Thomas Robyn seems to reinvent his Oldine project with every album. Frédéric Cambon and Eric Blanché are gone and have been replaced by guitarist Sébastien Roux (aka Rabbits' Sorrow and Un Automne à Lob-Nor). The music is less post-rock in essence, drawing instead on droning textures and a naïve form of folk, very stripped down, losing all its essential elements to leave only an ornamental guitar line hovering in midair like a ghostly apparition of the "real" tune. Some of the seven untitled tracks are propelled by Robyn's delicate electronics. For instance, track one pulsates and chimes like a digital musical box, immediately placing the listener in a comfort zone. In track seven, electronics and guitar take turns providing foreground and background textures. An irresistible sense of peace arises with the fade-in of an organ chord halfway in, a chord that leaves room for the noise loop and Roux's soundscapes, achieving an inspired harmonization of the assonant and the dissonant. But the highlight is track five, where Roux stretches out, steps on the distortion pedal, and takes flight almost in the style of Richard Pinhas for a brief moment. The music of Oldine is subdued and understated. It may even appear mundane on first listen. Only subsequent listens can reveal its delicate (and, granted, slightly mannered) beauties. And this harvest yields more fruits than the previous album, Du Q.
Share this page
AllMusic Review by François Couture