Cinema Strange release their longest titled album yet! It's also their longest awaited album of new material. It's bigger (with a deluxe limited gatefold digipak CD release including lyrics, and a bonus CD of L. Lanthier reading two short story versions of 'Needlefeet' and 'The Toad Curse...'). But what's new is the inclusion of live drummer Danny Walker, and the Ribiat Brothers contributing to the production as well as instrumentation. But that's not all. Cinema has learned some new tricks as well that makes this album their best yet.

"Quatorze Exemples Authentiques Du Triomphe De La Musique Décorative" successfully integrates the dual nature of Cinema Strange as demonstrated by their first two albums. The first being the more aggressive, establishing a wild and chaotic but artistic style, and the second much more atmospheric and about the story-telling. On this, their third album they've merged these aspects with an even more refined and developed use of preludes, interludes and dramatic soundscapes with their characteristic theatric that is as apparent on the recording as they often incorporate in their live show. Many of the songs on the album are already live-favorites that have developed over the past few years of touring. Some songs like 'Molars' do it all at once with interludes and bridges, while some songs lean more in one direction than the other; 'Ratcatcher' is undoubtedly a tribute to Danny Elfman's Edward Scissorhands Theme. Speaking of interludes, 'Intermezzo: Bright Violet Euphoria' is a sweet and chilly haunted mansion-esque waltz, placed appropriately smack in the middle of the album (when are we going to see a vinyl edition?). There are several songs that exemplify their abrasive side (which was mostly missing from the previous album); 'Mr. Quilts Rotten Luck' begins the album on this note after the 'First Example' as prelude. 'Needlefeet' is another of my favorites in the more powerful direction, as is the final track, 'I Remember Tendon Water'.

As per usual, Lucas throws his voice at you like a handful of hot coals, hitting so many falsetto octaves that the absurdity of it all demands more than one listen from anyone interested in the lyrics, which have the tendency to be even more absurd, although painstakingly crafted visual short stories and character profiles. Lucas also adds acoustic guitar to the album. The bass playing of Daniel Ribiat is even more intense and intricate, that it's often the dominant factor in many of the songs. On the first few tracks the basslines are masterfully detailed and faster than most other bass players to be found in the genres. Always a surefire way to endear me to a band. Michael Ribiat's guitar and piano provide the final and essential detail in both flair and rhythm. In fact this dual role between bass and guitar is my favorite aspect of the album. Daniel aka Yellow's 5-string bass provides both rhythm and leads, and Mik's guitar makes calculated and sometimes instantaneous switches between solid rhythm guitar, then using it for leads and other inexplicable sounds. The addition of a Danny Walker as drummer also has an essential part to play in the increased intensity of the songs on this album.

Like the subject matter of the songs, the CD itself looks like some dusty vintage oddity pulled out of an eccentric's estate sale. Rumor has it this could be the final Cinema Strange album but I doubt it. Even though the cast of this cinema is now spread about northern America and perhaps further, embarking on solo projects of their own. But it would not come as a surprise if it takes another three or more years before they return with a 4th album.