I must admit that Fange has flown under my radar for several years now. I was well aware of their existence since the release of their sophomore album from 2019, Punir. They have also been nominated consistently for the Metal Storm Awards for the past 3 years in a row. Despite all this, I always managed to lose track of them. But now that my sabbatical from reviewing is over, it is time I kickstart my year redeeming myself. I listened to Fange’s entire discography and I will tell you why Privation is an excellent culmination of a decade’s hard work.
It was difficult to guess which way Fange were going to go after their previous album, Pantocrator. It still sticks out in their discography for being just 2 massive 15-minute tracks that fully embraced the band’s industrial side. As soon as the electric pulses pierce your ears on “À La Racine”, you’d be forgiven for thinking this might be a continuation of that sound. But a minute in, the marching beats accelerate and Fange unleashes one gargantuan riff after another as Matthias Jungbluth pukes putrid hatred on the mic. Some of these sludgy riffs still retain an old-school, near d-beat adjacent, style of death metal to them. But they have been meticulously molded to fit in with the industrial/darkwave elements. There are so many hidden layers on each track with manipulations being done on virtually all instruments and vocals. And guess what? That is only the first track.
Fange changes not only the sound but the overall atmosphere of the music for every minute that passes you by. Privation transports the listener through richer and richer sonic landscapes as it unfolds: From bludgeoning, oppressive and angst-filled ambience beyond comprehension to expansive dirges of slow melodies that find their way through the chaos. In tracks like “Né Pour Trahir” there are vibrant synths that elevate the listener to higher, psychedelic planes. I can’t help but feel absolutely floored when the guest vocals of Cindy Sanchez soar through. A perfect marriage of celestial beauty with the very human cries of Matthias Jungbluth. This great mix can be heard once again in “Portes D'Ivoire” where the violent vocals are juxtaposed with vibrant synths that ultimately erupt like a volcano of melody together with the soft, triumphant and somewhat androgynous vocals of Cédric Toufouti from Hangman's Chair.
Fange have gone full chameleon with all their works. But with Privation, they are now tackling all their styles (plus new post-metal touches) in one singular pool of exquisite and fluid songwriting. Fange is a band that, after a full decade and 5 albums, continues to grow and change without looking back. What a fascinating and multifaceted work. This is how you celebrate your 10th anniversary while reinforcing your identity.
"N’existant que dans l’instant. Seul compte le concret.
(Only existing in the moment. Only the concrete matters.)
Ni hier ni demain, c’est ici et maintenant"
(Neither yesterday nor tomorrow, it's here and now)
