Here come fresh news from Ni, unveiling today Chicot, the latest single from their new album Fol Naïs. That is due to break into your home and smash the dishes on December 1st via Dur & Doux.
As Zerkon and Dagonet plainly announced, this is undoubtedly the most intense album from start to finish from the Rhône-Alpes band, made up of members of L'Effondras, PoiL Ueda and PinioL. And this Chicot, named after the jester of Henry III and then Henry IV, is fully in line with this guideline. With its speedy tempo and math-rock epilepsy, it's a track that "gets its teeth out and scratches the dance floor", according to Ni. Somewhere between Mr Bungle, Don Caballero and Botch!
Because Ni never does anything like the others, and if you want to know what you might be getting yourself into when you listen to Chicot, here's what it sounds like when you ask guitarist François Mignot to describe it:
"The beginning of the track is super tense and nervous, using only dissonances, successions and superimpositions of notes close together, drawing a sort of grating melody. To accentuate this incisive edge, the guitar sounds remain clear, and saturation doesn't arrive until later in the track. The rhythm, which is omnipresent throughout the track, is based on figures which, although broken in math rock style, are intended to retain a danceable feel. At the beginning of the track, 3 of the 4 musicians play the same rhythmic motif in unison, to give it a certain foundation and a wobbly groove. The second guitar sits on top like a clever little buffoon, whose aim is to disrupt and add an extra dose of madness to the whole. This first passage is punctuated by short sounds often found in electronic music (glitch and other typical breakcore effects), which introduce a second technoid array. It consists of a rhythmic ostinato hammered out by the 4 musicians, always accentuated by the bass drum, then coloured and textured by the guitars and bass in the manner of an electronic track. This part takes the form of a great climb towards an explosion of energy, bringing back the shaggy, squeaky elements of the beginning, while transforming them into a more rock and massive energy. This transition, like an echo of the beginning, leads the track into a final tableau where the tempo and rhythm collapse, like a sudden drop from the heights of energy reached previously. The listener is then invited, by a surge of rock, noise and metal energy, to land and end up buried under the rubble of the track."