“Apostate” is the first part of a trilogy that Bruno Green is designing, with Gilles Martin, as a look at an exceptional journey, now spanning several decades. And therefore sweeping away a whole section of contemporary musical history. This impressive sum, whose center of gravity is Berlin, has the ambition – crazy and successful – to make the heart of European culture beat. Because, even if the times are hardly conducive to this awareness, the “old” continent is the matrix of all the avant-gardes, the always threatened seat of unparalleled artistic creativity.
“Apostate” draws on experimental rock from the 70s, new wave from the 80s, trip-hop from the 90s, and the most cutting-edge electro. And forges, from these precious fragments, an urban blues displaying its typically European melancholy. There is nothing outdated, however, in this approach, which builds a bridge with the New York underground, from no wave to art-rock via punk.
And it is this abundance that fascinates in “Apostate”, which seems to be the missing link between Suicide et Collapsing new buildings. Or the incarnation of a musical dialogue whose fertility has continued over recent decades to fuel a prodigious imagination, between Europe and North America.
A way also, and perhaps above all, to defuse the war between ancient and modern. Since they constantly feed off each other. “Apostate” offers a sumptuous artistic syncretism at a time of withdrawal and hatred. A salutary dive into a world at peace with itself, rich in its intersections and sure of its creative power, as the only possible paths.
