ANOMALIE

It’s difficult to process at first.

(you should really listen to this while you read)

His hands are too fast, his expression relaxed. Where finger meets key velveteen jazz flows, effervescent and colorful for a moment - then the patch changes on its own, and an iridescent synth lead pitch bends into the atmosphere before screaming back down to scorch the Earth.

This is clearly some prodigal shit.

He can’t be more than 25 or 26, his band-mates landing somewhere nearby. They don’t talk much, but that’s fine because Nicolas Dupuis simmers with energy the moment he takes the stage.

Anomalie was in fact born in ‘93. He is from Montreal, and got his break on Gramtik’s Lowtemp label in 2016. Odyssée, the responsible single, is a snappy romp that splices itself between electro-funk, classical, jazz and hip-hop - a sound Dupuis continued to hone as he joined the Slovenian producer on his year-long Epigram tour that same year. If you’ve never listened to a Gramatik joint (what the fuck are you doing) you should do so now, then imagine playing with that band at 22.

I was actually slated to see Anomalie play live (without his fantastic live band) last May when he opened up for The Glitch Mob at the Roseland Theater, alongside electronica-vocalist Elohim. Long story short, assumptions were made about who was opener #1 and who was opener #2, and a few rounds too many of Beerio Kart later we arrived to a mid-set change crowd enthusiastically chattering about the synth wizard who had just finished. With heavy hearts and a tearfully-buzzed resolve to make things right, we set our sights on the calendar and waited.

One human pregnancy-span later, that fateful day arrived.

Holocene is a strange performance space. A narrow ramp leads up to a bar overlooking a recessed dance floor and DJ booth. There are some couches and small tables around the perimeter, and then… a wall, cutting the venue in half. A smaller, elevated dance floor faces a stage on the wall opposite the DJ booth - this is where Anomalie Live made their sonic assault.

When we arrived, we found the venue had further segregated the already divided space with the nylon partitions you see in airport queues or movie theater lobbies. Both dance floors were designated under 21 areas and entries were monitored by security guards on stools looking violently bored. I drank my prematurely-purchased tall can quickly - Rob Araujo was showing the already-substantial crowd just how fast one can play a keyboard.

Rob actually introduced himself as Rob Arousal, which confirmed my assumed pronunciation of his name. He’s a talented (understatement) pianist who can also rip a saxophone. I discovered Rob through a song he wrote with Anomalie, and then later found and loved his solo on this Tom Misch track. His solo music is technically impressive and really just super fun. If you like Anomalie, you’ll love Mr. Arousal.

As excited as I was for such an amazing opener, when Rob’s time was over my jimmies began rustling in earnest.

The beat beneath the chords is subtle, tidal. A sea-glass-smooth adagio piano section suddenly froths and foams, gives way to tightly coiled, rippling funk. Bass, drum and synths tense in synchronized waves that seize your feet, hips, shoulders - no longer as gentle. Irresistible.

So much space that floated between augmented chords and a delicate melody is suddenly compressed, twisted, rearranged - and every person in the room feels it. Genres are hopped like fences by a breathless child. The music is heavy but joyful, shiny and textured all at once.

Anomalie picks up a clarinet and draws from it sounds you wouldn’t think possible.

In a time of unparalleled musical diversity and technological advance, it’s satisfying to see an electronic artist show their skill so plainly. Anomalie Live, for all the divergent culture their music unites, emanate raw talent.

Do some brain stretches and then listen to Métropole Part 1 and Part 2 . Bumps well with a sparkling drink, bouncy shoes, bike rides in the sun.

♥ Zach