The boys of French rockband AaRON, Simon Buret & Olivier Coursier, have just released their sophomore album "Birds in the storm". AaRON is a strange band. I mean, an unusual duo that makes an extended magic act of their magnetic partnership. Their sound is mostly unique. Similar in the way they are attracted to danger and creation. Dissimilar in the way they harness this dizziness. AaRON’s new album, is required listening for anyone who wants to understand how Viscontian this band is. Because here, everything revolves around lights, atmospheres, arrangements and a particular obsession with achieving the perfect décor and staging for each of their songs. Handsomely, Simon Buret is like an abrasive hero who commits to his songs like others commit to God, and is forever impatient. Elegantly, Olivier Coursier channels the bewitching shadow of Simon’s feverish passion. Twins who can’t resist the temptation of existing mainly through the beauty of feelings. We’re dealing with romantics here, you see… And so goes AaRON’s second album, bearing the stigmata of miracles, while trying to weather the storm and find a reason to continue believing in miracles. That is probably why this record sounds like a first album all over again. Because it carries no trace of mechanical composition, no hint of a compromise. Compact, direct and spontaneous, yet based on chill-inducing sensations that are both extreme and antagonistic. "Birds in the storm"... is there anything more beautiful than metaphorical birds navigating their way through a storm, managing to fly against the most furious of headwinds ?
With "Seeds of gold", AaRON has crafted one of those incredibly physical songs, taking pop to levels of perfection it all but seldom reaches. The intense pleasure that sure-fire hits give, whipping up force 4 gales and pushing us out of ourselves, as we begin to believe that a single song can change the world, at least in our heads. A return to spirituality, which haunts this record from beginning to end. It was made under the influence of a deep-seated mysticism that has nothing to do with tokenism. Simon’s voice plays a great part in this. Straightforward, free and soaring, often on the brink, it is the album’s central instrument, with which all the arrangements have identified. A pagan voice, alternating between sexual and heavenly attraction, begging God like an African prayer for the dream of a possibly easier world to become a reality. Waiting for the wind to come. As strange as it may seem, it is in the solitude of cotton fields that AaRON’s blues may be heard.
With "Seeds of gold", AaRON has crafted one of those incredibly physical songs, taking pop to levels of perfection it all but seldom reaches. The intense pleasure that sure-fire hits give, whipping up force 4 gales and pushing us out of ourselves, as we begin to believe that a single song can change the world, at least in our heads. A return to spirituality, which haunts this record from beginning to end. It was made under the influence of a deep-seated mysticism that has nothing to do with tokenism. Simon’s voice plays a great part in this. Straightforward, free and soaring, often on the brink, it is the album’s central instrument, with which all the arrangements have identified. A pagan voice, alternating between sexual and heavenly attraction, begging God like an African prayer for the dream of a possibly easier world to become a reality. Waiting for the wind to come. As strange as it may seem, it is in the solitude of cotton fields that AaRON’s blues may be heard.
