JUNZI Arts Publishing & Management
In the history of pop music, few have managed this. This awareness that artists need to keep challenging themselves. Experiment. Take chances. Reinvent themselves, never settling into a lazy, tawdry routine. A few examples immediately spring to mind : The Human League, who at the turn of the 1980s ditched their electronic experiments in favour of a highly compelling blend of electro-pop. Nick Cave left behind his early dismantled punk rock style and turned into a timeless crooner, while on Joy Division's mortal remains, New Order dreamed up an icy, unremitting version of disco, a thinking man’s dance machine. Yes, reinventing yourself. A challenge for some, a vital necessity for others. A second nature…
Overnight success, popular as well as critical acclaim, recognition both in France and, very soon, abroad : logic would have dictated that AaRON merely stick to the same winning formula – acoustic-oriented songs with a few variations here and there - and quietly drift away. And end up shipwrecked ? Maybe. Probably. But we’ll never know. For Simon Buret and Olivier Coursier, whose peerless kinship is intact nearly a decade after their initial meeting, decided to wipe the slate clean. Make a fresh start. More or less. We Cut The Night lays its cards on the table, beginning with its title : this third album is indeed a nighttime record, songs for night owls – real or imaginary - who like to venture wherever their instinct takes them. Observing, arguing, laughing, listening to noises, conversations, and silences too. Settling down - on a bench, in a bar -, then setting off again. Never worrying how their "journey" might end. These ten songs could form the fantasy soundtrack for these adventures. One where electronics reign supreme, vintage synths lay on top of drum machines from another century and classical arrangements are combined with retro-futuristic accents. An intermingling of uncertainties, addiction(s), obsessions and beliefs.
With the golden age of a certain idea of pop in mind, yet with their eyes clearly set on the future, AaRON explore a wide range of musical moods, as with "Magnetic Road", a gut-wrenching, postmodern gospel whose heart beats in slow motion. The album abounds with hypnotic rhythms (the title track) and tunes of unmistakable singalong quality (the classic "Blouson Noir", the irresistible "The Leftovers") while parts of a verse or a chorus may conjure up the ghost of Marvin Gaye or the figures of Depeche Mode. Other songs venture into transfixing minimalism (the impressive "Invisible Stains" and "2:22"), resemble nursery rhymes for grown-ups (the heady "Ride On", the falsely ingenuous "Maybe On The Moon"), suspend time ("Shades Of Blue", best described as a martial ballad), or make you want to close your eyes and attempt a few dance steps (the supremely elegant "Onassis"). Recorded in splendid isolation in Olivier Coursier's studio over 2014 and 2015, We Cut The Night is an album of atmospheres, tales, short stories. This is music which lifts the veil of intimacy, but never in an intrusive way, and seems able to turn darkness into bright shining lights. It is a celebration – one which will make your nights more beautiful than your days.