Rone - L(oo)ping

A Closer Listen

Parisian artist Rone is no stranger to remixes and re-imaginings; 2020’s Room With a View was followed by Views of a Room, and even after that, the tracks continued to morph.  Many of these same tracks now appear on L(oo)ping, which was recorded with the National Orchestra of Lyon, bumping the composer from our Electronic section to Modern Composition.  But the new album is far more than a series of re-recorded tracks; it deserves to be heard as a parallel work, reflecting an alternative version of Rone, a path less traveled by, a fork in the multiverse.  When some of the more familiar melodies appear, one might say, “Oh, I know that song!” ~ but while the notes may be the same, the settings are drastically – and pleasingly – different.  Credit arranger Romain Allender for handpicking the tracks that lent themselves best to orchestral interpretations.  These stretch the length of Rone’s career, from 2008 to last year’s score for the short film Ghosts.

The temptation is to play the electronic originals back to back with the symphonic renditions, but to do so would be unfair.  This isn’t a case of which versions are “better;” they are complimentary.  This being said, the full album flows like a dream, with a propulsive energy that reflects the live performances.  The only applause appears at the end of the album, providing the impression of a single live set, an aural illusion whose primary impact is to reveal the audience’s appreciation.  Those at home will be tempted to clap as well.

While the primary tone is orchestral, Rone’s electronic presence is apparent from the start.  The synths of “(OO)” introduce the set, connecting past and present, laying the groundwork before the 80-piece orchestra enters the sonic field.  Organ introduces the familiar melody of “Room With a View” before a magnificent eruption of strings that takes the track to new heights, finally soaring so high it can no longer be heard; one can imagine the melody still playing, speeding past Voyager into the cosmos.  The closest corollary may be 2011’s Basement Jaxx vs. Metropole Orkest; it’s been that long since something like this was done so well.

In “Tikkoun” one hears Rone in the middle of the storm, still holding court, his electronic patterns the center of the piece.  In concert, the composer faced the conductor across a sea of strings.  One imagines a collision of joy.  As much as Rone’s compositions may share the architecture of modern composition, the influence flows both ways.  When modern composition develops an electronic pulse, it delivers a rare sort of thrill, as if the club were injected into the chamber.  “Motion” is a perfect example; the multiple breakdowns involve each “side” playing in tandem.  At 11:35, it’s the album’s longest track by far, yet it possesses so many movements that it feels the most like a fully formed symphony.  The low rumble of drums in the eighth minute provides subtlety that balances the larger themes; instead of giving in to excess, the orchestra embraces nuance.  When the brass enters, this produces a delicious dynamic contrast.

“Emilie Dance” adds an interesting twist, as the pulse is handed from live drums to synthesizer so smoothly that one can imagine two runners and a baton.  Seldom has the border between modern composition and electronics seemed so porous.  In the late 90s and early 00’s, many 12″ trance hits borrowed slices of classical music for breakdowns or synthesized melodies, but L(oo)ping offers a better synthesis.  “Human” is the comedown from the orchestral peak, like the cooldown record at the end of a club set; the audience responds with unbridled exuberance.

Is this the last we’ve heard of these tracks, or will another remix album follow in its wake?  We’re already satiated, but give us time, and we’ll make room for dessert.  (Richard Allen)