Los Angeles – Considering the album title, The King Of Anxiety, it is no surprise that the five tracks on Petite Noir’s debut EP (out digitally January 19) display a complete mastery of the art of apprehension. Subdued guitar work and frenetic-yet-calculated rhythms offer the perfect backdrop for bandleader Yannick Ilunga’s dramatic and emotional vocal delivery. Though short in running length, this Domino Records-released EP is an impressive entry into a crowded electronic-influenced pop field. Petite Noir is perched on the precipice of indie festival circuit stardom in the immediate future and perhaps even wider recognition down the road, if future releases capitalize on the promise shown with this EP. Best New Bands last covered Petite Noir at their SXSW showcase last spring, where the band featured their “haunting and unique sound.”
Yannick Ilunga hails from Cape Town, South Africa, developing a diverse musical background, allowing Petite Noir to draw from a surprising range of influences. Ilunga got his start playing in local metalcore bands. The young musician then transitioned into the late 00’s chillwave movement, fronting the moderately successful band Popskarr. His Petite Noir project obviously shares a lot more characteristics with Popskarr than metalcore, with King of Anxiety representing a much more mature and original output than his previous projects.
While listening to the five songs that comprise The King Of Anxiety, several musical touchstones spring to mind. The vocals recall the poise and range of Tunde Adebimpe of TV on the Radio spiced up with the overt sensuality of Twin Shadow’s George Lewis Jr. While the vocals are in the spotlight on this EP, the guitar work is what really takes the record to the next level. The guitar lines have a clean, rhythmic quality that do a great job of working within the subdued song structure and avoid overpowering the other instruments. When the effects pedals are utilized on tracks such as the record’s initial single, “Till We Ghosts,” the guitars recall the power and emotion of The Edge on early U2 songs.
For those that are unaware, that guest appearance is by Yasiin Bey – that would be Mos Def going by his birth name. His appearance on “Till We Ghosts” is a pretty ringing endorsement of Petite Noir if there ever was one.
If one track on The King Of Anxiety finds its way onto year-end “best of” lists, it is the most recent single, “Chess.” A classic couple-approaching-breakup song, the lyrics alternate between the male and female point of view, giving the listener a window into a likely doomed relationship. While not the most groundbreaking subject matter in the world, the execution is nearly flawless. Though it is the longest song on the EP, it certainly feels like it goes by in a flash. Plus, “Chess” has a cool music video – it seemingly has nothing to do with the song, but it is pretty bizarre and worth a look.
The closing track, “The Fall,” sees Ilunga giving his best Prince impression, and it is pretty convincing. Just like many of Prince’s classic love songs, “The Fall” kicks off with a brooding atmosphere, only to pick up momentum until it wraps up with one final tour-de-force chorus. It is fitting, because if there is one artist to pinpoint as a pinnacle for Petite Noir, it is undoubtedly Prince.
While no tour to support The King Of Anxiety has been announced yet, keep your eyes on Petite Noir’s Facebook page for upcoming dates.
Matt Matasci
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