An art without intelligence for idiots without art.

“The only way to a woman’s heart, said the Marquis de Sade, is along the path of torment. Dupobs are reaching the heart of music by the same path.”
– Momus

Le Sex l’Ove is the latest album by DUPOBS to be ignored on an international scale by music journalists of every stripe. While many pay lip service to avant-garde notions (which were probably outdated in the 1920s anyway), most revere the music-making craft thoroughly absent from all DUPOBS releases. Made in about as much time as it takes to listen to, Le Sex l’Ove marks a new direction for the band. The pop-chart failure of the previous album, Drop the Coin, inspired the band to reinvent itself. This reinvention resulted in the recruitment of vocalists Jean Poumpinallard and Patrik Sampler, who bring a Québeçois flavour to Le Sex l’Ove. In addition, a darker sonic atmosphere is achieved, in part with instruments ‘borrowed’ from a gothic-industrial band on a studio break. To this were added some unique touches, such as French horn, and mangled bass guitar (“bass destruction” carried over from the previous album). Standout tracks include the kabuki-inspired Suckle Cuckle, the ultra-commercial La la Defoulement Rectale, and the rhythmically imprecise Sur la Platte. Tai-To-Tuk is a power ballad, Chateau Humple-Crumple is a tale of real-estate speculation, and the title track professes to be a “big hit all around the world”. Indeed. Review this album if you dare.