This Friday, French progressive heavy rockers Wizard Must Die will release their second album, L’Or des Fous, through respected countryman imprint Klonosphere Records. Building on some of the stylizations of their debut, 2018’s In the Land of the Dead Turtles, the Lyon trio introduce drummer Robin Aillaud to the fold with guitarist/vocalist Florent Michaud and bassist Robin Aillaud (relation assumed) and take a marked step forward in terms of refining their songwriting. Comprised of six tracks running a still-vinyl applicable 48 minutes total — three songs per side, but it breaks down to a longer side A than B, I think, unless there’s some shenanigans in the running order for the LP edition — the album is defined as much by the scope of its reach and dynamic as by the methodical and purposeful nature of how its songs are laid out.
It’s been six years since the debut, but Wizard Must Die answer that with a progressive point of view that proves its patience from the comparatively languid, jazzy opening of “The Breach” as the lead cut makes its way toward the takeoff about a minute in, part of a build that will take place over the song’s six-plus minutes and resolves in a crush of riff executed with no less intent and that maintains the intricacy of the parts before it. By the end it’s practically a boogie. Wizard Must Die aren’t heavy-progging out for five minutes and tacking on a big riff, in other words, but the 12-minute “The Disappearance of Camille Saint Saens” is ultimately headed to a similar place.
As one might suspect, the route it takes to get there is different. Along the way, Michaud channels an inner Thom Yorke for quieter moments while the more emotive crescendos feel born of a Cave In spirit while also taking influence from post-metal and heavy psychedelia. If you heard the first record, it probably won’t come as a surprise that L’Or des Fous is multifaceted — it’s not new in terms of their sound — but the poise and confidence that brings them through the married parts of “The Disappearance of Camille Saint Saens” is crucial to understanding the album as a whole.
Because really, the crux of it is that Wizard Must Die are in control here from the outset. “Flight 19” underscores the point the first two tracks readily make, not only diverging in sound, but shifting intent in terms of the linear structure to allow for an almost deserty sway in the midsection recalled but not emulated by the final march at the end. Each half of L’Or des Fous feels like a course unto itself — though there’s a front-to-back flow as well; but in terms of how it seems to want to be heard, it’s three and three — and considering that, the procession between “The Breach,” “The Disappearance of Camille Saint Saens” and “Flight 19” are all the more impressive for the clear sense of direction and the vision-in-sound manifest in their individual sprawls.
Whether a given stretch is minimalist or full-volume assault, L’Or des Fous does not neglect to set the mood, but it does challenge the listener to keep up. “Flight 19” moves from its dreamy middle into a gallop metered by snare taps, and there is respite within those first three songs of the album’s first and longer half (talking about runtimes for sides A and B; awkward phrasing acknowledged), and “Close to the Edge,” which is the presumptive leadoff for side B, turns from an airy strum to a rolling current of distortion, led by the riff but open vocally around the repeating title line, so mirrors “The Breach” somewhat in how it leads off its respective side.
“L’Or des Fous,” the penultimate title-track, picks up from the fluidity with which Wizard Must Die cap “Close to the Edge” and works with no less efficiency into its verse, offers a touch of psychedelic shimmer in the guitar and vocal melody of its chorus, and works through two crescendos, the second one culminating a looser-feeling sway with rumble and crash alike. Like “The Disappearance of Camille Saint Saens” and several others included, closer “Clouds are Not Spheres” has a heft in reserve that by the time it’s done will see the band wield their final hook-groove like it’s a sledgehammer, and so makes a fitting point of conclusion.
The band are still somewhere intangibly dug into post-Porcupine Tree prog while basking in the off-kilter paranoia of the titular lyric and, after it all gets very, very heavy, a raw guitar-and-voice-only epilogue rounds out, as if to highlight one last time that Wizard Must Die have intention behind everything this record does and that even at its most chaotic seeming, their control is unflinching. This is impressive enough in concept before one even gets to the stylistic nuance writ throughout the material here or the ways in which L’Or des Fous shows the band as having learned so much about their persona as a group in the years since In the Land of the Dead Turtles.
It is ambitious, and justifies that ambition in the complexity of the songs while still giving the listener space to exist within the movement between parts, tracks, sides, and so on. It might take a couple listens to sink in, but approach the premiere below with the idea in mind that every measure — even that bit that’s just about establishing a riff before the vocals kick back in; even that sudden stop and twist — has been considered, and see where it takes you.
As always, I hope you enjoy.
PR wire info follows the L’Or des Fous full stream on the player here:
Wizard Must Die on L’Or des Fous:
“‘L’Or des fous’ marks an important evolution in the history of Wizard Must Die. Firstly, because it’s our first album with Robin, our drummer for 5 years now, and he has brought an incredible rhythmic richness and rigor to our tracks. Secondly, because it increasingly asserts our identity, our doubts, our anxieties and our desires for the future. We’re very proud of this new record. We’ve put into it our love for the sound of the ’90s, our passion for stoner and prog and our unhealthy fascination for doom. It’s dense, it’s rich, and you’ve got to put a lot of effort into listening to it! We hope people will like it as much as we do. Now it’s time to bring it to life, to tour as much as possible and get people to listen to it and say: “Yeah, this is a FUCKING album!”
Pre-order link: https://wizardmustdie.bandcamp.com/album/lor-des-fous
Since 2013, the French trio Wizard Must Die has been riding the waves of the stoner rock scene. Led by singer and guitarist Florent Michaud, alongside bassist Enguerand Dumas and drummer Robin Aillaud, this Lyon-based band blends complex yet direct rock with a progressive and psychedelic twist, drawing comparisons to bands like Baroness, Mars Red Sky, and Motorpsycho. Their debut album In the Land of the Dead Turtles (2018) gained recognition for its exploration of stoner and desert rock genres.
Now, Wizard Must Die is preparing to release their second full-length album, L’Or des Fous, via Klonosphere Records. Recorded and mixed by Christophe Hogommat (Mad Foxes, 20’s Falling Man) and mastered by Thibault Chaumont (Carpenter Brut, Igorrr), this album delves deeper into the band’s identity, offering a more personal and introspective sound.
L’Or des Fous is a blend of powerful riffs, intricate rhythms, and rich atmospheres. The six tracks explore themes of personal evolution, change, and inner growth. To underscore this transformation, Wizard Must Die introduces new instruments like the saxophone and mellotron, expanding their sound beyond stoner rock into progressive and melodic territory. Influenced by 90s rock, the album features subdued vocals and impactful choruses, with the French-language title track, “The Fool’s Gold” capturing the band’s evolving identity.
Tracklisting:
1. The Breach (6:38)
2. The Disappearance of Camille Saint Saens (12:21)
3. Flight 19 (8:44)
4. Close to the Edge (4:21)
5. L’Or des Fous (6:40)
6. Clouds are Not Spheres (9:46)
Wizard Must Die, “The Breach” official video
Klonosphere Records on Facebook