Bryan's Magic Tears
Smoke And Mirrors
Summer of love: they weren't around for the first, they've studied the second, and they're planning the next. Bryan's Magic Tears release their fourth album, 'Smoke And Mirrors,' on Born Bad. The famed pupil-dilated Parisian shit-stirrers usually have a way of demolishing compositions in style when they go live. They'll have their work cut out for them with these new tracks bricked up in studio with Marc Portheau. They should stand up to the assault. Still a thing on previous records, '4AM' and 'Vacuum Sealed,' their garage/noise legacy fades away, not denied though. Benjamin Dupont (guitar/vocals) collaborated with Lauriane Petit (bass/vocals) on four tracks, and recorded each instrument for this unabashed pop album. This confusing specimen will rave about fashionable shoegaze oldies while admitting a kink for All Saints. Aptly named, this new album pokes fun at stadium music while respecting its codes. Looks and sounds like Shaun Ryder had eaten Liam Gallagher, shamelessly churning out hits, leaning on a well-built wall of sound, held together by Raphael Berrichon and Nicolas Boursier (guitars). The record heavily features that typical '90s shuffle beat, with which Bryan was already flirting...but they're an item now. It moved in. Two-thirds of the tracks have that groove on. The synth intro to 'Crab Kiss' will feel like acid flash of Underworld's 'Born Slippy.' Saves the French a trip across the Channel - and time - to get that baggy-friendly music. Way too many pockets on those synths, too. They round off this highly textured, melodic work ('Fancy Cars'). Still a guitar-centered band, Bryan holds a decent bag of tricks: MYB-style glide, hard power-chords stacking up like 'Legor,' and pretty effective guitar-drum audience traps ('Stalkers,' perfect occasion for drummer Paul Ramon to pull out all the stops). Lauriane and Benjamin offer matching vocal delivery, alternating rhythmic phrases crafted like riffs ('Death Row'), and sweet dragging harmonies ('Deep Blue'). Moving away from The Velvet to Ride, this records offers a plump sound, tailor-made to spread arms, bob your head, and level the ground in festivals ('Side By Side'). 'Smoke And Mirrors' ends with 'Lady D,' a clever dunce's essay on a rare subject: " Over the top, 500 words, 3mn." Went for the kill with acoustic guitar intro, strings on the chorus, warm heavy-hearted vocals, flanger on the drums when it's time to light the lighters...and put spoons on top. Because yes, it's still music to take drugs to make music to take drugs to listen to music.