A psychedelic epiphany? A blessing from Geronimo? Jungian anima? Itmatters not - Nicolas Laureau, Fabrice Laureau and Mitch Pires continue theirpursuit of new horizons, reaching wider (and higher) without losing any oftheir constructive rigour.

Their Beast Me ep in 2011 saw them celebrating a Fiesta de los Muertos under a volcano,alternating shamanic doom-rock and carnival-style drum beating. With Pink Renaissance they drag themselvesfrom the darkness and walk into light, a veritable kaleidoscope of light infact, sporting generous electronics and heavy bass. The album opens with ashower of shooting stars, airborne melodies, Mitch Pires’ crisp drumming andever-changing modulations - the scene has been set. Pulsing with hope, calm andfreedom, yet tinged with a little of the sadness that always accompanies a timeof transition, Pink Renaissance is surprising in the current climate ofgloominess: sensitive and sensual, Kalimba Song invites Steve Reich to aYoruba party, Chromatic is influenced by both This Heat and Jim O'Rourke’sprogressive pop, Stellar Friendship – echoing the group’s track StellarSubkingdom - weaves magical arpeggios that remind one of French seventiessoundtrack composers François de Roubaix and Michel Colombier floating throughthe cosmos, while the psychedelic stoner sound of Asvattha hasHindu-like undercurrents that unquestioningly rise to their nirvana, a statedefinitively achieved by the sunny track Rise. As for Rosen, whichends the album with a flower in its rifle, it revisits the leitmotiv of theirsoundtrack to Golem, the famous German expressionist film from 1915, in which aclay colossus saves the Jewish people. It’s the celebration of a renaissance, somethingthat will happen again and again, forever.