Michel Delville is more than just a member from the bands with Machine Mass and The Wrong Object. And this one, took me towards a very interesting level that combines electroacoustic, post-rock, and jazz into one. It’s a project called The Godel Codex. Released via Off Records and powered by MoonJune Records, Oak is one of those combinations that follows into the footsteps of Avant-Pop.
While they’re background is in Jazz, The Godel Codex takes it a step further by creating these trippy effects that goes beyond the Machine Mass sound. And as Derek Bailey would say, “Improvisation is not knowing what it is until you do it, composition is not doing it until you know what it is.” When I was listening to Oak, it was a very interesting take for Michel to tackle those genres. And it was a challenge for me to tackle.
And these four centerpieces that are on the album, is like walking on a tightrope from Mount Rushmore to the Grand Canyon. And walking on those structures between the two mountains are very dangerous. And you never can tell if someone is about to cut the rope or not.
The Needle’s Eye is a late ‘60s psychedelic trip and The Godel Codex’s answer to the early Soft Machine as Michel’s vocals is a nod to both the lyrical structures of Syd Barrett and Robert Wyatt. It takes you towards that amazing time period when London was swinging back then. Plumer’s ride cymbals and drumming give insights of a surreal-like ballad on Stand or Fall.
Guenet goes into the styles of Mike Garson’s piano playing that he honors the era’s between David Bowie’s Aladdin Sane and Outside. The electronic hay-wiring effects gives us some insights of insanity as Delville, Guenet, and Bailleau create some of the most intensive moments throughout the electronic loops before Guenet closes it off with a wacky Keith Tippett-like finale with a harsh-like sound.
The first two minutes of Can it Be starts off with some minor piano chords and electro loops before Guenet’s voice channels the style of William D. Drake as if it was recorded during the sessions for The Rising of the Lights. Antoine channels Drake’s haunting arrangements with some unexpected changes from the piano to raise the temp up a little quicker.
Guenet takes the listener on One Last Stand as he takes them into these abandoned hallways as if the pin itself has already dropped. The composition can make you feel a little at ease as he hits those alarming notes before the vocals come in as you are reaching the last final door to be opened. It then crossover into the styles of Radiohead with a pounding rhythm that Antoine does by creating these uprising adventures while Michel channels Jonny Greenwood’s playing before the pulsating beats change.
As I’ve mentioned earlier, this was a challenge for me to tackle with The Godel Codex’s Oak. Michel, Antoine, Etienne, Christophe and Phillipe Franck have embarked on this surreal ride. And while it was worth tackling, this will whet your appetite for embarking ideas that The Godel Codex will take into the next journey that awaits you.