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July 9, 2014 by sshhoobbmmxxbblloogg

Jesuslesfilles – Le grain d’or.
Released 29 Apr 2014.

I have been a long time fan of Montreal garage pop noisemakers Jesuslesfilles, stemming way back to coming across their killer split with The Peelies. We’ve corresponded heaps (thanks internet) and I’ve featured them on my site twice already. Three times, they say, is the charm.

This is their latest record, self produced and cramming eleven shards of angular, dissonant post-pop into a mere twenty four minutes. This urgency is crucial to the bands being, devoid of excess fat and adhering perfecting to Do-It-Yourself attitudes, without sounding like anyone or anything predecessing it.

Opener Bicyclette kicks off with aggression, all stomping drums and scuzzy guitars. Martin’s vocal soars over the whole thing, almost detached, part sneer, part comment.
Super Mastermind follows, part 60’s garage stomp, part 80’s alt/college rock searing guitar parts. The rhythm section, particularly Benoit’s metronomic drum patterns drive straight to heart, pulverising enough to not be drowned out, but still with the subtlety to not dominate your headspace. The dual vocals of Martin and Azure fizz and swirl amidst the noise, the contrasting tonality pitching just the right amount of girl/guy tension.

The ominous, PiL like intro to Helena rumbles and broods, before exploding into almost minimal riffing and motorik rhythms. A cross between Spacemen 3 and a Postcard Records compilation, fronted by an art school vocal duo, personally this is one of my favourite tracks on an already favourite record.

The droning guitar work announcing > fort is soon coupled with pounding skins and a counter riff and the twin replicating vocals of A&M, and a bass line that slinks and twists around everything. This is a song that reminds me bizarrely of the love child of Television and if Bikini Kill weren’t singing about grrrrrrl power, which is a truly wonderful thing.

At a mere twenty eight seconds, title track Le grain d’or could be seen as filler. I argue it’s more a segue, an ambient, noisy step away from it all. It’s length merely allows you to catch your breath.
Mort de fatugue races up on you after the momentary lull, all Cramps partially psychobilly riff and demonized drums.

Manteau de poil almost sounds like Le Tigre run over and resurrected as a snarling, swirling garage pop number. The processed beats and jarring guitars make this an unlikely dance floor pleasing piece of noisy, disco flecked art-rock.

Album closer Les temps des amour has the air of Royal Trux (circa Sweet Sixteen) about it, 70’s power pop stomp and heavy cymbal action. Coupled with whip smart, angular guitar work and liberal feedback, it’s a perfect closing shot from a band who aren’t afraid to embrace and then mutilate their idols.

Le grain d’or is an awesome record from start to finish, there is no filler, no weak links. This is a document of band with everything to gain, but who may not even care much for your approval. They know they’re good.

And really; SO SHOULD YOU.


Head over to to get a copy (digital / CD/ LP) for between $5-12CAD


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