NEW! Review from 'Noise Magazine' (France):
English Translation:
"First, some have laughed. « Jument ? (which is also the French translation for "mare") Choosing such a stupid name must have been done by an idiot… ». Thinking about this: Choosing the name Mare is probably as idiot as this after all. It's more than a coincidence, it's a sign. Since they released their first and unique EP, Mare had never been very closely approached by another band. Jument is the first to success.
There is nothing obvious in Jument; I mean nothing with rhythm or melody. Its structure and its musical identity and the sound of its guitars are driving Jument in a very personal place. Their sound is natural, there are audacious parts (they first seem risky, then finally become perfectly sensible), and actually guitars are the masterpiece of this album, the clue. On one hand, they are the most revealing thing about Mare's influence (reference?), which is still an undeniable quality, on the other hand, they are the basis of Jument's originality: somewhere between post/mathrock and Starkweather, tuned as the Meshuggah's tuning. They're creating a non-rhythm; it's neither slow nor fast, and it's never removed except in the last song (we'll talk about it later). Their world is disturbing, dissonant and - most of all – delicate. This is precise and inspired, tormented too, more organic than melodic.
We think in the same way with drums. They are a little bit in the back but completely precise, the drummer really feels its instrument: he's cultivating the non-rhythm of the guitar, without being an "octopus-drummer" (not the Brann Dailor's style, do you know what I mean?), with ideas and a perfect tone. Everything's in the feeling, nothing is logical – means predictable -, one more time. However it has a meaning, because above this there's the bass which is constantly kicking organs, more "straight to your face" than 2 other instruments. Then there's the voice, something monochord, strong as if a boulder was speaking, screamed (it could be more or less compared to the acoustic Nostromo): it's as much repulsive as intriguer. It means that the voice isn't used the way people usually think it must be, it's never spectacular but it's indispensable, because it maintains the non-rhythm too. And finally, we can't imagine another voice, even the best screamed and deep voice may remove a piece of Jument's personality. More important, perhaps it's the unique thing which looks like a guiding line.In the end, there's the seventh and last song (25 min), progressively spatial (thinking about prog' structures), which is inviting the voice of one of their friend, a professional opera singer in New York, to perform a classical exercise. Above crazy guitar parts, above a rhythm which is indefinitely repeating (I'm actually thinking about a similar sound in the Gaza's album), she's doing some singing exercises. Here, you have to choose: this is a "T time", the "easy part" of Plate X, or the "beautiful part". Neurasthenia, peace of mind, an ending in crescendo.
Jument is no one's clone. In its basis, in the way the band is considering the word Music, Jument is thinking music as Mare was doing, with the same freedom, with the same ability to throw us into the centre of a labyrinth. Is it Postcore? Prog Metal or Prog Rock? No fuck*** idea. I don't care. Their most important thanking: Gaza. I personally thank this great friend who made me listening to Gaza, 2 years ago, and who's doing exactly the same thing today with Jument, a name which has to be remembered. Finally, Jument will thank your genuineness and your generosity. Because you know, 5Euros (including postage), via the Jument's Myspace page… it must be understood, now."
Alexis Laffillé 9,5/10
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