En attendant la version K7 qui devrait arriver d'ici mars, deux chroniques en anglais du LP de Chronophage:
“Very cool debut here from Austin’s Chronophage on a new label run by Candice Metrailer of Mystic Inane. Chronophage take the opportunity to hone in on the art-rock that was created in the brief window of time that starts after cool punks grew bored with punk and ends before they fully transitioned into college rock. I’m hearing the tuneful yet abstract style of Homosexuals throughout Prolog For Tomorrow, a touch of Eat Skull’s feral pop sensibility, a big heaping of Doc Dart’s Patricia and the first couple Tactics albums, too. Chronophage’s songs are diverse in fidelity, structure and mood – a DIY country skiffle might butt up against a tenderly twee melody that segues into a distorted tape experiment, like a mixtape that seamlessly sticks Girl Ray next to Flying Calvittos and Thin Yoghurts. Chronophage are really bursting with ideas, but it comes out focused and fascinating, not messy or confused, even as seemingly every member of the group takes lead-vocal duties at some point or another. Strongly recommended for any fans of off-kilter DIY rock and the joy it brings.” (Yellow Green Red)
“After several cassette releases (which the band compiled on a cassette compilation I wrote about a few weeks back) here’s the debut vinyl from Texas’s Chronophage. While Chronophage has cleaned up their sound from those earlier tapes, they still play rough-hewn and loose pop music. Their recordings have a handmade quality that sounds like people playing together in a room, which stands in stark contrast to most punk rock I hear, which takes advantage of recording technology to sound as full and as a tight as possible. While Chronophage don’t sound retro, that quality forces me to go back further for good reference points for their sound, whether it’s to UK groups like Swell Maps, Television Personalities, and O Level, or American stuff like Pavement’s earliest material. While the whole thing is an enjoyable listen, my ears perk up when unexpected sounds crop into the mix, like the gurgles of electronic noise that pepper between-track transitions, the trumpet on “Racing,” or the double-tracked chorus of “Double Suicide.” Recommended if you want to hear smart people making loose, raw, and earnest music.” (Sorry State)
