Golden Scissors


kris menace

No need to introduce you Kris Menace. Well, for those who still need to  go back to class, here is a small biography of the man.  Christophe Hoeffel, his real name,  began to use his moniker in 2005, when he collaborated with Lifelike, to release “Discopolis”. He’s also responsible, with his partners in crime Alan Braxe and Fred Falke,  for creating this cosmic/space disco sound.  He’s been remixing tons of songs for the likes of  LCD Soundsystem, Moby, Metronomy, Bag Raiders (“Shooting Star” is still my favourite), …  He’s also producing under other aliases such as Black Van (created with KoweSix) and Stars on 33 (teaming up with Lawrence Tompson & Radical Peterson).

The German based producer has created his own label, Compuphonic, in 2006 on which he has already released two albums, “Electric Horizon” being his third one.


Falling Star, the first single from the album, is the perfect example of what a Kris Menace track is. It starts softly with a regular beat, adding then the bass and the cosmic disco wave of melancholic melody that  escorts us trhoughout the whole song.  Kris plays several times with our emotions with its unique way:  he stops the beat at 2’25” to raise a climax at 2’40.”  He does the same by taking out the melody at 3’12” to let it all out at 4’32”. The songs ends with a “lazer-like” beat. Falling Star is a stellar song, sending us  somewhere into the depth of the galaxy.


The beats starts sounding like a ping pong ball. The distorted melody evolves into a powerful chaos every 30 seconds or so with a climax at 2’30” and at 4’04” .


After a one minute introduction conducted by strange noises that reminds me of lava (not that I’m a volcano expert), the bassline and the synth finally hit our ears. Kris makes the track evolves every minute or so by adding an instrument to the wavy lead. At 2’40”, we can hear what seems to be a crystal/water drop melody. At 3’44”, the strings are added and give more consistency to the overall melody. The tracks ends as it has started: with strange sounds in the back …

eFEEL (ft. KoweSix):

eFeel is the second single from the LP and features the only guest of the album: KoweSix. He’s the other half of Black Van (remember my introduction?). As usual their sound is very “bassy”, they implement several climaxes in the song and they add strings to the wavy melody. This track is one of my favorite as it is a joyful, yet still melancholic song.


The piano and the beat precede the bassline, so when the bass starts you know your feet  won’t stay sill until the end of the song.  And damn right! Go check at 3’02” if you don’t believe me. The track just explodes  after a mad climax build-up, Kris Menace style! The songs ends slowly with the piano playing on its own.  We would have thought that Kris would have  given us another rise but nope!


I tried to get the translation of this title; I came up with a vague one: Melodramatic Game.  The brass ensemble appearing at 1’35” gives more weight to the pre-existing melodramatic melody.


Don’t turn the volume up, it’s on purpose! The worrying melody, the kind that I would hear in an horror movie, just needs its time to come across our ears, well accompanied by a strong bass line, giving more magnitude to the song.  Chaos happens in a well build-up climax at 4’36”. Electric Horizon is definitely the darkest track from the album.  It ends up in a 2 minutes black hole of darkness.


“Enivrons-nous d’amour” literally means “Let’s get drunk from love”. The melody combined with the bass gives a sexy feeling to the song. I could picture myself sensually dancing to the track, making love to it, seducing it instead of someone. Ok, I think you get the picture …


Eglecy starts off a little bit harder than what Kris Menace has got us used to. Don’t be fooled, it’s only a matter of a couple of seconds before the traditional groovy bass and wavy melody come along! For the last one he has given a pretty nice delayed effect to it!


From the outset, the nostalgic melody makes me think that this track is more a reminder of a former relationship then an actual one.  Even though the bass line tends to send us a “there is a hope that everything is gonna be alright again” feeling, Kris gives us no emotional rest as the melody emphasizes at 4’48” the suffering caused by love.


The track starts off with a strong arpeggiated bass. I just love arpeggiated bass. It gives a very macho/disco twist to a song I reckon.  Nevertheless, it is not a so “macho” song as the melody is being added. It even softens the track.  This is a cosmic/italo-disco match, especially after the climax at 4’27” when all the different elements join forces together.


It really sounds as Kris Menace has decided to put his “different from the usual” productions at the end of the album.  This one is deep house oriented track. It’s a very relaxed song, kind of like a lullaby.  It has those “water drop” and jingle bell melodies. I am happily surprised

WE ARE (extended):

The only difference with the original track is the added vocals by The Kiki Twins starting at 0’52”.

Electric Horizon is available here.

Just in case you missed his latest mix, which we premiered, click here!



Categories: Cosmic, Electronic, Reviews

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