Fhloston Paradigm’s continued association with The Fifth Element makes sense: that film’s vision of the future was more concerned with the surface-level pleasures of gaudy costumes and kinetic choreography than developing a deeper subtext. The album is also an hour long-short by film score standards, but for an album with several leisurely ambient stretches, it’s a commitment to sit through. “Tension Remains”, which features operatic vocals from Pia Ercole, sounds like a fairly explicit call-back to Besson’s famous blue-skinned diva, but The Phoenix lacks the narrative quality to make it anything more than an amusing reference.
Unfortunately, the rest of The Phoenix has a tendency towards the anodyne, a flaw that lies more in the languorous composition than the execution. It’s a massive-sounding elaboration on burnt-out techno, and inventive enough to explain why a somewhat backward-looking project would find a home on Hyperdub, a label that’s always seeking to push dance music into the future.
There’s nothing more absorbing on the album, or sweeter on the ears. The pinnacle of the album comes on the nine-minute title track, its mutating rumble of drums and ominous chords anchoring a teased-out jumble of synth notes that eventually emerges as a bee-sting-precise melody.
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In the colorful future, a cab driver unwittingly becomes the central figure in the search for a legendary cosmic weapon to keep Evil and Mr. With Bruce Willis, Gary Oldman, Ian Holm, Milla Jovovich. It’s hard to hear Natasha Kmeto’s appearance on “Light on Edge” without thinking of Fhloston Paradigm’s fantastic, seductive remix of her track “Deeply”, which saw him embellishing around a straightforward vocal line to hypnotic effect. The Fifth Element: Directed by Luc Besson. By contrast, the sung melodies sound simplistic, and when there are discernible lyrics, they’re more distracting than atmospheric. Surprisingly, Britt’s melodic sense is easier to appreciate on the fully instrumental tracks-see the icy synth lines on the dizzying “Race to the Moon”, an early highlight. The production sounds more expensive, and the arrangements more elaborate, with six of the tracks featuring guest vocalists.Īs a producer, Britt is in fine form here, and listening to the album on a good pair of headphones reveals truly beautiful details-the expressive drumming on “Letters of Past”, the subtle, woozy dissonance that emerges from the immersive clouds of album closer “Light on Edge”. The rest of The Phoenix distances itself from the gear-grinding analog techno of the EP, applying that track’s mutant-pop gravitas as a schematic for something more dramatic. The menacing, back-to-basics EP cut “Chasing Rainbows” reappears, and its slowly downshifting melody remains the most memorable earworm here. Britt carries it off with a sonic precision that can be dazzling, but at times strays into territory that feels blinkered by nostalgia. But the skilled Korben Dallas has fallen in love with Leeloo and decides to help her to retrieve the stones.His new album, which sees Britt assuming the name Fhloston Paradigm as a full-on alias, revisits and fleshes out the same territory as the EP, which functioned as a kind of alternate soundtrack to Luc Besson’s pop-art sci-fi flick The Fifth Element (the name Fhloston Paradigm itself originated with “Fhloston Paradise,” the futuristic resort Bruce Willis’ character visits in the film.) It’s a concept that recalls not only the Afrofuturist tendencies of early techno, but the heady positivity of '90s pop culture, when science fiction trafficked more in sensory manipulation than dystopian paranoia. Meanwhile, the Evil uses the greedy and cruel Jean-Baptiste Emanuel Zorg and a team of mercenary Mangalores to retrieve the stones and avoid the protection of Leeloo. Leeloo tells him that she must meet Father Vito Cornelius to accomplish her mission.
She escapes from the laboratory and stumbles upon the taxi driver and former elite commando Major Korben Dallas that helps her to escape from the police. However, a team of scientists use the DNA of the remains of the Fifth Element to rebuild the perfect being called Leeloo. A Mondoshawan spacecraft is bringing The Fifth Element back to Earth but it is destroyed by the evil Mangalores. The only hope for mankind is the Fifth Element, who comes to Earth every five thousand years to protect the humans with four stones of the four elements: fire, water, Earth and air. In the twenty-third century, the universe is threatened by evil.
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