We Speak Music
Naud Takes Flight with ‘Un Gars Bian’: A Wild Ride of Music & Madness
Photo credit: Isis Mecheraf
After ten years of musical mischief, Naud has finally dropped anchor, or rather taken flight, with Un Gars Bian, an album that feels like a hug from an old friend and an impromptu dance party all at once. This high-energy, genre-mashing adventure blends alternative pop, electro, funk, and whatever else Naud felt like throwing into the mix. Think Marseille’s “joyous chaos” bottled up into soundwaves, bursting with playful unpredictability.
Leading things off is “Déjà Vu,” a sweet-and-sour love song about a romance that spanned across Europe but never quite took off, kind of like booking a first-class ticket to heartbreak. It’s got just the right mix of experimental vibes and catchy pop magic to make you groove while overthinking your past relationships.
The album title, Un Gars Bian, is a cheeky play on words, merging Marseille (city in France) slang for “seagull” (gabian) with “un gars bien” (a nice guy). It’s basically Naud in a nutshell: a free-spirited, big-hearted artist who wants to spread good vibes, reckless creativity, and a touch of joyful madness. And if that wasn’t enough, he’s also launched an Un Gars Bian t-shirt line, because what’s better than wearing your philosophy on your sleeve, literally? Grab yours here!
So, are you ready to embrace the joyful chaos? Un Gars Bian is the perfect excuse to dance like nobody’s watching and live life with a little more mischief. Let’s gooo!
We Speak Music
Unethical Dogma Pull Back The Dark Curtain For A Carefully Engineered Descent into Technical Melancholy
Unethical Dogma return on Behind The Dark Curtain feels less like a standalone EP and more like the final act of a deliberately constructed psychological arc. Across its runtime, the band commits fully to its horror-driven narrative framework, closing the conceptual thread that began with DUSK. The result is a release that feels cohesive, intentional, and structurally disciplined rather than loosely assembled.
Instrumentally, the EP leans heavily into polyrhythmic complexity and tightly wound djent grooves, but what stands out most is how often the band resists pure technical display in favor of atmosphere. Piano passages and choral textures are not ornamental—they function as emotional anchors, giving the heavier sections a sense of collapse rather than just aggression. The contrast between brutality and fragility is handled with noticeable care.
The vocal performance is equally dual-layered. Screamed vocals carry the narrative’s psychological deterioration with intensity, while clean vocals are used sparingly to emphasize moments of reflection or detachment. This dynamic avoids predictability by making restraint as important as force, especially in transitions where the story shifts perspective.
Lyrically and conceptually, the EP benefits from its unusual writing process, which begins with short stories before being translated into music. That foundation is audible in how scenes unfold rather than verses simply progressing. The storytelling feels cinematic, as if each track is a chapter viewed through unstable memory.
Overall, Behind The Dark Curtain succeeds most when it trusts its atmosphere over its technical ambition. It is a dense, carefully designed work that prioritizes immersion, and while it demands patience, it rewards listeners who engage with its narrative structure rather than just its surface complexity.
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