Alcest — Les voyages de l'âme

‘Black Metal’? Does the term actually mean anything in 2012? Or has the term actually become almost functionally meaningless, like say ‘ambient’, ‘experimental’, ‘krautrock’ (nasty term), ‘prog’ or ‘shoegaze’? Additionally, what is one to make of compound terminologies like ‘atmospheric black metal’, ‘blackgaze’, ‘depressive black metal’, or ‘postgazemetal’? Are such categorizations even really useful at all except as nebulous marketing terminology? For me, ‘black metal’ functions best as a term when used in a more historical context (though still fraught) or as a general term to describe a set of musical/production techniques resulting in a certain type of sound (fraught as well).

An historical discussion of black metal is way beyond the scope of this review; something to write for those much more conversant with the finer details. Books of varying quality are available on the subject, as well as some pdfs floating around the internet for those interested or obsessed parties needing more perspective than yours truly can offer. In all honesty, it can be said with a fair amount of accuracy that using the term ‘black metal’ to describe a given piece of music obscures more than illuminates. Perhaps it all falls under the ridiculous rubric of ‘meme dissemination’? Nebulosity is the name of the game, it seems.

With all that in mind, how does one approach an album like Alcest’s Les Voyages de l’Ame? Best to put categories and genres on the back shelf and focus upon listening to what Neige (bass, guitar, keys, voc.) and Winterhalter (drums, perc.) have created this time around. And leave all those puerile ‘kvlt’ and ‘trve’ concerns out back near that juicy lime pit (adjacent to a wonderful compost heap which smells transcendentally bad). Alcest is not ‘black metal’; it is something different, another type of story.

Alcest have been around for eleven years or so now (since 2000). Initially, Alcest was a sort of ‘black metal’ on the Tristesse Hivernale demo. But after initial members Aegnor and Argoth left in 2001, Neige took full control of the project. Alcest then began moving towards an aesthetic where the music became more flexible, serving a vision less dark. [Neige later explored darker feelings and moods in the Amesoeurs project.] It was on the first proper album, Souvenirs d’un autre monde, that Alcest expanded their sound palate beyond blackened metallics. Their next album, Ecailles de Lune, was on myriad favorite’s lists in 2010; a beautifully haunting release that shimmered and surprised. Both releases were emotionally involving in a more genuine and satisfying way when compared to the Tristesse Hivernale demo. Les Voyages de l’Ame is a continuation and progression of the Ecailles de Lune sound with the individual musical elements more smoothly integrated. A truly gorgeous release; musically and in art/packaging (grab the limited edition book/cd/dvd, if still possible).

Like Wolves in the Throne Room, Alcest occupy a multi-layered, liminal space of their own creation. Much of what Alcest is about relates to Neige’s own supernatural experiences and vision; a childhood revelation which finds its expression in Neige’s intriguing lyrics. The world that Alcest seeks to evoke is an important part of reality for those who wish to hear. And Neige does not consider Alcest ‘black metal’ or a fairytale; nor shoegaze either. Despite Neige’s protestations, I think it can be said that there are some sonic parallels or antecedents to the ‘Alcest sound’ to be discovered in the musical works of: Burzum (Filosofem), My Bloody Valentine (Loveless, Tremolo ep), Slowdive (first three eps), Solefald (Jernlov demo), etc. Perhaps even a bit of Cocteau Twins, Jesu, Lycia (Ionia, A Day in the Stark Corner), Medicine (“The Christmas Song”), Sieghetnar or Trist (GER). Visual resonances may be found in paintings of the Pre-Raphaelites and Symbolists. Whether any of these were/are actually important in determining the band’s sound only Neige knows (he has actually mentioned Burzum). According to Neige, the music is “just a form, but the content will stay the same”. It is sound and content existing to uplift listeners (especially evident on “Havens” and “Summer’s Glory” from the new album), not drag them further through the morass.

Whether one accepts the need for the transcendent in music, or art in general, the positive nature of Les Voyages de l’Ame is evident in every track. And at least for me, I feel a little better listening to it.   
Damn, I really do love this album; much gratitude and thanks to Alcest. An amazing 5 out of 5 (more like a 10 out of 5)!