There’s something strange and remarkable about Maurice Louca’s latest album, Elephantine. Released earlier this year on Sub Rosa in Europe and Northern Spy in the United States, it’s an emotionally rich and textured album that sounds nothing like what he’s put out before. It’s refreshing, smooth and full of ideas. It’s challenging, but also pleasant to listen to.
The album comes as the result of a fascinating approach. Oversaturated by the electronic machines he used on the critically-acclaimed albums Benhayyi Al-Baghbaghan (Salute the Parrot) and Lekhfa (Invisibility), Louca threw it all away and started over, following his intuition as he came up with a whole new sound.