Even the very first vibes of this new record are announcing something great, something epic – every sound-surface is being savored with pleasure and is continuously molded. The beat, rising sluggishly with no fanfare, does not go above the 70-beats-per-minute-marker and seems to be contradicting a timely structure instead of making it possible. In short, even the opener »Springed Dodge« tries to make a paradox happen by illustrating eternity in three minutes and thirty seconds. It goes on similarly in its sphericity – the Principles of Geometry live up to their promise of reminiscing about long-gone science-fiction-works from the very beginning. Even though it sometimes sounds as if Guillaume Grosso and Jeremy Duval broke into the old studios of Tangerine Dream, Jean-Michel Jarre and John Carpenter, in order to get to their music-hardware, but it would be wrong to reduce them to anachronistic sounds. They skillfully lead us through a universality of time and space into a very present France of the beginning 21st century, in which they use stylistic elements that could be labeled »typiquement français«. The title »Carbon Cowboy« at the latest makes us identify a sound design with it sublimal sonority which definitely bears modern day features. One song later, they break out, eventually: distorted guitars and grooves no longer being able to hide their origins in the french-house. And even though it’s easy to make out all the elements of late French creativity – vocoder-voices reminding us of the early Air, cautiously used crescendi à la Ed Banger, or Slomo-disco-elements, pointing at Kavinsky’s »Nightcall« from the Drive-Soundtrack – »Burn The Land And Boil The Ocean« still manages to elude any kind of stereotypical classification.
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