Release Date: July 2, 2012
Record Label: Foolscircle Records
La Fin Absolute du Monde curiously enough stylistically fit their namesake. The fictitious film that supposedly sent its initial viewing audience into a murderous riot upon viewing its disgustingly sexual disembowelment of various body parts. While the Bay Area band’s composition is quite less alarming than John Carpenter’s fake flick their tendency for questioning the status quo is right in line with La Fin’s ethos: transcendence through breaking down barriers. Granted these barriers come in the form of bloody conquest if we are speaking to the movie but while pertaining to La Fin the band they fill this role by seemingly flipping the bird to traditional Pop Music tropes. Instead preferring a route by way of dichotomy. Similar to say a Nine Inch Nails or Massive Attack, La Fin Absolute du Monde relish in their icy swells and echoing distortion as much as their airy vocals and rumbling bass tones.
The leads are there for sure–“Cavaliers” grimy bass line and wheezy key fills in particular–but La Fin seem most comfortable while navigating the maelstrom. “Miike” possibly more than anything else readily available from them, demonstrates this fact. Prodding at first sure, but there are enclaves to be found in the pounding power-chords and robotically ethereal vocals. Which so far reads as both these promising artist’s greatest strength and weakness simultaneously. They spend a lot of time trying to cultivate their own distinct sound by straying from various social norms yet still come off sounding similar to a symbiotic relationship between Portishead and Meanwhile, Back In Communist Russia. Marrying a distinct ear for melody (the Portishead) and a penchant for crafting spoken-word negative space (the MBiCR) this San Fransisco duo provides in three tracks more than enough to be excited about. That if nothing else is a reason to smile even as Genèse may leave you in a comfortably somber mood once it has passed.
2. Beginning Of The End