, stocked in the right aisle of my local mega super-store
CD retailer--Chef Menteur cunningly turns around and goes another
way. It's brimming with equal parts pins and needle tension and
stoned space jams. Although for the most part the different tracks
hold their own, this album is also a cohesive saga. It's mood
and atmosphere-based rather than melody-driven. The narrative
only becomes understandable in the context of the whole album,
but even then, it's open for interpretation and defined by the
listener's own state of mind. I, for one, can't decide if this
album is filled with doom or hope. The album was created over
the span of two years in Chef Menteur's rehearsal space/recording
studio. Founding members Alec Vance and Jim Yonkus play an impressive
array of instruments including (but not limited to): sitar, dulcimer,
guitar, kalimba, upright bass, and various analog keyboards and
synthesizers, while Chris Sule and Mike Mayfield add drums and
percussion. Despite the many ways Chef Menteur have chosen to
capture their sounds on tape—4-track tape, analog and digital—the
end result is seamless and big sounding, perhaps thanks to Piety
Street Recording's John Fischbach's skilled mastering. If you
want to treat your ears to a feast of interesting sounds and
textures, of ebb and flow, and if you love daydreaming, you should
run out and buy We Await Silent Tristero's Empire today. — Victoria
Larsson |
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February 2005 |
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Show Preview, Six Ten Split magazine. |
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WEDNESDAY • FEBRUARY
23 [2005]
CHEF MENTEUR
THE HOWLIN’ WOLF
Local sound sculptors Chef Menteur will be bringing their instrumental
music extravaganza to a venue big enough to fit their expansive,
sweeping soundscapes
(not to mention all their equipment!). This band paints using carefully
arranged vintage keyboards and synthesizers, suggestive drumming,
and bold yet contemplative
guitar playing. Although this band has been around since 1998 in various
incarnations, any Chef Menteur live performance is a treat, since
Alec Vance, Jim Yonkus,
and company are more interested in recording than performing.
The band can change
direction on a whim and go off on some quite interesting tangents, for
fans of moody, atmospheric rock/electronica hybrids and Brian Eno.
Be
sure to keep your
eyes open, because the accompanying visuals will further enhance any brain-altering
occurrence. The lyrics will be in YOUR head. — Victoria Larsson
http://www.sixtensplit.com/html/preview.html (scroll down) |
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September 2004 |
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"Vive
La France!" EP (review), Where
Y'at Magazine. |
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On the cusp of a new full length slated
for the fall, the cleverest named band in the local scene (it’s
more than just a strip of rent-by-the-hour motels) has re-issued
Vive la France!,
their francophile
debut EP.
Originally released in June of 2003, Vive
la France! weaves airy guitar melodies and staccato bass lines
over layers
of textural synth/guitar loops, creating forty minutes of lush,
instrumental
soundscapes reminiscent of a dreamier Labradford. Highlights include
the dark, drony “empires sans frontieres” and the more
college radio friendly “ecoutez et repetez”, which
contains a catchy, sliding bass thump alongside samples of French
people saying
French stuff.
Nuance is the name of the game with Chef
Menteur, so depending on your mood and taste, Vive la France! will
either
drug
you into a space rock trance or help tuck you into a pleasant nights
sleep. And if you are still looking for a reason to vote this presidential
election, check out the Bush MP3 on their website, in which our
Prez denounces Chef Menteur as dirty, evil terrorists. Maybe
the band name hits a little too close to home.
— Bailey Finnegan
http://www.whereyat.net/index.php?page=cdreviews.php#204 |
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