{"title":"Bruit ≤","description":null,"products":[{"product_id":"bruit-the-machine-is-burning-and-now-everyone-knows-it-could-happen-again-12","title":"Bruit ≤ \"The Machine is burning and now everyone knows it could happen again\" 12\"","description":"\u003cp\u003eFew groups of artists are destined to bring real innovation into a stagnating scene or to revolutionize a subcultural niche... but every once in a while a band comes along that takes the known ingredients and assembles them in a new way that makes sense – so that listening to their music, you'll fnd yourself wondering: why haven't I heard this before? In 2021, that band was French neo-classical post-rock ensemble \u003cstrong\u003eBRUIT ≤\u003c\/strong\u003e. Pronounced as \\'brü-ē\\ [French, literally, noise].\u003c\/p\u003e\r\n\u003cp\u003eWith their stunning debut, French art rockers Bruit have dropped an early contender for album of the year“, PROG exclaimed when the album was digitally released on Bandcamp in April 2021, and Neige from ALCEST found it to be „the best post rock I heard in a really long time“. We couldn’t agree more, but it would curtail this album’s scope, grandeur and vision if it were contextualized solely within the post rock world. It certainly does ft in there — but BRUIT ≤ are more than that, BRUIT ≤ are a class of their own.\u003c\/p\u003e\r\n\u003cp\u003eEmerging from the ashes of a number of French major label pop bands in 2016, \u003cstrong\u003eBRUIT ≤\u003c\/strong\u003e was born from the desire of the members to escape the nauseating world of music big business and to return to a pure process of creation without artistic constraints or commercial expectations. Initially the band performed their creative research and sonic experiments solely in a studio setting, but time has shown that the ensemble's artistic vision could not be limited to the recording environment alone. In the world of \u003cstrong\u003eBRUIT ≤\u003c\/strong\u003e, spontaneous experimentation, thoughtful composition and the aspect of performing in order to create are different but inevitably inseparable techniques of working on the same fabric: the black magic that is creating music. Artistic Identity comes from reconciling these different techniques and approaches of working on and with that fabric, and to understand this better while listening to this album, it helps to make yourself aware that one half of the musicians is classically trained, while the other half is not and barely knows how to read notes.\u003c\/p\u003e\r\n\u003cp\u003eThe shifting to and fro between theory and practice, between research and performance and between thought and action are ultimately also refections of the band’s fercely activist mindset. The social and environmentalist themes that this record is orbiting around are epitomized in aphoristic spoken word passages from the French far left geneticist Albert Jacquard on the album opener “Industry”, or from the 2011 documentary If a Tree Falls: a Story of the Earth Liberation Front in “Amazing Old Tree”, where the speaker claims that environmentalists are often called 'radical'... 'however, the reality is that 95% of the standing native forest in the United States has been cut down. It's not radical to save the last 5%, what's radical is logging 95%“.\u003c\/p\u003e\r\n\u003cp\u003eHowever, the emotive power of The Machine is Burning... stems not from the topical use of quotes, but from the act of creating overwhelming beauty through contrast between beauty and noise. BRUIT ≤ have everything a quintessential post-rock act needs to have, from an excessively long album name to drawn out compositions driven by atmosphere, and from samples of dramatic spoken word recordings to immaculate climaxes led by soaring, delay-soaked guitars. However, for those willing to look past the genre tropes, there are subtle moments where the band effortlessly fows from atmospheric post-metal to free jazz, and from folktronica to neo-classical avant garde improv.\u003c\/p\u003e\r\n\u003cp\u003eDISTORTED SOUND MAG hit the nail on the head in their 10\/10 review of the album:\u003c\/p\u003e\r\n\u003cp\u003e\"\u003cem\u003e'The Machine Is Burning And Now Everyone Knows It Could Happen Again' is a rare example of humanity achieving something above and beyond the norm, surpassing what is surely possible in emphatic style... it imposes no limitations upon itself and spirals into a cacophony of neatly woven musical styles... here is an album that does everything at once, crafted by a band that understand not only how to consolidate frequencies and sounds, but also how to fuse together juxtaposed sounds without leaving any of the stitching exposed. The record is seamless constantly drawing our minds from one direction to another and challenging our understanding of what music is.\u003c\/em\u003e\"\u003c\/p\u003e\r\n\u003cp\u003eBRUIT ≤ can only be fully understood through their attitude rather than their musical infuences, from the environmental agenda to the group's staunch boycot of Spotify because of the platform's notoriously sad payouts for musicians and their CEO Daniel Ek's recent investments in the arms industry... In that, the group is frmly nested in the tradition of political instrumental rock bands like GODSPEED YOU! BLACK EMPEROR, and the tumultuous yet wordless sound of the revolution that they stand for is indeed somehow related to BRUIT ≤'s own musical landscape. However, there are distinct differences between the two: The Machine is Burning...is stylistically more diverse and feels more like a carefully constructed affair with a focus on compositional fnesse rather than the element of improvisation, compared to the Canadian collective's lengthy tunes which slowly gain intensity through repetition and layering. The Machine is Burning... is also a record which despite its bleakness and its moments of immersive sadness somehow always retains a glimmer of hope, leaving the listener with a faint feeling that now everyone knows it CAN happen again.\u003c\/p\u003e","brand":"Bruit ≤","offers":[{"title":"Black","offer_id":43863490920726,"sku":"487155","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Amazing Old Tree Edition","offer_id":43863490953494,"sku":"487156","price":28.0,"currency_code":"USD","in_stock":false},{"title":"Industry Edition","offer_id":43863490986262,"sku":"487157","price":28.0,"currency_code":"USD","in_stock":false},{"title":"Albert Jacquard edition","offer_id":44196481827094,"sku":"555316","price":28.0,"currency_code":"USD","in_stock":true},{"title":"28 May 1871 edition","offer_id":44196481859862,"sku":"555317","price":29.0,"currency_code":"USD","in_stock":false},{"title":"Dark Blue Edition","offer_id":44196481892630,"sku":"555318","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0690\/8939\/4966\/products\/8fd0127c8fb4c9f862f231d301d781b1.jpg?v=1670566815"},{"product_id":"bruit-the-machine-is-burning-and-now-everyone-knows-it-could-happen-again-cd","title":"Bruit ≤ \"The Machine is burning and now everyone knows it could happen again\" CD","description":"\u003cp\u003eFew groups of artists are destined to bring real innovation into a stagnating scene or to revolutionize a subcultural niche... but every once in a while a band comes along that takes the known ingredients and assembles them in a new way that makes sense – so that listening to their music, you'll fnd yourself wondering: why haven't I heard this before? In 2021, that band was French neo-classical post-rock ensemble \u003cstrong\u003eBRUIT ≤\u003c\/strong\u003e. Pronounced as \\'brü-ē\\ [French, literally, noise].\u003c\/p\u003e\r\n\u003cp\u003eWith their stunning debut, French art rockers Bruit have dropped an early contender for album of the year“, PROG exclaimed when the album was digitally released on Bandcamp in April 2021, and Neige from ALCEST found it to be „the best post rock I heard in a really long time“. We couldn’t agree more, but it would curtail this album’s scope, grandeur and vision if it were contextualized solely within the post rock world. It certainly does ft in there — but BRUIT ≤ are more than that, BRUIT ≤ are a class of their own.\u003c\/p\u003e\r\n\u003cp\u003eEmerging from the ashes of a number of French major label pop bands in 2016, \u003cstrong\u003eBRUIT ≤\u003c\/strong\u003e was born from the desire of the members to escape the nauseating world of music big business and to return to a pure process of creation without artistic constraints or commercial expectations. Initially the band performed their creative research and sonic experiments solely in a studio setting, but time has shown that the ensemble's artistic vision could not be limited to the recording environment alone. In the world of \u003cstrong\u003eBRUIT ≤\u003c\/strong\u003e, spontaneous experimentation, thoughtful composition and the aspect of performing in order to create are different but inevitably inseparable techniques of working on the same fabric: the black magic that is creating music. Artistic Identity comes from reconciling these different techniques and approaches of working on and with that fabric, and to understand this better while listening to this album, it helps to make yourself aware that one half of the musicians is classically trained, while the other half is not and barely knows how to read notes.\u003c\/p\u003e\r\n\u003cp\u003eThe shifting to and fro between theory and practice, between research and performance and between thought and action are ultimately also refections of the band’s fercely activist mindset. The social and environmentalist themes that this record is orbiting around are epitomized in aphoristic spoken word passages from the French far left geneticist Albert Jacquard on the album opener “Industry”, or from the 2011 documentary If a Tree Falls: a Story of the Earth Liberation Front in “Amazing Old Tree”, where the speaker claims that environmentalists are often called 'radical'... 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However, for those willing to look past the genre tropes, there are subtle moments where the band effortlessly fows from atmospheric post-metal to free jazz, and from folktronica to neo-classical avant garde improv.\u003c\/p\u003e\r\n\u003cp\u003eDISTORTED SOUND MAG hit the nail on the head in their 10\/10 review of the album:\u003c\/p\u003e\r\n\u003cp\u003e\"\u003cem\u003e'The Machine Is Burning And Now Everyone Knows It Could Happen Again' is a rare example of humanity achieving something above and beyond the norm, surpassing what is surely possible in emphatic style... it imposes no limitations upon itself and spirals into a cacophony of neatly woven musical styles... here is an album that does everything at once, crafted by a band that understand not only how to consolidate frequencies and sounds, but also how to fuse together juxtaposed sounds without leaving any of the stitching exposed. 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However, there are distinct differences between the two: The Machine is Burning...is stylistically more diverse and feels more like a carefully constructed affair with a focus on compositional fnesse rather than the element of improvisation, compared to the Canadian collective's lengthy tunes which slowly gain intensity through repetition and layering. 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While their 2018 EP Monolith provided a promising indication of their son- ic ambition, it was their debut LP The Machine is Burning and Now Everyone Knows It Could Happen Again which really set off the trig- ger. Receiving rave reviews around the globe and selling out the first vinyl pressing of 3.000 copies within less than a year, BRUIT≤ have no need to prove themselves beyond what they have already achieved so far.\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003eThe past year saw the quartet from Toulouse take their music to the stage across Europe, expending themselves as they pushed the limits of their performance each night. It brought the collective on a new path. A trajectory which saw the need for pause, for meditation and reflection, and this gave birth to Apologie du Temps Perdu Vol. 1. A solemn ode to the flagrant act of wasting our time.\u003c\/p\u003e\r\n\u003cp\u003eConsisting of three musical meditations, Apologie du Temps Perdu [Eng. apology for time wasted] sees BRUIT≤ cut down on their massive sound in favour of a more subtle contem- plation. In contrast with their recent streaming single «Parasite (The Boycott Manifesto)» with its direct message for Spotify CEO Daniel Ek and his listeners, the band have seemingly forgone their activist agenda paring back the grand thematic gestures and poignant spoken-word excerpts. Instead, BRUIT≤ let the music do the talking, reaching an activism which is more visceral, but all the more personal. “This ambient EP is conceived as a comma between our first album and the next one,” explains bass player \u0026amp; violinist Clément Libes about the purpose of this record. “It is an invitation to lose time, a parenthesis in the frantic race of our society.”\u003c\/p\u003e\r\n\u003cp\u003e“These songs were recorded by mixing production techniques of all ages,” continues Libes about the recording process of Apologie du Temps Perdu. “For «La Sagesse de nos Aïeux», the composition was written by hand on paper as a tribute to the music of our an- cestors. We recorded and mixed the result on an old tape recorder, and then afterwards we slowed it down to give this heavy and low sound that seems like it has fossilized. On «Rêveur Lucide» we first recorded a guitar\/bass improvisation on a 90's cassette portastu- dio. This formed the base of the whole piece, which was then cut, processed, and organ- ized on software after which we re-injected it into synthesizers and other more contempor- ary instruments. Finally, on «Temps Perdus» we created a synthesis of the experimenta- tions of the first two pieces. We worked on scores for synthesizers and strings while adding improvisations on piano, bass guitar and drums. We created textures with an old Roland tape delay and finalized the mastering on a beautiful Studer tape machine at Chab Mastering with Adrien Pallot.”\u003c\/p\u003e\r\n\u003cp\u003eExisting somewhere between the grand genius of soundtrack composers like Hans Zim- mer and Ramin Djawadi, and the experimental prowess of fringe pop artists like Radio- head and Darkside, Apologie du Temps Perdu reveals the hidden power of film scores. We all know that moment in which we cease to be conscious of the musical accompani- ment and we become truly absorbed in the story. The music becomes part of scenery, and in this moment we lose track of time. Talking of his own work Ramin Djawadi (Game of Thrones, Westworld) notes: “If you were to turn the picture off, there is a story there and a connection to the characters and the plots.” In the same way, through the sweeping strings of «La Sagesse de Nos Aïeux», the ethereal tape loops of «Rêveur Lucide» and the undu- lating synths of «Les Temps Perdus», worlds are created to get lost in, and we experience the full power of music with our eyes and ears open.\u003c\/p\u003e","brand":"Bruit ≤","offers":[{"title":"Rêveur Lucide Edition","offer_id":51709168582934,"sku":"555319","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0690\/8939\/4966\/files\/e1000f2469dd28e012918807a1e95a27.jpg?v=1786641786"},{"product_id":"bruit-the-age-of-ephemerality-12","title":"Bruit ≤ \"The Age of Ephemerality\" 12\"","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003e“Everything that can be technically achieved will be. All possible combinations will be exhaustively tested.”\u003c\/em\u003e - Dennis Gabor’s Law\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003eA philosophical, poetic and political reflection on our insatiable fascination with technology, a dependence as reverential as it is increasingly alienating and exploitative; French instrumental experimentalists \u003cspan\u003eBRUIT ≤\u003c\/span\u003e’s second full-length, ‘\u003cstrong\u003eThe Age Of Ephemerality\u003c\/strong\u003e’ is a seismic collision of old and new, of sounds organic and electric, with the trailblazing fourpiece capturing the resultant symphony in all its chaotic, confrontational glory.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003eRising from the smouldering remains of various French major label pop bands in 2016, \u003cspan\u003eBRUIT ≤\u003c\/span\u003e \\ˈbrü-ē\\ [French, literally, noise] assembled with the desire to escape the confines of the ‘big business’ music industries and return to creation as an artistic process unadulterated by commercial constraints or expectations.\u003c\/p\u003e\r\n\u003cp\u003eInitially considered a studio project only, 2018’s ‘\u003cstrong\u003eMonolith\u003c\/strong\u003e’ EP (Elusive Sound) saw the four musicians behind\u003cspan\u003e BRUIT ≤ \u003c\/span\u003eunleash their expansive and intensely emotive hybrid of ambient electronica, modern classical and panoramic post-rock onto the world with a now legendary 20-date tour across France and Belgium. Bolstered by the phenomenal response, the Toulouse-based band returned to their studio, reinvigorated to begin work on their debut full-length, ‘\u003cstrong\u003eThe machine is burning and now everyone knows it could happen again\u003c\/strong\u003e’.\u003c\/p\u003e\r\n\u003cp\u003eDigitally released to widespread critical acclaim and subsequently physically released through \u003cstrong\u003ePelagic Records\u003c\/strong\u003e in 2021, ‘The machine is burning…\u003cspan\u003e’ ended up being the 2\u003c\/span\u003e\u003cspan\u003e\u003csup\u003end\u003c\/sup\u003e\u003c\/span\u003e\u003cspan\u003e best-selling release for Pelagic during the pandemic and propelled BRUIT ≤ across Europe, playing over 50 shows through 12 countries, performing on prestigious festival stages including \u003c\/span\u003e\u003cstrong\u003eRoadburn\u003c\/strong\u003e, \u003cstrong\u003eArcTanGent\u003c\/strong\u003e, \u003cstrong\u003eAmplifest\u003c\/strong\u003e, \u003cstrong\u003eDunk\u003c\/strong\u003e and \u003cstrong\u003eDamnation\u003c\/strong\u003e and touring alongside genre luminaries such as \u003cstrong\u003eAmenra\u003c\/strong\u003e and \u003cstrong\u003eEZ3kiel\u003c\/strong\u003e\u003cspan\u003e. Having earned a fearsome reputation as a live act, BRUIT ≤ subsequently closed this chapter of the band with the musical refuge of 2023’s contemplative and delicate ‘\u003c\/span\u003e\u003cstrong\u003eApologie du temps perdu vol.1’\u003c\/strong\u003e EP (Pelagic Records) before downing tools entirely to tour the world as the backing band for legendary electronic act \u003cstrong\u003eM83\u003c\/strong\u003e.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eWanting to reconnect with the shoegaze ambience of his critically acclaimed 2003 ‘\u003cstrong\u003eDead Cities, Red Seas \u0026amp; Lost Ghosts\u003c\/strong\u003e’ and 2005 ‘\u003cstrong\u003eBefore The Dawn Heals Us\u003c\/strong\u003e’ albums, \u003cstrong\u003eAnthony Gonzalez\u003c\/strong\u003e\u003c\/span\u003e, the musical visionary behind M83, integrated BRUIT ≤ into his live band and also entrusted the musical direction of the tour to Clément Libes, the band’s bassist. It was during this tour that the initial sketches of the band’s next record began to take shape. Both emboldened and overwhelmed by the experience, the quartet eventually fled the endless turmoil of the road and retreated to the heights of the Pyrénées mountains where they finished five new songs, which were then recorded in a 160-year old church in their city of Toulouse. This collection of songs is ‘\u003cspan\u003e\u003cstrong\u003eThe Age Of Ephemerality\u003c\/strong\u003e’, a full-length album that finds the band remaining steadfast as ever in their sonic roots and creative principles whilst also pushing their musical horizons to the bleeding edge.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eA cautionary sonic exploration of society’s deference to the algorithm; ‘The Age Of Ephemerality’\u003c\/span\u003e will not be available on major international streaming platforms. Much like the rest of the band’s discography, the album reinforces the collective’s staunch boycott of Spotify; a response to the platform’s consistently diminishing artist payout policies as well as billionaire CEO Daniel Ek’s recent investment in the arms trade. Written in the mountains and recorded in a church, the album is BRUIT ≤ experimenting with capturing the sound of physical space as if it were an instrument in its own right; as something that can never be artificially generated or digitally replicated.\u003c\/p\u003e\r\n\u003cp\u003eAmplifying contemporary instruments, tools and tech in a building hundreds of years old; synths, drums, strings, an eight-strong electric guitar orchestra made up of friends and collaborators from the Toulouse scene (\u003cstrong\u003eSlift\u003c\/strong\u003e, \u003cstrong\u003ePlebian Grandstand\u003c\/strong\u003e, \u003cstrong\u003eMourir\u003c\/strong\u003e, \u003cstrong\u003eZelezna\u003c\/strong\u003e, \u003cstrong\u003eOrne\u003c\/strong\u003e) and the original, 1864 church organ collide in an incendiary aural statement that spurns society’s reliance on technocratic tendencies in favour of celebrating togetherness, the power of community and the creative inspiration of the moment.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eAfterwards, the band spent weeks between Toulouse’s \u003cstrong\u003eStudio Capitole\u003c\/strong\u003e and their own \u003cstrong\u003eStudio La Taniere\u003c\/strong\u003e\u003c\/span\u003e, experimenting with an array of configurations and arrangements that push the idea of post-production to its limits. By layering contrasting compositional methods from different technological eras on top of a sprawling collection of sounds old and new, BRUIT ≤ deliver an astounding sonic choreography that forces the listener to confront the inequalities and injustices behind the casual convenience of the modern day music industries.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003e‘\u003cstrong\u003eEphemeral\u003c\/strong\u003e\u003c\/span\u003e’, the album’s opener and lead single, immediately recalls the intensity of ‘The machine is burning…’ The rousing classical motif that makes up ‘Ephemeral’s first minute is summarily obliterated by pummelling half time drums and a white noise wall of sound that proves BRUIT ≤ have only sharpened their edge in the intervening years. Subsequent track ‘\u003cspan\u003e\u003cstrong\u003eData\u003c\/strong\u003e’ takes ‘Ephemeral’s instrumental fury and reshapes it; cannibalising the grinding cacophony and spitting out a delirious, DnB-like dirge before this too implodes in a hail of scattered digital artefacts before a blissfully bittersweet piano motif plays us out; a haunting analogue of the track’s synthesized introduction.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eIt is on the album’s final track however, ‘\u003cstrong\u003eThe Intoxication Of Power\u003c\/strong\u003e\u003c\/span\u003e’, that BRUIT ≤ bring matters to a head. A 13-minute epic that finds a fleeting harmony between classical strings and break beat drums before things take a discordant turn as soaring synths ally with the church organ in all its apocalyptic glory until suddenly we’re left with nothing.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eBRUIT ≤ close ‘The Age of Ephemerality’ with a quote from George Orwell’s eerily prescient dystopian masterpiece \u003c\/span\u003e\u003cstrong\u003e1984\u003c\/strong\u003e, itself a knowing action of repetition and retooling but also a reiteration of a warning as true today as it was over 75 years ago:\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e“If you want to picture the future, imagine a boot stamping on the human face, forever. The moral is a simple one, don’t let it happen. 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Bolstered by the phenomenal response, the Toulouse-based band returned to their studio, reinvigorated to begin work on their debut full-length, ‘\u003cstrong\u003eThe machine is burning and now everyone knows it could happen again\u003c\/strong\u003e’.\u003c\/p\u003e\r\n\u003cp\u003eDigitally released to widespread critical acclaim and subsequently physically released through \u003cstrong\u003ePelagic Records\u003c\/strong\u003e in 2021, ‘The machine is burning…\u003cspan\u003e’ ended up being the 2\u003c\/span\u003e\u003cspan\u003e\u003csup\u003end\u003c\/sup\u003e\u003c\/span\u003e\u003cspan\u003e best-selling release for Pelagic during the pandemic and propelled BRUIT ≤ across Europe, playing over 50 shows through 12 countries, performing on prestigious festival stages including \u003c\/span\u003e\u003cstrong\u003eRoadburn\u003c\/strong\u003e, \u003cstrong\u003eArcTanGent\u003c\/strong\u003e, \u003cstrong\u003eAmplifest\u003c\/strong\u003e, \u003cstrong\u003eDunk\u003c\/strong\u003e and \u003cstrong\u003eDamnation\u003c\/strong\u003e and touring alongside genre luminaries such as \u003cstrong\u003eAmenra\u003c\/strong\u003e and \u003cstrong\u003eEZ3kiel\u003c\/strong\u003e\u003cspan\u003e. Having earned a fearsome reputation as a live act, BRUIT ≤ subsequently closed this chapter of the band with the musical refuge of 2023’s contemplative and delicate ‘\u003c\/span\u003e\u003cstrong\u003eApologie du temps perdu vol.1’\u003c\/strong\u003e EP (Pelagic Records) before downing tools entirely to tour the world as the backing band for legendary electronic act \u003cstrong\u003eM83\u003c\/strong\u003e.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eWanting to reconnect with the shoegaze ambience of his critically acclaimed 2003 ‘\u003cstrong\u003eDead Cities, Red Seas \u0026amp; Lost Ghosts\u003c\/strong\u003e’ and 2005 ‘\u003cstrong\u003eBefore The Dawn Heals Us\u003c\/strong\u003e’ albums, \u003cstrong\u003eAnthony Gonzalez\u003c\/strong\u003e\u003c\/span\u003e, the musical visionary behind M83, integrated BRUIT ≤ into his live band and also entrusted the musical direction of the tour to Clément Libes, the band’s bassist. It was during this tour that the initial sketches of the band’s next record began to take shape. Both emboldened and overwhelmed by the experience, the quartet eventually fled the endless turmoil of the road and retreated to the heights of the Pyrénées mountains where they finished five new songs, which were then recorded in a 160-year old church in their city of Toulouse. This collection of songs is ‘\u003cspan\u003e\u003cstrong\u003eThe Age Of Ephemerality\u003c\/strong\u003e’, a full-length album that finds the band remaining steadfast as ever in their sonic roots and creative principles whilst also pushing their musical horizons to the bleeding edge.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eA cautionary sonic exploration of society’s deference to the algorithm; ‘The Age Of Ephemerality’\u003c\/span\u003e will not be available on major international streaming platforms. Much like the rest of the band’s discography, the album reinforces the collective’s staunch boycott of Spotify; a response to the platform’s consistently diminishing artist payout policies as well as billionaire CEO Daniel Ek’s recent investment in the arms trade. Written in the mountains and recorded in a church, the album is BRUIT ≤ experimenting with capturing the sound of physical space as if it were an instrument in its own right; as something that can never be artificially generated or digitally replicated.\u003c\/p\u003e\r\n\u003cp\u003eAmplifying contemporary instruments, tools and tech in a building hundreds of years old; synths, drums, strings, an eight-strong electric guitar orchestra made up of friends and collaborators from the Toulouse scene (\u003cstrong\u003eSlift\u003c\/strong\u003e, \u003cstrong\u003ePlebian Grandstand\u003c\/strong\u003e, \u003cstrong\u003eMourir\u003c\/strong\u003e, \u003cstrong\u003eZelezna\u003c\/strong\u003e, \u003cstrong\u003eOrne\u003c\/strong\u003e) and the original, 1864 church organ collide in an incendiary aural statement that spurns society’s reliance on technocratic tendencies in favour of celebrating togetherness, the power of community and the creative inspiration of the moment.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eAfterwards, the band spent weeks between Toulouse’s \u003cstrong\u003eStudio Capitole\u003c\/strong\u003e and their own \u003cstrong\u003eStudio La Taniere\u003c\/strong\u003e\u003c\/span\u003e, experimenting with an array of configurations and arrangements that push the idea of post-production to its limits. By layering contrasting compositional methods from different technological eras on top of a sprawling collection of sounds old and new, BRUIT ≤ deliver an astounding sonic choreography that forces the listener to confront the inequalities and injustices behind the casual convenience of the modern day music industries.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003e‘\u003cstrong\u003eEphemeral\u003c\/strong\u003e\u003c\/span\u003e’, the album’s opener and lead single, immediately recalls the intensity of ‘The machine is burning…’ The rousing classical motif that makes up ‘Ephemeral’s first minute is summarily obliterated by pummelling half time drums and a white noise wall of sound that proves BRUIT ≤ have only sharpened their edge in the intervening years. Subsequent track ‘\u003cspan\u003e\u003cstrong\u003eData\u003c\/strong\u003e’ takes ‘Ephemeral’s instrumental fury and reshapes it; cannibalising the grinding cacophony and spitting out a delirious, DnB-like dirge before this too implodes in a hail of scattered digital artefacts before a blissfully bittersweet piano motif plays us out; a haunting analogue of the track’s synthesized introduction.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eIt is on the album’s final track however, ‘\u003cstrong\u003eThe Intoxication Of Power\u003c\/strong\u003e\u003c\/span\u003e’, that BRUIT ≤ bring matters to a head. A 13-minute epic that finds a fleeting harmony between classical strings and break beat drums before things take a discordant turn as soaring synths ally with the church organ in all its apocalyptic glory until suddenly we’re left with nothing.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eBRUIT ≤ close ‘The Age of Ephemerality’ with a quote from George Orwell’s eerily prescient dystopian masterpiece \u003c\/span\u003e\u003cstrong\u003e1984\u003c\/strong\u003e, itself a knowing action of repetition and retooling but also a reiteration of a warning as true today as it was over 75 years ago:\u003c\/p\u003e\r\n\u003cp\u003e\u003cem\u003e“If you want to picture the future, imagine a boot stamping on the human face, forever. The moral is a simple one, don’t let it happen. 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Bolstered by the phenomenal response, the Toulouse-based band returned to their studio, reinvigorated to begin work on their debut full-length, ‘\u003cstrong\u003eThe machine is burning and now everyone knows it could happen again\u003c\/strong\u003e’.\u003c\/p\u003e\r\n\u003cp\u003eDigitally released to widespread critical acclaim and subsequently physically released through \u003cstrong\u003ePelagic Records\u003c\/strong\u003e in 2021, ‘The machine is burning…\u003cspan\u003e’ ended up being the 2\u003c\/span\u003e\u003cspan\u003e\u003csup\u003end\u003c\/sup\u003e\u003c\/span\u003e\u003cspan\u003e best-selling release for Pelagic during the pandemic and propelled BRUIT ≤ across Europe, playing over 50 shows through 12 countries, performing on prestigious festival stages including \u003c\/span\u003e\u003cstrong\u003eRoadburn\u003c\/strong\u003e, \u003cstrong\u003eArcTanGent\u003c\/strong\u003e, \u003cstrong\u003eAmplifest\u003c\/strong\u003e, \u003cstrong\u003eDunk\u003c\/strong\u003e and \u003cstrong\u003eDamnation\u003c\/strong\u003e and touring alongside genre luminaries such as \u003cstrong\u003eAmenra\u003c\/strong\u003e and \u003cstrong\u003eEZ3kiel\u003c\/strong\u003e\u003cspan\u003e. Having earned a fearsome reputation as a live act, BRUIT ≤ subsequently closed this chapter of the band with the musical refuge of 2023’s contemplative and delicate ‘\u003c\/span\u003e\u003cstrong\u003eApologie du temps perdu vol.1’\u003c\/strong\u003e EP (Pelagic Records) before downing tools entirely to tour the world as the backing band for legendary electronic act \u003cstrong\u003eM83\u003c\/strong\u003e.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eWanting to reconnect with the shoegaze ambience of his critically acclaimed 2003 ‘\u003cstrong\u003eDead Cities, Red Seas \u0026amp; Lost Ghosts\u003c\/strong\u003e’ and 2005 ‘\u003cstrong\u003eBefore The Dawn Heals Us\u003c\/strong\u003e’ albums, \u003cstrong\u003eAnthony Gonzalez\u003c\/strong\u003e\u003c\/span\u003e, the musical visionary behind M83, integrated BRUIT ≤ into his live band and also entrusted the musical direction of the tour to Clément Libes, the band’s bassist. It was during this tour that the initial sketches of the band’s next record began to take shape. Both emboldened and overwhelmed by the experience, the quartet eventually fled the endless turmoil of the road and retreated to the heights of the Pyrénées mountains where they finished five new songs, which were then recorded in a 160-year old church in their city of Toulouse. This collection of songs is ‘\u003cspan\u003e\u003cstrong\u003eThe Age Of Ephemerality\u003c\/strong\u003e’, a full-length album that finds the band remaining steadfast as ever in their sonic roots and creative principles whilst also pushing their musical horizons to the bleeding edge.\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eA cautionary sonic exploration of society’s deference to the algorithm; ‘The Age Of Ephemerality’\u003c\/span\u003e will not be available on major international streaming platforms. Much like the rest of the band’s discography, the album reinforces the collective’s staunch boycott of Spotify; a response to the platform’s consistently diminishing artist payout policies as well as billionaire CEO Daniel Ek’s recent investment in the arms trade. Written in the mountains and recorded in a church, the album is BRUIT ≤ experimenting with capturing the sound of physical space as if it were an instrument in its own right; as something that can never be artificially generated or digitally replicated.\u003c\/p\u003e\r\n\u003cp\u003eAmplifying contemporary instruments, tools and tech in a building hundreds of years old; synths, drums, strings, an eight-strong electric guitar orchestra made up of friends and collaborators from the Toulouse scene (\u003cstrong\u003eSlift\u003c\/strong\u003e, \u003cstrong\u003ePlebian Grandstand\u003c\/strong\u003e, \u003cstrong\u003eMourir\u003c\/strong\u003e, \u003cstrong\u003eZelezna\u003c\/strong\u003e, \u003cstrong\u003eOrne\u003c\/strong\u003e) and the original, 1864 church organ collide in an incendiary aural statement that spurns society’s reliance on technocratic tendencies in favour of celebrating togetherness, the power of community and the creative inspiration of the moment.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eAfterwards, the band spent weeks between Toulouse’s \u003cstrong\u003eStudio Capitole\u003c\/strong\u003e and their own \u003cstrong\u003eStudio La Taniere\u003c\/strong\u003e\u003c\/span\u003e, experimenting with an array of configurations and arrangements that push the idea of post-production to its limits. 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