Clint Listing | Heathen Harvest | August 2008
So here we go with a CD-R release limited to 96 copies on a label I've never heard of either. Feu Follet to me would be the bastard child of Daniel Menche, Troum and Klaus Schulze. There is a very "musique concrète" element to all of this as well. Being just 2 very long tracks totaling over 42 mins. Feu Follet mixes odd ambient colleges, distant vocals, bell and drone tones in a very organic manner. Fogbank is very densely layered but not to the point of overkill. I think this would make a wonderful back drop to avant art showing or even an arthouse film. As each moment passes, Feu Follet builds and grows to bring the listener deeper into there grasp. Live with projectors, the right lighting and the proper crowd of ambient/experimental loving music fans this could be a spectacle for all to witness and enjoy. Feu Follet never becomes boring or same sounding, the textures are just too many to ever let this happen. Both tracks are of the building, drifting and engulfing nature, never does this become noise in any manner. I really like the haunting tones, more so the 2nd track "Fogbank". Where the drone and dark ambient sound seem to be able to shine through so much more. I don't have a clue if this is what the german experimental scene is creating today but I will say that Feu Follet does one hell of a job at making you visualize the sounds they create. We clearly need more from this project and a wider pressing as under 100 copies.
Martijn Busink | Musique Machine | July 2008
The second full length by German drone artist Feu Follet, is about as icy as his debut, The Icycle Lectures, Vol. 1. Yet, you can't see this as volume 2, as Mina Virtanen's piano which carried that first album is missing here. On Fogbank the source soundmaterial is provided by Jan-M. Iversen and Sindre Bjerga, whom I'm not familiar with. Their input seems less outspoken than the delicate piano playing by Mina, although it's perhaps more a case of less contrast between the sounds of Tobias Fischer and that of Iversen and Bjerga. The title of the CDR is as descriptive as the first album though, as the drones indeed sound like a fogbank surrounding, engulfing you. Slowly but surely, not hostile but a mysteriously pleasant spookiness. The first piece may be called Norwegian Cowboy (the second is its title track), the mood is consistent over the course of its length of about fourty minutes, save a short and not too obnoxious outburst of a more noisy nature after about twenty minutes of the title track. As pleasant as these drones are I think that the first album, courtesy of Virtanen, showed a bit more character. Here the sounds are effective but also in danger of becoming a bit generic.
Bauke van der Wal | Connexion Bizarre | June 2008
As is usual with the releases on Triple Bath, each CD-R is packed in a simple yet well-designed cardboard cover stuck in a plastic envelope. And as usual, each release is prepared in a batch of 96 copies, after which it is sold out. Label owner Themis Pantelopoulos has had an eye for artists who are still relatively unknown to a larger audience, but who deserve a release because of their art. Past releases from, for example, Red Needled Sea, Nokalypse and Simulacra are the proof of this. For its tenth release Triple Bath asked Tobias Fisher - known for his activities for the highly praised Tokafi webzine, as well as his labels Einzeleinheit and Ex Ovo - for a release. Under the name Feu Follet, Fisher creates massive ambient soundscapes built from drones, field recordings, loops and additional instruments. The first track, entitled "Norwegian Cowboy," creates a creepy, unsettling atmosphere. The sounds are very well layered and mixed, and especially the background drone is very rich. The sounds dropped over this background are hasty, almost haunted, and one could say they are so active in the sound perspective so as to almost trip over each other. The second track is the title track and closes the CD. Yes, there are just two tracks, but relax: the playing time is over 40 minutes. "Fogbank" has a much more oppressive atmosphere. It is indeed like sailing an empty ocean where suddenly a fogbank appears between your ship and your goal. Faint sounds, smothered voices... It is just like your brain can't tell the difference between being blind and being deaf. The track is at least as unsettling as the first one, but in a different way. No hasty and fast repetitive loops or delays, but in its minimalism is a collection of well-chosen sounds. A final remark must be made, and that is the gorgeous production of the sounds on this release; clear and open where they should be transparent and a little bit swampy where clouds indeed should obscure them. Score: 8,5/10
Frans de Waard | Vital Weekly | issue 617 | March 2008
Tobias Fischer, the man behind Feu Follet (and his own label Einzeleinheit, and co-owning Ex Ovo) has released a CDR by Jan-M Iversen, and this Jan-M delivers, together with his pal Sindre Bjerga (the catalogue of releases reads like a who's who in CDR land), the sound material out of which Feu Follet composed the entire album 'Fogbank'. This is his second full length release, following his debut on his own label some two years ago. Still his interest lies in the realms of drone music. It's not easy to tell that the sound input is by Bjerga/Iversen, but I assume that if you know it makes sense. Feu Follet uses a lot of reverb on his music, which add that much needed atmospherical texture to the music, but it's simply also too much I think. The music becomes clouded by this excessive treatment. I wonder what it would sound like without all this reverb. In all I must say it's a pretty decent release, not the best in the genre, but certainly not the worst either. Alright late night listening.