Au sein de ce royaume bizarre qu’est la Belgique, la réputation scénique des K-Branding n’est déjà plus à faire, tant leurs prestations en live qui ont jalonné leurs (déjà) nombreuses années d’existence ont marqué toute une génération d’indie fans adeptes des défunts festival RhâââLovely et salle Magasin 4 (le CBGB brusseleir). Complètement déchaînés le premier orteil à peine posé sur la scène, le trio (depuis 2004) Grégory Duby (guitare) – Vincent Stefanutti (saxophone) – Sébastien Schmit (batterie) ne laisse pas repousser grand-chose, si ce n’est de l’herbe et elle n’a pas exactement le goût du gazon. Auparavant sextet, c’est bien sûr dans sa formule amputée de moitié que le combo bruxellois est le plus convaincant et ce premier essai de studio démontre – avec quel éclat, mes amis – toute la vigueur décapante de ses vertus. Parfois terrifiant de dézinguage pur-Zu, les trois comparses décapitent le jazz à grands coups de dub, quand ils ne fracassent pas la cold wave sous le pillon du free rock. D’une totale liberté de ton – elle fait songer à une collision entre Cheval de Frise et Pelican – la musique terriblement noise de K-Branding ne se résume pas, ce serait trop simple, à une avalanche de bruits et de claquements. Magnifiquement structurée et étagée dans sa folie guerrière, elle déboule tel un tsunami lyrique dont le saxophone de Stefanutti serait la vague, la guitare l’ouragan et la batterie le coup de massue final. Totally impressive, as they say.

In "Facial" , the ancient exorcism and the modern psychological analysis overlapped, occasionally "painting" impressive landscapes. "Nubian Heat" was a menacing, industrial psychedelic garage-rock, that took the form of the machine in motion producing a swirling dance. "Landler" reminded of the post-punk fusion of Rip Rig + Panic; here the industrial turbine was the rhythmic generator, underlining the ritualistic wail of the brass, leading to a free-jazz outburst, and then to a neurotic bouncing inside an angular shape. Then the art/industrial-jazz of "Antisolar Point" reminded of the Throbbing Gristle of Heathen Earth. In "Curse Of Small Faces", again the industrial machine offered half of the rhythm equation, the other half belonging to the dub/tribal drumming, over which the singer chanted, all the while dissonant guitar distortion made cameo appearances; echoes of 23 Skidoo here. "Nieu-Latyn" was the second real highlight after "Nubian Heat", whereas the industrial machine represented a particle accelerator releasing massive doses of energy. In the aftermath of that explosion, in "Reazione A Catena" the energy lied dormant in a sub-symphonic stream. "Africanurse" was another hyper- kinetic polyrhythmic industrial voodoo ritual, where instead of raising the spirits that preside over daily life, it raised the neurotic complexes of the psyche. That was also highlighted by the hypnosis of "Der Morgen Kommt" - which eventually reached forgotten ancient layers lying in the collective subconscious; by the end, the ecstatic ancient demon had possessed the recipient as he was nailed in his cross of torment, waiting to be purged. "Triptych Part Two" went even further, it recognized the ancient deity, the Dahomean “spirit”, as the source of all evils, exorcising it with the turbulence of "Take Your Hat off". No doubt an ambitious album, but also one that bears it's influences too obviously, and also a bit confused. It promises of great things in any case.

MY COUSIN IN HIS FABULOUS TRIBAL BAND NEVER HEARD A SOUND LIKE THIS SINCE AGES!!! CD edition !!! http://www.k-branding.be/ http://www.myspace.com/kbranding http://rateyourmusic.com/artist/k_branding http://www.youtube.com/watch#!v=znJNa1eohnw&feature=related http://www.youtube.com/watch?v=CtGusAJ6E3s&feature=related In "Facial" , the ancient exorcism and the modern psychological analysis overlapped, occasionally "painting" impressive landscapes. "Nubian Heat" was a menacing, industrial psychedelic garage-rock, that took the form of the machine in motion producing a swirling dance. "Landler" reminded of the post-punk fusion of Rip Rig + Panic; here the industrial turbine was the rhythmic generator, underlining the ritualistic wail of the brass, leading to a free-jazz outburst, and then to a neurotic bouncing inside an angular shape. Then the art/industrial-jazz of "Antisolar Point" reminded of the Throbbing Gristle of Heathen Earth. In "Curse Of Small Faces", again the industrial machine offered half of the rhythm equation, the other half belonging to the dub/tribal drumming, over which the singer chanted, all the while dissonant guitar distortion made cameo appearances; echoes of 23 Skidoo here. "Nieu-Latyn" was the second real highlight after "Nubian Heat", whereas the industrial machine represented a particle accelerator releasing massive doses of energy. In the aftermath of that explosion, in "Reazione A Catena" the energy lied dormant in a sub-symphonic stream. "Africanurse" was another hyper- kinetic polyrhythmic industrial voodoo ritual, where instead of raising the spirits that preside over daily life, it raised the neurotic complexes of the psyche. That was also highlighted by the hypnosis of "Der Morgen Kommt" - which eventually reached forgotten ancient layers lying in the collective subconscious; by the end, the ecstatic ancient demon had possessed the recipient as he was nailed in his cross of torment, waiting to be purged. "Triptych Part Two" went even further, it recognized the ancient deity, the Dahomean “spirit”, as the source of all evils, exorcising it with the turbulence of "Take Your Hat off". No doubt an ambitious album, but also one that bears it's influences too obviously, and also a bit confused. It promises of great things in any case.