Customer Reviews

Pulse

5 star:		(19)
4 star:		(9)
3 star:		(5)
2 star:		(5)
1 star:		(2)

 

 

It has been ten years since Front 242 graced our ears with their infectious array of beat-driven electronic experimentation. As one of the purveyors of what is now known as EBM, 242 were at the forefront of the synthesizer revolution of the '80s. By the early '90s, the band started to run into some turmoils; the two vocalists didn't agree with the new direction the instrumentalists were taking. Instead, 242 started to incorporate a more layered approach, building ambience upon their old formula coupled with abrasive guitar textures, ultimately creating a more grating sound that put the band on par with their industrial counterparts. Over the next ten years, the members of 242 would pursue other projects, as well as revamping their older material for the Re:Boot tour that ran from '97 to '02. Some didn't agree with their more techno-fied reworkings of their classics, but in this day and age of Nine Inch Nails, Prodigy, Crystal Method, and other such electronic and industrial bands who have taken the technology to new lengths, 242's old sound is now obsolete. Many fans don't seem to understand this, but the band can not exist in this day and age sounding like they did in the '80s. Not only would it sound hacknyed and rehashed, but it would be unoriginal and not in line with the band's adventurous spirit. They've always been about taking things further and pushing the limits of what is possible musically and technically. The old sound is over...it's time to move on.

So after ten years, Front 242 returns with an album of pure experimental synthesis. "Pulse" is an apt title, with the music still relying on a strong beat as the backbone. The difference now...the beats are more subdued, which may lead to some people feeling the music is too mellow for 242. I won't argue, the music does feel less harsh than much of the band's previous output, but harshness does not necessarily equal intensity. The level of sonic textures at work on this album are nothing short of impressive. Sure, to gearheads all over the world, some of it may sound derivative, like they took the presets and just recorded themselves tweaking with them to the point of being unrecognizable. Consider this...that's what much of their earlier material was in the first place as well, thus the band is returning to their roots in a sense. With so many palettes of sound going on, it's a good thing that the beats were toned down to allow the listener to hear the music as a work of music and sound, not just as something to dance to. Much of this material could easily be remixed to be danceable, or even transformed for live performances (as the band is known for altering their music to suit the live environment, I wouldn't be surprised of a song like "Triple X Girlfriend" could be made danceable in live shows). The intro track(s) "Seq666 (P.U.L.S.E.)" are 12 minutes of pure electronic bliss, perfect for the modern rave or the electronic connessieur. Songs like "Matrix (MegaHertz)," "No More No More," "One," and "Together" harken back to 242's good old mix of aggressive energy and melodic lyricism. Jean-Luc de Meyer's vocals may seem lighter than they've been in the past, but so what? The man can still deliver those dark and passionate vocals we've come to know and love. Other tracks like "Beyond the Scale of Comprehension" and "Never Lost" may sound like self-indulgent works of synthesizer tweaking, but I'll bet if they had a dance beat to them, people wouldn't be complaining.

All in all, I have to say that "Pulse" did take some getting used to. I wasn't at all prepared for Front 242 to sound like this, but over time I've come to appreciate the album for what it is, a work of pioneering electronic mastery. So there may be traces of Daniel B's and Patrick Codenys' Male or Female project in the music, but that's only natural, there's no getting around it. Any musician will tell you, no matter how many projects they have, elements of all of them will blend into each other...the people are the common thread, so it's going to happen. However, there is a distinct sense that this album is undoubtedly Front 242. Change is a good thing if you allow it to be. The Front 242 of the '80s is over...it's time for a new Front 242. The band members are older, wiser, and more experienced. How do you start from scratch? The answer is you make an album like "Pulse," to start with no preconceptions of what Front 242 are "supposed" to sound like and return to the original intention...experimentation. Front 242 was about pushing the envelope. That envelope has been pushed. It's time to find a new one, and "Pulse" pushes for that. It doesn't always succeed, but what first effort does? There are hits and misses, but that's what hindsight and improvement are for. Who knows? Maybe their next album will contain more vocal tracks, maybe not. Maybe their next album will be heavier on the beat, maybe not. Time will tell, but it is not the choice of the fans what direction 242 move in...it's the band's choice. All we can do as fans and listeners is give it the chance. It will not please everybody, but whatever does? "Pulse" is both the return and the rebirth of Front 242. Put your preconceptions aside and do as the band did...start from scratch. Don't deny the past, just remember that it is the past. It's over...it's time for the future. This is Front 242 in the now. Just give this album a chance...it is indeed worth it.

Like many die-hard Front 242 fans, I waited with sheer anticipation and excitement for the release of "Still & Raw" and "Pulse" this year. I mean, ten years is a LONG time to wait for your favourite band to return to the fold. But I didn't really have any expectations as to what it was going to sound like. Sure, Daniel and Patrick have ventured into more "electronic" territory as of late with Male or Female and their remixes of other artists as Grisha, but I knew that wouldn't alter their sonic philosophy TOO much when it comes to Front 242. IMHO, I was correct.
"Seq666" is a tour-de-force if ever there was one. It reminds me almost of "WYHIWYG" in its evolving and morphing sound over time, building and layer of rhythms and textures, and of course...the driving beats.
"Together" arrives like a rocket from 242 past with a brand-new metallic sheen, even employing those great bleeps from "Modern Angel" (one of my all-time favourite 242 songs) to great effect. This song makes you want to get up and move, due to its sheer majestic power and intensity. Jean-Luc's voice makes a welcome return to Front 242 territory, and it feels like he was never really gone after all when you hear him sing, "To belong, to be longing".
"Triple X Girlfriend" is another favourite of mine from the album. The subliminal "hums" in place of a bass-line, the skeletal beats, the sounds of raindrops in a sky lined with electric clouds, and more unmistakable brilliance from Jean-Luc in the vocal department make this one an instant classic in my view. Definitely a song percolating with sheer atmosphere.
It's true that Pulse is an album to be appreciated fully after repeated listens. You can't really decipher everything there is going on here after one sitting, and I don't think somebody could truly make up their mind about it after just hearing all the songs once. There are so many different sounds and textures to pick apart...as with any of 242's music...you have to sit down and really lose yourself in the atmospheres and rhythms to enjoy them completely.
There aren't many songs here to bang you over the head in a club-setting. Front 242 have already done that. If you want something tailor-made for a club, choose any of the five million remixes of "Headhunter" or any of the remixes Underworld or Prodigy did for them ten years ago. It's clear to me that 242 are in the mood to further experiment with their "trademark" sound and style, and that's completely fine with me.
I agree with a lot of other people when they say Jean-Luc isn't as prominent a presence on "Pulse" as he certainly could be. If I could change anything about the album, it would be that.
Some other favourites:
"One - With the Fire" starts with an ominous bass-line and erupts with a thundering beat, as Jean-Luc's immortal voice whispers in his own unimitable style. This song reminds me the most of 242's older work, but with a newer and fresher sound.
"Matrix - MegaHertz" is a true industrial anthem, with synthesized strings, jackhammering drums and percussion, and overflowing with raw power and menace. Jean-Luc's voice is again used to wonderful effect here; a song that should be released as a possible single in my view.
"Beyond the Scale of Comprehension" is full of great effects and atmospheres, with a thudding and almost uneven beat stuttering beneath what sounds like a melancholic organ and layers of distortion, coupled with some actual effective tampering with Jean-Luc's voice.
"Pan" is my favourite of the "Pulse" instrumental tracks, and a great way to end the album with what could very well be the heaviest techno elements Patrick and Daniel have ever produced in a 242 release. The drum patterns are awe-inspiring and the samples are pure brilliance.
In all, this is NOT 242 as people know them from Wax Trax eras. This is a bold and inspiring look to the future of electronic music as well as a template for what could come next in the evolution of these legendary producers. With so many dull and lifeless electronic releases clogging the CD shelves these days, it's wonderful to see something with such creativity once again. I just hope we won't have to wait so long for the next album!

My first review was short sighted.

When I first sat down and wrote my scathing review of Front 242's new album I will admit I was disappointed. I was expecting more of a mid-80's Front 242, still full of pounding youthful energy. I had heard that it was going to resemble some aspects of that decade's material. I really didn't know anything until I bought it to hear for myself.

I did something I rarely do, I acted without thinking. In this case I did that and I didn't really listen to work. Now I am back to eat some words and also redefine my perspective after hearing the songs over and over again.

Well, they are 'getting grey', but that isn't bad. In fact, within is a masterpiece -- drawing upon all the experiences and wisdom-- shining in two, new packages (also see Still and Raw). They have taken their brash sound and brought it to an easy listening level. Well, maybe it isn't even that. Perhaps it is more dynamic in its volume. I don't know - I am constantly thinking about it in different ways.

They have thrown in a decent culmination of potent wordsmithing. I prefer more songs with lyrics. I really like their lyrics. I think that may have also been why I didn't care for this CD at first, and it why I don't give it a 4 out of 5. I perceived it as having too much...

...TWEAKING. OH MY GOD: the tweaking in this is really top shelf! For purely production purposes I give this CD 6 out of 5. It is so well calculated that my brain is twitching. WOW! You just have to hear it to understand. Listen to 'Together' in it's entirety, you will know what I am talking about.

Do buy this CD. You can still read my initial review and compare.

I suspect that the reviewers who trashed this album want Front 242 to keep putting out "Front by Front" clones for the rest of their careers. Well, I shouldn't have to point out that bands progress and change, and that one should not compare a release from 1988 to one in 2003.

This album deserves more than a couple of listens before it gets panned. At first, it might not sound like the old Front 242 that people were accustomed to, but the sound is there. It's progressed. Surprises abound. Give it a second try, then a third. think you'll find that "Pulse" is a rewarding listen.

_Pulse_ is unlike anything 242 has ever done before, all though some of the stylings were clearly tested under the male or female monicker. 20 tracks of percolating arpeggiations, trance thumps and occasional breakbeats, and surprisingly low-key vocals from J L DeMeyer. Some fans have decried what they see as an excessive reliance on "rave" tactics, and a critical neglect of 242's putative primary strengths--there are no anthems on this disc! (Although Matrix-MHz comes very close!!)

However, through headphones the sophistication of the album becomes clear. This is no mediocre trance techno outing: 242 does enthusiastically embrace the bleep-bleep sonic palette characteristic of the late 90s virtual analog synth craze, but they manipulate these instruments with unmatched dexterity. The implementation of synths and breakbeats is unique and unpredictable. DeMeyer's vocalizations are for the most part low-key, but also subtle and melodic in ranges never before demonstrated on a front disc.

To get the full effect of the reanimated 242, I recommend both the ep and the album; the ep contains some well-crafted, midtempo genuine _songs_, while the album is a technological feverdream, the best industrial album I've heard in years.

Right from the get go, Front 242 sonically weaves slightly varying bpm that mimics popular mix-masters like the duo of The Crystal Method, admid fervant beats that pulsate in a cascade of intense drums, samples and infectious keyboard driven arrangements. By track number 6, a power groove that recalls, in my opinion, from the 1989 project "Front by Front" opening cut called: "Until Death (Us Do Part)". For the sake of clarity, it's more of a vague sonic resemblance. It is definetely fresh and improved. It's a song that will work any car audio's speakers to possible damage.
In "Pulse", there are more instrumentals than previous projects.
Track number 7, is a slow beat per minute, a song in my opinion,
that is similar in style like a Nine Inch Nails' lamenting and melancholy song without the downcasting and pessmistic lyrical themes. The next track, the beats per minute (bpm) pick up. The singer, repeats "No more kingdom...no more kingdom" admid a steady keyboard treatment and tempo. A few other cuts, continue on and lack the lead singer's addition to the songs. Track number, 12 begins with a big keyboard bass and syth drum pulse and the singer's sings about fire and then "One with the fire" which amounts to an interesting 3 minute and twenty second dancable groove. Tracks number 13-15 are more instrumentals. Number 16 ("Faust" ?), is a pure gothic-industrial groove that's sonically akin to a Nine Inch Nails melancholy drone.
Track number 17, has a steady bpm, which becomes a hypnotic-techno groove that concludes with a stronger drum pattern. The next track is a slower bpm and has a gloomy feel to it. The last two tracks are unique instruments that conclude this diverse CD. Twenty Songs for the techno-industrial masses that has a wide appeal for diverse techno-industrial music fans. Twenty Years(thereabouts) of recording and touring, this CD rates high like "Official Version" and "Front By Front" among the best that Front 242 has labored and perfected very well.

Front 242 delivers the goods within this enormous accomplishment. The listener is gradually taken through a kaleidoscopic array of sound reminiscent of recent work in other incarnations (namely Speed Tribe and Male or Female). Within moments it is apparent that this is no experimental soundscape bereft of true power (not that the aforementioned are, for they are brilliant). It's just that Front 242 always ups the ante. Your aural nerves begin to bristle as the hair on your mortal frame stands straight up. Are you so much as actually evolving through the process of immersing yourself in such sound...probably.

This work is filled with mysterious but highly meaningful lyrics sung through the inimitable and ageless voice of Jean Luc De Meyer. When musicians of this extraordinary caliber collaborate with a vocalist who demands the very best, it creates a wonderfully lethal production of sound. Your nervous system is stimulated profoundly by such magic. It is not unusual for electronic music to tamper with your neurons a bit. Nor is it bizarre for "traditional" music, when done well, to move you emotionally. This is the vortex that the masters of Front 242 have cornered. They have explored the richest tapestries of possibilities, coalesced that knowledge with inherent genius and delivered this infinitely pleasurable and enduring music.

You simply cannot call this "pop," "industrial" or any other label. This is pure art: transcendent of categories and capable of obliterating expectations and goading the listener into a higher level of cognitive function.

As a lover of music, I am rarely this excited about what I hear these days. Pulse is transformative and soul-invigorating in the best and most unimaginable ways.

Front 242 pulls from literature, visual art and music (just to name a few of the million wonderful things which must go into this) in a delightful syncretism and magical blend that blows you away.

I simply cannot stop listening and my brain is ravaging this disc.

Astounding work. Definitely check this pulse.

Like many, I was delighted to hear Front 242 were on their way back with a new album, their first in over 10 years. Their recent EP showed a slight shift in direction but that made it even better, most Front 242 fans know the best thing about the group is their endless innovation and their changes in musical styles. Whereas most groups are happy to endlessly plug a tried and tested formula, 242 are not happy just to do this, they are looking to try new things and that makes them an interesting and quality group.

Sadly though this album does not quite capture the imagination. It almost seems subdued for most of its playing time. When you are listening to it you are always waiting for it to burst into life, but it just always seems to bubble under without bursting forth.

I'd like to make it clear that in no way is this me being negative about their new, more sublime, streamlined sound. I don't expect them to make the angry, industrial music they made earlier in their career. They are older, wiser now and with that comes musical knowledge and experience. They want to explore new sounds and I respect that. Like I said, I loved their recent EP 'Still and Raw', so that proves my point.

It's just that the songs don't seem to flow properly on this album. It all seems disjointed and without a proper pattern, like it was just thrown together.

The music itself is good, just not as good as we have come to expect from 242.

The style for this is a bit different from other Front 242 offerings. It's a bit more mellow in some areas...and focuses more on beats and atmosphere. In any case, I really enjoyed it and I'm glad to *finally* have more new material from them and look forward to even more.

When I first bought this album, I was thoroughly disappointed. Not because I thought the album was bad, but because I was expecting to hear more Headhunter esque songs, but with an updated sound. Instead, I was subjected to a strange take on electronic music, laden with break beats, pulsating noises, and strange synthesizers, all while Front 242's vocals popped up here and there. I can say now after about a year, that I LOVE this album. I think to be honest; this is Front 242's greatest achievement to date. Sure, I know that Front by Front will always be considered an industrial essential, but Pulse in my opinion is a great gift that Front 242 has given to the world of music. Having seemingly no political messages or anything in particular, Pulse delivers a solid artistic expression of noise. It takes some time to like it, but believe me; Pulse does more than just give you "EBM taken off the dance floor and into your living room."