Diabologum made quite an impact in 1996 with their final album #3. Before that, their two albums, C'etait un luni apres-midi semblable aux autres (1993) et Le gout du jour (1994) became milestone of a special artistic identity in French rock, and we might add, more than French rock alone. If #3 was the peak for Diabologum, it also was their final statement. Some tracks from the era were released on a compilation here, a Spanish split CD there. But by the end of 1997, Diabologum – whose average age of members was 25 years – became a band from yesterday. Just before recording that drastic and pioneering third album, the bands line-up had changed. Anne Tournerie (vocal) and Pierre Capot (bass) had gone and a new rhythm section was added: Richard Roman on bass, and Denis Degioanni, after guest appearing on the previous album became a full-time member on drums and it certainly gave Diabologum a new strength and a new sound. It was a sudden and huge evolution (there was only a two-year gap between Le gout du jour and #3) for Arnaud Michniak and Michel Cloup, the singers-songwriters in the band. But the changes in mood and musical choices were stunning. But the changes in mood and musical choices were stunning. #3 is either nihilistic or realistic, outgoing or combative, suicidal or full of life; it's up to you. If you are looking for joy and frivolity in music #3 is perhaps not the album for you, if however, you are looking for something else, you will hear sharp and tense lyrics on some occasions and complex imagery on some others. Coldness in the lyrics, but boiling heat in the music. Even if Diabologum occasionally allowed themselves to write some catchy tracks, the group always considered rock music as an experimental field for structures and sounds and this album is a perfect example of that: sonic chaos versus clear sounds, a mix of boneless rock or rap structures, twisted or interlocked, creative rhythm and guitars, samples from various horizons, collages, discordant harmonies. If a recording may freeze music for ever, there are albums that live on their own and can be listened to as a work in progress. #3 is one of them. The most reliable measure of a piece of work is certainly it's ability to keep it's spirit through time. Eighteen years after their first releases – for listeners past and present – these reissues, with some bonus tracks, are – for those who want it- the opportunity to get their own answers.
Format: Cd-jewel Case