Whether in prestigious festivals (Paléo Festival de Nyon, Fusion Festival, Incubate, Womad, Bad Bonn Kilbi, Jazz à la Vilette) or on the four albums released since its launch, Orchestre Tout Puissant Marcel Duchamp a mischievous title in homage to traditional African groups – Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrytmo etc… – and to one of the greatest dynamizers of 20th century art) shows an incredible fluidity. The band embraces the forms of its musicians while pushing them to their limits. The result is a powerful, experimental, unstable and terribly alive, organic sound.
These characteristics can be found on We’re OK. But We’re Lost Anyway, fifth opus of the band. Built around twelve musicians, extirpated from their respective biotope, it develops a repetitive musicality which, deployed in successive waves, creates a feeling of trance. Mixing free jazz, post punk, high life, brass band, symphonic mixtures and kraut rock, their sound only goes beyond the limits of genre. Transcendental, almost ritualistic, the music is coupled with powerful lyrics, declaimed in rage against a world that is falling apart. Adorcist, hypnotic and post-syncratic, the Orchestre Tout Puissant Marcel Duchamp, far from Tzara’s manifesto, is somewhere between Hugo Ball’s phonetic psalms, a Sufi procession that turns into a brawl and a voodoo ritual, but always with a precision proper to the monomania of an asperger.