Venice May - Music News
26 September 2018 (released)
07 November 2018
Every song on Venice May's debut record Illusion is Inevitable serves as an appeal to the heavens and the great below as each track soars with an undeniably epic nature. The Paris based duo take A Perfect Circle-like rock grooves and top them with theatrical vocals that verge on the operatic. Natalia Samofalova's 'serenity in the face of adversity' vocals tap into some eternal spirit, duetting and dueling with fellow collaborator Vincent Bedfert's cascading guitar lines. The thirteen track record takes a scant few breaks to touch feet to the earth, with very little time devoted to grounded passages. It's big, bold, brash and beautiful.
Clock-like harmonics and urgent high-hats initiate the record. Samofalova's lilting voice tells a tale like a pseudo-fairy godmother on the opener 'A Mouse and a Snake'. The lyrics are filled with cautionary advice while Bedfert outlines a wonderland soundscape with ringing guitar textures. Samofalova's chorus is as broad and resounding as a royal proclamation with thunder drums beating the word home.
The lead single also draws on ringing guitar harmonics amid an unfurling delay soaked six-string intro. Glimmering atmospherics take the place of a backing string section. A withdrawn first pre-chorus ratchets up the tension for another heavy-hitting chorus. On the next time around, Samofalova hits the pre-chorus with glass-shattering vocal power. Her unearthly vocal capabilities add a terrifying gravitas to the proceedings, with multiple tracks rising and diving around the main line.
The album on a whole is unrelenting in its power. There is a palpable gothic fury (victorian church gothic, not mall goth) that gives the songs a timelessness. Both Samofalova and Belfert show off their virtuosic nature, demonstrating a symphonic level of compositional prowess. If you feel that we've taken a huge step back embracing the kitchy minimalism of indie rock, Venice May is the antidote.