Quintron's second album for Goner should fully dispel the notion that he's just a novelty act for drunk garage rockers. The fortysomething German-born Quintron — born Robert Rolston — is a one-man band, a nightclub owner and a crazy inventor, so it's understandable that he's thought of as a bit of an oddball. He seems to only follow the strangest pursuits; his live act with sweetheart/collaborator Miss Pussycat is a puppet show.
Fittingly, Sucre du Sauvage exudes warped, party-time grooves; some of the songs are centered around lunatic cheerleader vocals ("Banana Beat," "Ring the Alarm"), others a kind of fuzzy, keyboard-driven future funk that crackle like jammed transmissions on an AM radio. There are also some witty-as-heck lounge-guitar rockers ("Kicked out of Solar X"). It's the experimental music on Savage that provides the greatest joy — among them, tracks like "Bells" (which is composed of, you guessed it, ringing bells) and "Deer in the Clouds" (just oscillating pulses of synth).
Quintron's first recordings were for the notoriously abrasive label Bulb, but there's a subtlety to Sauvage makes the record cohere. Given Quintron's artier impulses, it's no surprise that Savage was recorded live inside the New Orleans Museum of Art, as part of an exhibit called "Parallel Universe — Quintron and Miss Pussycat Live in City Park," with museumgoers coming and going as the record was assembled inside a glass cage. Sauvage is exactly the kind of record that the "miscellaneous" category in the record store was invented for.