Puts Marie - Catching Bad Temper

I’m going to kill the suspense straightaway. You don’t reach here the stratospheric level of the previous album. For tons of reasons that I’m going to work on detailing you. Nevertheless, it’s highly worthwhile taking an interest in it. For tons of reasons that I’m going to work on detailing you.

From start, singer Max Usata raps more than he sings. I hardly like his (bad) penchant for this new-generation hip-hop, even though it isn’t as unpleasant to me as the majority of pure rappers. But his Swiss accent prevents me from getting what he tells. And I still haven’t found the lyrics over the web. This email address is being protected from spambots. You need JavaScript enabled to view it.
Fortunately, he can make up for it sometime (generally with the choruses). But it seems out of question to redo the floaty high-pitched tunes that appeared in Masoch I-II.
You can’t find any immediate track either, as were for me "All Yours am I" (my entry point) then "A Quantum of Sun". This album is less accessible; it’s got a con’s head and a bad temper (as titled). And the singles which arrived before it, "Catalan Heat" and "C'mon", had made me fear the worst. Actually you get used to it. You even get very well used to it, including the 2 singles in question. Because there is always some little stuff that attracts me, that makes me dive into it and listen to it all: some riff, sometimes dubbed by singing, or the contrary ("Catalan Heat", "Garibaldi", "Love Boat"), rubbed down, clear, dirty or metallic guitar sounds which interlace ("The Waiter"), a thrashing bass à la Red Hot (even though I don’t like the Red Hot) ("Catalan Heat" again, from 2:14), a repeatedrepeatedrepeated tune ("Rhapsody"), a synthetic trumpet strangled in reverb ("C'mon"), an arpeggio of absolute coolness ("Indian Girl"). I never manage to remember this arpeggio, yet present all along the song. My treacherous brain substitutes it for "Nishe", an old Muse instrumental. (But I swear to myself I’ll achieve one day!) And everywhere these drums with a varied, accurate and thorough playing, which makes much more that supporting the edifice.

When you want to embody a band, you often display the face of its leader-singer. Max Usata, who fulfils this role, is a strange customer and he is charismatic enough. I’ve got full respect for him. However, the more I listen to Puts Marie’s music, the more I think, should I find myself a hero in the band, I’d rather head for drummer Nick Porsche, because of this already noted omnipresence, or for guitar player Sirup Gagavil, because of rock input. It’s a personal choice. Confirmed by innuendo when I listened to Mister Milano, the Italian-speaking side-project of Max with Igor Stepniewski (Puts Marie’s bass player) and Lou Caramella (a funny and gifted drummer), for a result less to my liking.

Speaking of Milan, a spark of Italia can be found in <Catching Bad Temper> too, although entirely in the language of Robert Smith, with the epic "Garibaldi". Oh, this purring saturated guitar, especially in the 2nd half, from 4:07, followed by another distorted guitar, which layers of Farfisa (Italian organ, would you believe) come to support then, before a myriad of cymbals (but how many are they?) sign the final takeoff in a deafening buzzing – but so good, if you enter the trance.

To enter even more, I’d have to go and see them in concert now. For tons of reasons that I think I’ve detailed you well, haven’t I?