Déjà Vu (Première Partie)
Novelists move towards a more electronic, chorus-led sound on Déjà Vu (Première Partie). The French band still use technical guitar playing and heavy metalcore riffs, but the songs give synths, dense production and direct hooks a larger role. There are strong moments in this approach, even if the album feels less substantial than its twelve-track list suggests.
The structure is the main issue. Seven full songs are separated by five short instrumental pieces, making the whole record feel closer to an extended set of singles than a fully connected album. The quieter passages are often attractive, but they interrupt the momentum instead of consistently helping the surrounding songs develop.
“Smoke Signals” gives the record a convincing start. A melodic guitar solo arrives early, leading into a heavier arrangement with electronic layers and a clear chorus. The playing has the detail that makes Novelists interesting, while the song remains direct enough to make an immediate impression. It is a good example of the newer production helping the established strengths.
“Heretic” adds chunky riffs and rough synth sounds, with guest shouting bringing extra pressure to the vocal arrangement. The big refrain works better than every detail around it, and some of the guitar flourishes feel less naturally placed. “Made by Design” integrates its electronics more comfortably, using a restrained solo to connect the song’s different sections without taking too much time away from the melody.
The interludes offer genuine changes of texture. “Colas” gives the guitars a softer, more spacious setting, while “Erre” turns towards classical guitar. Those pieces show that the band have a broader range than the heavier tracks alone suggest. Their placement, though, leaves the album stopping and restarting too often.
The final stretch contains some of the strongest material. “Do You Really Wanna Know?” and “Lost Cause” bring substantial hooks, detailed guitar work and electronic effects into better balance. They make a stronger case for this direction than the less distinctive vocal melodies and simple lyrical ideas elsewhere.
Déjà Vu has enough good songs and skilled playing to be worthwhile. Its weaknesses come from the way those songs are assembled and from hooks that do not always match the quality of the guitars. A more developed sequence would give the band’s new approach a clearer identity.
