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Review

Noah Wane, Splendid E-Zine, April 13, 1998

I’ve been looking for a group like Klaxon Gueule for a long time. Melding the best elements of rock with the best elements of free jazz, this electric guitarist, electric bassist, drummer and alto sax man manage to create an aural cacophony not easily duplicated. Their music combines a brilliant sense of spontaneity with a deft mastery of formal balance. Motives are stated transformed and make cathartic reprises. Take the first track Petit d’homme, as a case in point. The essence of the piece is one interval, stated at the beginning, inverted and transposed and otherwise modified during the middle and returning in its original form at the end (formally a take on the head-solos-head routine that is fundamental in jazz). Klaxon Gueule is punk rock elevated to high art status, free jazz for the electronic era, noise rock imbued with greater structural sophistication. The music on Bavards clearly points to a future in which high-brow art finds itself revitalized by the youthful energy of pop culture — a future that I’d like to see realized.

Klaxon Gueule is punk rock elevated to high art status.

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