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Benoît Pioulard - 2 Releases [Indie / Folk / Electronic / Shoegaze]

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Description

Biography of Benoît
Pioulard

Ann Arbor, MI-based multi-instrumentalist/writer Thomas Meluch — who uses Benoît Pioulard as one of his
musical alter egos — combines found sounds, electronics, and atmospheric rock and pop in his various projects. A
part of the Rattling Wall Collective in Dutch, a loose-knit group of likeminded musicians, Meluch also collaborated on a
multimedia piece for the University of Michigan's 2003 Film and Video Studies Association Lightworks Festival. He played
with half a dozen bands in the area, including Esmae, an experimental rock quartet inspired by Godspeed You Black
Emperor! and Explosions in the Sky. When Esmae disbanded in 2005, Meluch concentrated on his work as Benoit Pioulard. He
began a series of handmade limited-edition CD-R releases, and late that year, the Enge EP was released by Moodgadget.
Tracks from the EP also appeared on collections from Astrolab and Ghostly. Kranky released Benoit Pioulard's debut
full-length, Précis, a shimmering hybrid of laptop pop and shoegaze, in fall 2006. That winter, he contributed a
song to Ghostly Records' digitally released EP New Faces, and early in 2007 the Fir single arrived. While working on his
second Benoit Pioulard album, Meluch worked with his friend Praveen Sharma on the song "Death as a Man,"
providing lyrics and vocals; contributed a track to the Moodgadget compilation Expanse at Low Levels; and continued his
series of Polaroid photographs. A digital re-release of the Enge EP arrived in 2008, as well as Songs Spun Simla, a
six-song collaboration between Sharma and Meluch; Temper arrived that fall with a more tightly structured sound than
previous Pioulard releases.

Précis, Released 2006

Superficial as it can be to judge an album by its artwork, the shimmer and shadow on the cover of Benoît
Pioulard's first full-length (and Kranky debut), Précis, aptly depicts the music inside. Like the Enge EP, this
is an album full of gorgeous dream pop crossed with laptop electronics (and sometimes, vice versa) that showcases
Pioulard's sweet, somewhat drowsy vocals and versatile acoustic guitar playing. However, Précis goes far beyond
the EP's scope, embellishing his music with sparkling yet subtle layers of percussion and sound effects that give these
songs a dreamy depth. Roughly half of the album consists of delicately crafted songs that are accessible, but never
predictable. Précis' melodies are just as creative, and even more memorable, than the textures around them:
"Ext. Leslie Park" glides along on a beautifully melancholy, descending melody that's twinned in Pioulard's
vocals and guitar, while the fantastic album closer, "Ash into the Sky," is lilting, seemingly effortless, and
appropriately weightless. And, while "Triggering Back," "Sous la Plage," and "Together &
Down" are all tightly structured songs, they never feel constrained; while they're undeniably catchy, they still
have enough mystery and atmosphere to keep listeners guessing. The rest of Précis delves deeper into the
abstract, atmospheric side of Pioulard's music, offering up interludes that sound like they were sculpted out of
breezes. "Coup de Foudre" builds a vignette out of the static buzz of plugging in an electric guitar and
layers on wind chime-like electronics and gentle noise; "Moth Wings" flutters by on echoing pianos; and
"Corpus Chant" boasts a harpsichord and a sound effect that sounds like a ball rolling across the floor. These
sketches are organic, restful, and integral to Précis, giving some breathing room between the more song-based
tracks — it would almost be too much if everything here was as powerful as the most accessible moments.
Précis is a remarkably concise album — over the course of 37 minutes, Pioulard covers an impressive range
of sounds and feelings. More importantly, though, it's also a remarkably accomplished debut: hazy without disappearing
into the background, immediately captivating but still full of things to discover on later listens.

Temper, Released 2008

Temper lives up to its name, balancing the cloudy beauty of Benoît Pioulard's music with more form and clarity and
melding his folk, pop, and electronic leanings even more seamlessly. Where Précis seemed to drift from song to
song depending on which way the wind blew, these songs move of their own volition: "Ragged Tint" opens Temper
with shivery, rippling guitars that are much more urgent than any of Pioulard's earlier music. This nervy undercurrent
pulls the album in unexpected directions, as when the chords of "Brown Bess" slide up steeply, turning the
song from serene to tense. However, Pioulard's melodies are as gentle as ever, and would be lullingly lovely if there
wasn't so much surrounding them. Temper's arrangements swirl, flutter, and sparkle like a just-shaken snow globe,
setting off "Idyll" and "Ahn"'s crisp pop perfectly. These songs could have appeared just as easily
on Précis as they do here, but other tracks move Pioulard's songwriting forward — often by looking back:
the lilting melody and prickly strumming of "A Woolgathering Exodus" have a chamber-folk cast, and
"Modèle d'Éclat"'s massed harmonies and dense organ sound beautifully anachronistic. Temper
expands on Pioulard's creative sonics as well: "The Loom Pedal"'s textural depth adds to its misty reverie,
layering a rainstorm recording over distorted vocals and crystal-clear acoustic guitars. Pioulard is equally gifted at
creating uniquely outdoorsy sound worlds as he is at crafting hook-filled songs; Précis' airy interludes were
just as vital to the album as its more full-fledged tracks were. Temper has fewer of these pieces, but they're just as
effective at giving Pioulard's densely constructed songs room to breathe. "Sweep Generator" and "Cycle
Disparaissant" suggest vivid yet blurry images with their whorls of distortion and drones, while
"Ardoise"'s watery chimes and chirping frogs are weathered with a patina of static. At times, Temper's focus
means it doesn't have quite as much sweetly mysterious atmosphere as Pioulard's earlier work, but when the final track,
"Hesperus," evaporates like waking from a dream, it's proof that there are plenty of moments to get lost in
here.



Biography and reviews from Allmusic.com

All mp3 files, about 142MB. Enjoy. :)

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