SPILL ALBUM REVIEW: ANGINE DE POITRINE – VOL. II

ANGINE DE POITRINE
VOL. II
INDEPENDENT

Angine de Poitrine seemingly emerged out of nowhere. Upon achieving viral status earlier this year, the masked Montreal-based duo has become inescapable as they became the subject of an onslaught of memes and reaction videos centred around their musical absurdity and visual mystique that has left listeners utterly captivated. The result is well over one million monthly listeners across streaming platforms, a sold-out tour that has seen the band go from theatres to much larger venues, and an opening slot for Jack White. Amid their momentous and thrilling rise is the release of their second album, Vol. II.

At a first glance, it may be easy to call Angine de Poitrine alternative rock due to the interplay between slinky guitar riffs and groovy drums, but there is more to it. The subtle use of odd meters and polyrhythms lends itself to something more progressive despite a distinct funkiness akin to disco. On top of all of this, there is microtonal chromaticism used throughout the melody, something rarely used in popular, let alone western, music. All of this is introduced in the opening song, “Fabienk,” serving as the perfect track to set the tone for Vol. II. It is clear that Angine de Poitrine is all of these things, and, perhaps, none of them at all.

This is further developed on the frenetic “Mata Zyklek,” a track that seems to move in a constant state of growth, as the arrangement swells with each passage becoming more complex than the previous as the duo feels as though they are hanging on by but a thread, yet remain entirely in sync and incredibly tight. There is a level of intensity to their performance that few instrumental outfits can muster, providing a raw edge to the band’s vibe, something that further separates them from their contemporaries. Case in point, the mean, winding riffs that comprise “Sarniezz,” a song that feels like a never-ending spiral, an auditory illusion if you will. The way the two nameless musicians lock in, united together in an insatiable groove that gradually becomes increasingly weary with further deviations and dissonance, is remarkable. Vol. II is a record that eschews any attempts at classification while remaining entirely unique. This is a record unlike anything else as Angine de Poitrine pioneer new directions and heights for truly alternative music and the avant-garde as they reject any and all conventions in favour of their own creative pursuits.

Angine de Poitrine’s music proves to be as mysterious as the audaciously gargantuan costumes and perplexingly captivating visual aesthetics that they tap into, demonstrating a fully authentic level of conviction to their craft. If you call this a gimmick, you missed the point; this is performance art that, through its success, flips all previously existing narratives surrounding counterculture and independent music on its head while challenging the very notion of popular music as Angine de Poitrine carve their own path. Within the complexities of their artistry, there is sheer liberation and in finding a much wider community as Angine de Poitrine cultivates a feeling of hope that independent music and genuine creativity still have a place in the overtly commodified era of AI.

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