Orval Carlos Sibelius

Ordre Et Progres

Label: Born Bad

Genre: Rock / Pop

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LP €17.49

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Record the most luminous and conquering music that is to ward off a bottomless melancholy. It could be a definition of pop, that of the golden age, when The Beach Boys or The Left Banke allowed themselves all the orchestral excesses to sublimate the vital force of adolescence, while Pink Floyd and The Soft Machine sank the doors of perception. The one to which Orval Carlos Sibelius constantly returns, almost in spite of himself. "I try to take the tangent but I always find myself on the same path," he admits. "As soon as I fight against myself, it does not do any good. In a happily amnesic world, where the injunction to novelty slowly extinguishes the symbols, it is to the constancy that we find the artists. To the obsessions that one recognizes the authors. When one carries within oneself a legacy of lush melodies and psychedelic vertigo, why look for other ways to feel alive? All past are fertile, provided they are cultivated with a heart of today.

We can believe Orval Carlos Sibelius when he says that his music would be the same if nobody had the idea to listen to it. This is what he did for a long time, first under the alias Snark and then under what he has known since 2006, the year he decided to sing. And it would have continued well until his last breath if his album Super Forma had met in 2013 a certain success. Alignment of the planets or formal outcome of a personal fantasy? The first reason would have been enough to "make a sensation". The second to spin sweats to the competition. But it is the alliance of the two that is the mark of important works. Those which do not age, or so little, and which, against all fake paradox, speak best in their time.

Three years after this coup d'Orance, Orval Carlos Sibelius risked with the LP Ascension an instrumental incarnation with refined grammar, cut to dialogue with the images of a documentary almost untraceable, "The Rendezvous of the Devil" Haroun Tazieff. A tangent towards ice and fire, far from baroque exaltations, but essential for those who stride on the thread of eternal pop. When Orval Carlos Sibelius chases the natural, we can be sure he will come back at a gallop. In this case, it is a real ride of the Valkyries that we discover under this title as heroic as ironic: Order and Progress. Something like an intimate blockbuster, an existential peplum. His album the most uninhibited and also the most muscular,

To achieve his ends, Orval Carlos Sibelius chose his musicians "as the robber organizes his shot". The drums, one of his fetish instruments, is left to the care of Basile Ferriot (One Lick Less), gone through post-rock and hardcore metal. The bass arrives in the hands of hyperactive Vincent Mougel (Kidsaredead). The veteran Philippe Thiphaine (Heliogabale) puts forward his science of sharp guitar riffs. And to put order in this thousand-sheet sound - up to 140 tracks in pieces, "more than what Protools could store" - Stéphane Laporte (Domotic, Egyptology) shares his enlightened ear. However, the boss did not let go of the bridle: each rebound, each excess, each shine was born in his head and bears the seal of his inner life. This is how, for the first time, he allows himself to sing in French, without renouncing the quality of pop that he loves, which does not need literality to be understood by the guts. From the singular to the collective, the translation takes place by the sound of words and the shock of harmonies, leaving each master of his interpretation.

Now that this baroque work is fixed in the wax, Orval Carlos Sibelius can start again to new inner adventures, which will decant before being communicated to us. After the storm of the studio, the calm of the room where his music regenerates. "What I like most about life is daydreaming about what I'm doing, as long as it's not fixed yet. A little like a rising love when everything is still possible. While waiting for the continuation of this perpetual pop romance, let us mow by the epic mastery of Order and Progress.

Michael Patin