Quentin Dupieux a.k.a. Mr. Oizo has a knack for breaking molds. The producer’s constant innovation over the last 20 years has cemented him as a closely-guarded secret – one that has started to leak into mainstream electronic consciousness.
All Wet is but another morceau of psychedelic chirping in Mr. Oizo’s arsenal. Starting strong with “OK Then” and “Sea Horses,” Dupieux opens his oeuvre with a sleazy seminar on the archetypal funk-laden French house sound. “Freezing Out,” featuring Canadian sex-siren Peaches, is a jarring departure from convention, a footwork-accented dubstep ode to vaginas. From then onward, Dupieux takes listeners on a veritable rollercoaster of sonic exploration. Standout dancefloor-ready tracks like “Ruhe,” “All Wet” and “Low Ink” clash with the bare noise of “Chairs” and “Useless” in a beautiful chaos best consumed as an album, not a shuffled mess of singles.
Where Mr. Oizo’s sound was once too-future, votes of confidence from creative luminaries like Boys Noize, Charli XCX, and even Skrillex, are a resonating “fuck you” to the pandering, safe trend that electronic music has been invaded by as of late. Ultimately, Dupieux’s latest work is an unapologetic tapestry of intriguing tidbits. While few of its tracks fit the conventional definition of music, the impression is that Mr. Oizo never intended for them to be. All Wet, then, is a challenging, but rewarding listen for the open-minded.
Crystal Castles songs could once be split into two camps, the "pretty" ones and the "aggressive" ones. (III) is by a large margin the most focused record by the band, and front vocalist Alice Glass' lyrics take on a new importance.