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Au Rêve

Au Rêve

1.0 1
by Cassius

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Going backward to go forward is an artistic strategy that's old hat in dance music -- the current wave of electro artists mining the sounds of the '80s is only the latest manifestation. But don't lump the latest from Cassius in with your new-wave fetishists. The duo of Philippe Zdar and Hubert "Boombass" Blanc-Francart, who electrified French clubgoers with


Going backward to go forward is an artistic strategy that's old hat in dance music -- the current wave of electro artists mining the sounds of the '80s is only the latest manifestation. But don't lump the latest from Cassius in with your new-wave fetishists. The duo of Philippe Zdar and Hubert "Boombass" Blanc-Francart, who electrified French clubgoers with 1999 -- a sweaty template for retro-styled frog-house -- strip away the kitsch and eject the irony on Au Rêve. The result is an '80s record freighted with millennial dread as well as giddy celebration. Cassius make an artistic stand early, choosing underappreciated house vocalists such as Jocelyn Brown and Leroy Burgess while their contemporaries entertain rock vocalists and folkies (the Wu-Tang Clan's Ghostface Killah appears on "Thrilla" in a well-meaning nod to their beloved hip-hop). Then, rather than craft bouncy Paradise Garage anthems for their guests, Cassius unleash torrents of rock guitar, Rhodes piano, freestyle-era samples, and skeletal beats that cast the soulful vocals in high relief. The incendiary single "I'm a Woman" features Brown in all her warrior-goddess glory, with guitars blazing over 808 beats. Melodic, tough, and armed with a hook that won't stop, it's a throbbing bit of perfection that confidently walks the line between diva house and techno. Likewise, the harrowing "The Sound of Violence" features growling bass lines and skittering guitar in desperate counterpart to Steve Edwards's buttery croon. It's hard to maintain this level of intensity, and Au Rêve's latter half trades energy for ambience with down-tempo tracks such as "Nothing," an Alpha-reminiscent mix of vinyl hiss, soul vocals, and harmonica. The powerhouse vocal tracks more than make up for the downers, which pale only in comparison to the white heat generated early on. Aiming squarely for the late-night dance-or-die crowd, Cassius hit the mark -- don't play this one before 3 a.m., and you'll be fine.

Editorial Reviews

All Music Guide - Andy Kellman
One thing Philippe Zdar and Boom Bass didn't learn from label mates Basement Jaxx on album number two: How to make a tight record. Part of the greatness of Basement Jaxx's own sophomore album had to do with its brevity -- it was a whirlwind of countless styles, with house as its launching pad -- that sounded honed without the edges smoothed out, and it blew by before you got the chance to catch your breath. Though the range of sounds isn't as vast, Cassius' follow-up to 1999 has all the ingredients for a perfectly constructed gale force of a record, but many of its ideas are given too much breathing room. Long-winded tracks that would've worked better as brief interludes or outerludes (or even left as decent, extended B-sides) slightly deflate rather than complement a clutch of great vocal tracks with impeccable production work. "I'm a Woman," despite a regrettably scorching guitar intro that might've been cribbed from a 1989 issue of Guitar magazine, settles into a nimble, uplifting groove with disco diva Jocelyn Brown (Inner Life, Musique) in booming, spectacular voice. Boogie king Leroy Burgess (Black Ivory, Logg) takes over for both "Under Influence" and "'Till We Got You and Me," two irresistible house cuts double dipped in funk and gospel. "Thrilla" is Zdar and Boom Bass' very own "I'll House You," with Wu-Tang's Ghostface Killah on board for some fast and furious rhymes. But the greatest of all is Steve Edwards' shot, "The Sound of Violence," with the album's most wickedly zapping bassline and tangles of funk guitars that scratch and wah-wah. Compared to 1999, Au Rêve is much more organic, thanks to both live instrumentation and the wealth of great vocal turns. In that respect, it's a step forward for the duo. Just keep that program button warm.
Entertainment Weekly - Jon Caramanica
[Au Rêve] shows [Cassius] to be among the least parochial and most proficient of their discofied Gallic peers. (A-)

Product Details

Release Date:


Album Credits

Performance Credits

Cassius   Primary Artist
Jocelyn Brown   Vocals,Background Vocals
Leroy Burgess   Vocals,fender rhodes
Steve Edwards   Vocals
Connie Harvey   Background Vocals
Ernie Watts   Saxophone,Tenor Saxophone
Janet Wright   Background Vocals
Ghostface Killah   Rap
Gladys Gambie   Vocals,Background Vocals
Celine Bary   Background Vocals

Technical Credits

Boom Bass   Composer,Engineer
Mike Marsh   Cut
Jean-Paul Gonnod   Engineer
Cassius   Producer
A-Lex   Image Design
Bertrand   Engineer
Alex Courtès   Image Design
Olivier Lude   Engineer
Zdar   Engineer

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Au Rêve 1 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
Warning: i wish someone woul;d have told me this beforehand.. if you enjoyed 'Daft Punk :discovery' or Cassius' first album "1999" then youd absolutely hate Au Reve. the poni of me getting a Electronice Techno whatever you want to call it-esqe cd was so that i didnt have to hear women and men singing their hearts out on some lame ballad. this cd is full of that. I am so upset that i cant even begin to explain how terrible this is. Here is the review: Hi water- well it starts off nice for the first 20 seconds and then it goes all squeaky drags on and on and on... The Sound of violence- well lets just say it made want to perform acts of violence on my cd player... way too much "i love you i need you oh oh baby" stuff and then theres this annoying guitar in the backround and then it reminds me of some circe 94 club lameo Under influence- um.. yeah this has "i Suck" written all over it Room tone- this is the best 1minute and 4 seconds on the enitre cd... Thrilla- i love ghostface killah but not this song... it was okay, but i didnt want a rap cd so it was not needed or wanted Telephone Love- what the bleep. the little ringing of the phone is so obnoxious and it is like someone is conitnuously repeating the old commercials for IBM in the backround or something Im a Woman- no no no you sound like a male. this is gosphel club music, with the choir in the back saying ooo oo ooo over and over again Protection- I dont want to wait in vain for another classic like 1999, this little song is okay i guess Till we got you and me- this is like.. well i cant even compare it to something.. its one of those songs you can hear in gap while youre trying on clothes, you can dance to it in the dressing room, but you woudlnt want to go to the register and say 'oh wow i love this song where can i buy it?' no you definetly woudnt ask them that... In 20 years (how do you see me now)- starts off like one of those old school nintendo video games (which i enjoy) but then here comes the guy singing again like if hes running out of breath which gets very annoying Nothing- another nintendo beat mixed with some 80's 'sex me up' beat.. its okay at first but oh boy wouldnt you guess, the choir is singing again, and this time they brought a harmonica along. Barocco- its not that bad. theres no singing so of course i like it On- on on on on oon on on on... isnt that annoying? well this is what is said over and over in this lovely techno beat. why why why?! Au reve- The beat in this isnt half bad. Its reminesent of a song thatd i enjoy. Well,like i stated earlier, if you are a 'Discovery' lover then you will NOT like this Cd at all. i just pray that Cassius comes to their senses and goes back to the lovely beats they had on the first album.