Is there any justice in the world? Not immediately! But we have Gaspard Augé last offer ‘Getaways’ to keep us together a bit.
This will be Augé’s first solo project outside of his Grammy-winning double act by Xavier de Rosnay; with Gaspard himself naming this expedition for an “extramarital affair after 15 years with the same person”. French composer Victor le Masne lent a hand in this creation of The Rise of Sugar, the project miraculously taking only two months to record. It doesn’t sound that ridiculous, considering that the album is the audible equivalent of a shooting star: it blinks in front of your eyes, leaving you a little dizzy, but quite pleasant.
If this album were a movie I would call it Tarantino’s Reservoir Dogs – which doesn’t seem so out of place when you hear that the album is heavily inspired by classical 20th century film scores. Each track has its own form of life: the whirling vertigo of “Rocambole” will make you dream of big wheels on Mars. The mesmerizing meditative synth of ‘Casablanca’ propels you into an alien opera in the sky. The provisional Gothic teases of “Europa” are enough to turn even Kubrick on, while the jagged chorus of “Hey” begs to sustain a Spaghetti Western edit sequence.
Whether it was a conscious decision or not, letting the symphonies speak for themselves rather than being helped by the lyrics was the right choice. The words just seem to get in the way. After all, the searing cymbals of ‘Force Majeure’ are enough to make the God of Thunder tremble in his boots … no need for words!
Gaspard did not come to play with a set of twelve tracks, and yet that is exactly what he did. Each chaotic build lends itself as a virgin playground, ready to be trampled on by your inner child. “Getaways” is an audible hallucinogen, and it’s a trip you’re going to want to take.
Words: Laura Copley
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