|Label:||A Tant Rêver Du Roi / Tokyo Jupiter Records|
Pick a handful of Frenchmen, arrange them in an atypical lineup — in this case three guitars, two drumkits, a bass and a voice, not sure who it belongs to — et voilà, the dish is served. And what a dish! Ingrina, a six-piece hailing from somewhere in the fresh football world champion country, hit it hard in every sense: their first proper work, Etter Lys, is a pitch-black pachyderm with some atmospherical passages, blended together with a general fluency that lets the 45-minute long album flow without pause, reconnecting to the short story inside the double vinyl gatefold (speaking of which, merci beaucoup).
The post-hardcore flavoured opener “Black Hole” serves as the starting point for this underwater journey, the world overturned by the constant motion of waters spilling from a dense and impenetrable lake: messing up society and the order of things, occupying every little space, from the bottom of the oceans to the firmament, shutting off the stars. Everything turns into chaos, uncertainty, instability: positive entities such as Hope and Pride in resisting the change are overpowered, and all the Lives find themselves intertwined, losing their grip on the most basic, granted things, ending up with an unacceptable present and an unforeseeable future, as told in “Coil” and “Resilience”. The duality represented by the constant flow of underwater life and the complete destruction of the current state of things is perfectly reflected in the compositions, characterized by pacific moments, almost shoegaze-sounding, with a pulsing bass and dreamy guitars which seem to come from the deepest abyss, and heavier, more chaotic ones, marked by a distinctive post-metal influence, emphasized by the double percussions which do not restrain themselves from shaking the whole thing continuously.
Needless to say, there’s no happy ending to this narration: the natural epilogue sees the Lives drown at the mercy of the current (in the beautiful “Leeway”, doubled in length on vinyl, merci beaucoup encore), drifting more and more until they lose their sanity in the closing piece “Surrender” and its infinite water flux that surrounds, embraces and melts bodies, consciences and every other thing, material or not. «We are the waters, we are the floods, the fog and the frost» is the lacerated cry of who has surrendered, powerless by now, to the natural disaster.