01 Silentio Noctis
03 Templum Victoriae
06 Memoria, In Terris
07 Vires Vitales
08 Ius Sanguinis
09 Oculi Igne Micantes
11 Loci Religio
L’Effet C’Est Moi is the project of Italian-based musician Emanuele Buresta. It was formed in 2005 and comes highly recommended with two previous albums, “Les Voix De L’ Apocalypse” (2008) and “Tomber En Héros” (2006). This particular release is limited to 500 copies in a jewelcase with a 4-page booklet included. The project derives its name from a phrase by famous German philosopher Friedrich Nietzsche which, as Emanuele himself states, deals with “the identification of the ruler class with the community’s successes ” . Given the fact that both the previous albums, as well as this one, deal with the concepts of historical background, war, patriotism, pride, country, affiliation, royalty, it is highly interesting to observe the machinations of the employment of power as they are portrayed throughout human history.
The artist pursues the point further in his description of the name: “a philosophical doctrine about relationships based on supremacy from which derives the phenomenon of life that is the sensation of pleasure as a human being who rules ”. Thus setting the point on an individual as well as a social and administrative level. To eliminate all suspicion of redundancy, just think of today’s governments versus the societies they govern. How big a part of that relationship isn’t really based in their power to rule, and the public’s habit or necessity to obey? We may safely assume there are feelings of pleasure obtained from the exertion of power, and L’Effet C’Est Moi uses history as an example to dare us to think the matter over. After all, those who do not remember the past are condemned to repeat it.
A good album however, must be able to follow through its interesting ideas with equally intriguing musical content. L’Effet C’Est Moi had no problem doing that in the previous albums, and this is no exception. Emanuele manages beautifully to lead the dance, while we swirl around bedazzled with the wonders of our own race’s history. There is not a moment in the album where the attention is diverted elsewhere, instead we are constantly and pleasantly surprised.
From the drone/dark ambient of the opening track to the martial trumpets, imposing drums and operatic vocals of the second and third tracks, the melodies are fresh and original. The soundscapes have an air of the glorious past, something of the classical and the romantic. “Heimat” is done in the style of a medieval dance, while in the next tracks things begin to change. The album takes a turn towards ambient, in some points even new age, with ethereal female vocals and dreamy synths taking over. “Memoria, In Terris” is a small masterpiece of medieval folk, with acoustic instruments such as the guitar and the violin giving the tone, while “Ius Sanguinis”, my favourite track in the album along with “Templum Victoriae”, is a chaotic symphony where operatic vocals are mixed with martial drums and industrial sounds, frenzying towards a dramatic crescendo. The inevitability of doom is emphasized in the next track, that employs electronics and strict military drums to alert us of the coming conflict, which becomes a reality in “Dominus”. Religious choirs unite their voice with the wail of haunted instruments and the ghosts of the military drums we heard before. The army is marching away now. All that remains is the whisper of the wind, in the consecrated place. The journey ends as it began, with an eerie dark ambient track.
Those who are familiar with the previous two albums by L’Effet C’Est Moi will find some of the music unexpected. That is not necessarily a bad thing – music evolves and artists evolve with it. In this case the ambient and medieval tracks contained here only serve to demonstrate the artist’s deep musical education, as well as his composing abilities. Adding new elements to his music, he gives it more depth, and an expanded voice. The album never misses its mark. The listener never stops to relate, emotionally and rationally, to what is presented.
Are humans driven to war in order to defend their high patriotic ideals, or because of their incapacity to resist a higher power that commands it? Do we fight against our foes, against our very own natures? Emanuele does not fail to present the negative sides of these issues, as in his art the blood and gore of battle go hand in hand with the ancient gods giving their blessing to the warriors. Brotherhood, loyalty and high beauty are mingled with disappointment, defeat, and death. Never losing contact with the divine inspiration inside every being, even in the harshest conditions, the spirit soars high, nobility breaks through, hope illuminates. Faith prevails. The concept of art as an elevation of the spirit finds here one of its finest expressions.