"Successfully blends elements of 80s synthpop, darkwave, psychedelic electronica, and shoegaze into a new genre of its own." - Bliss Aquamarine (UK)
"A unique and very tasteful blend, wonderfully melancholic but certainly not depressed.This all results in quirky and surprising combinations that provide recognition and innovation." - De Subjectivisten (NL)
"Without following nor recycling anything that had been worked before. He crosses countless genres, always putting his stamp on them. Alban’s composing is [...] a scribble starting with an opaque idea and ending up with a remarkable fresco." - Peek-A-Boo (BEL)
"Outstanding beauty!" - Noise Journal (USA)
"Devoted to synthwave that denotes freshness and vitality. There is no shortage of excellent variations. Alban's synthwave approach denotes elegance and intensity without ever failing to provide the right groove." - Darkroom Magazine (ITA)
"A set of combinations of a rubik's cube with washed-out facets, shades of gray; drawing in the synthetic melancholy of the 80s or in 90's dark-wave of Germany." - Twice Magazine (FRA)
"If you're into anything synth/modern then this would be perfect for you. Is there such a thing as electro-shoegaze,because I do believe I just experienced it. It's just driving in the sense that you want to put it on and go down the highway." - Raised By Cassettes (USA)
"Despite the minimalist tones there’s a warmth trimmed woozy here, albeit bleached in head-turned regret, which given its shimmering of future-gazed dystopic elements, finitely harvests a most affecting lushness that radiates and purrs a deceptive cool." - The Sunday Experience (USA)
"All I wanna do is get lost in this unlimited sci-fi, synthwave post rock bliss like there’s no tomorrow." - Last Day Deaf (GRE)
"Sonically immersive and emotionally wrenching" - White Light White Heat (ITA)
"Connects the territory of new-wave with the indie sector" - Threshold Magazine (POR)
"Has something refreshing. It’s an easy listening opus with a few songs revealing potential. I especially recommend “Mi-Bête Mi-Foret” revealing cool synth lines mixed with guitar play. More globally I like the retro synth sounds, the deep bass lines and the dry snares, which are all elements clearly driven by the 80s spirit." - Side-Line Magazine (BEL)
ENGLISH:
Feu Follet is a brand new one-man band from Lorraine, France, which was formed by Alban Blaising to blend influences from the wave territory with those of the indie sector. It results in an unusual and fresh approach that revives old synthwave, new wave, darkwave patterns with the atmospheric means of vibrant post-rock and shoegaze.
While the title “Le Champ Des Morts” (the field of the dead) was inspired by the movies “The Killing Field” (1984, British drama about the regime of the Khmer Rouge) and “Živi i mrtvi“ (2007, Croatian horror film), it’s the individual song titles that really tell us something about Feu Follet’s bond to where it was born: They are inspired by Lorraine's rural and mysterious folklore with names of local places, legendary creatures from regional popular beliefs, old proverbs and popular expressions of regional language. After all, there’s a place in a forest in Lorraine which was named after a bloody battle in 1085, « Le Champ Des Morts ».
For the ten recordings of his debut album Blaising mainly used analog synthesizers, which made him realize an LP that is detached from 80s boundaries and formulas, free from the clinical sound of mediocre everyday synth acts. The guitars have a dream pop attitude in their morbid sound, and the repeated use of the vocoder gives this instrumental album a kind of post-rock vibe à la Mogwai circa 2003. The dead are very much alive, and they breathe.
GERMAN:
Feu Follet ist eine brandneue Ein-Mann-Band aus Lothringen, Frankreich, die von Alban Blaising gegründet wurde, um Einflüsse aus dem Wave-Bereich mit denen des Indie-Sektors zu verbinden. Das Ergebnis ist ein ungewöhnlicher und frischer Ansatz, der alte Synthwave-, New Wave- und Darkwave-Muster mit den atmosphärischen Mitteln des Post-Rock und Shoegaze wiederbelebt.
Während der Titel „Le Champ Des Morts“ (das Feld der Toten) von den Filmen „The Killing Field“ (1984, britisches Drama über das Regime der Roten Khmer) und „Živi i mrtvi“ (2007, kroatischer Horror) inspiriert wurde, sind es gerade die einzelnen Songtitel, die uns wirklich etwas über Feu Follets Verbundenheit mit dem Geburtsort erzählen: Sie sind inspiriert von Lothringens ländlicher mysteriöser Folklore und enthalten Namen lokaler Orte, legendärer Kreaturen des regionalen Volksglaubens, alte Sprichwörter und volkstümliche Ausdrücke regionaler Sprache. Und letztendlich gibt es in einem Lothringer Wald einen Ort, der nach einer blutigen Schlacht im Jahre 1085 benannt wurde: "Le Champ Des Morts".
Für die zehn Aufnahmen seines Debütalbums verwendete Blaising hauptsächlich analoge Synthesizer, wodurch er eine LP realisierte, die sich von den Grenzen und Formeln der 80er Jahre löst und frei vom klinischen Sound so vieler alltäglicher Synth-Acts ist. Die Gitarren verneigen sich trotz ihres morbiden Charmes vor dem Dreampop, und die wiederholte Verwendung des Vocoders verleiht diesem Instrumentalalbum eine Art Post-Rock-Stimmung à la Mogwai um 2003. Die Toten sind sehr lebendig. Und sie atmen.
supported by 11 fans who also own “Le champ des morts”
It's uncanny just how good Actors is at emulating that Post-Punk synth sound from my younger days.
Each listen just gets better and better. I feel slightly ashamed for not having heard this album until a few short days ago. modestwriggles
The German-Brazilian artist's eerie electronic music spans all shades of darkness, from moonlit dreamwave to goth-styled synth-pop. Bandcamp New & Notable Apr 1, 2020
A truly original blend of haunting electronics and gothic drama mirroring the complex and unknowable nature of human emotions. Bandcamp New & Notable Nov 30, 2023
