"1: inversely thing

Sounds barely audible, then gradually emerges a sound grainy paste, metallic lacerations, like a magmatic mass that advances, inexorable and dark, leading to large industrial debris, then a form of indistinct song.
The saxophone finally, with strange sounds like a machine that would suddenly release its steam, by blows. A breath of the depths that lets some slag escape. The fascination is installed, pregnant. A burst of laughter, a tormented speech, a tormented discourse enclosed in this sombre mass of sound which inevitably moves forward, and sounds serious, a guitar, industrial and poetic, with uncommon dream power.
Then this mass is made lighter, repetitive guitar lines, vaguely Spanish or almost bluesy, nostalgic. Nothing is installed, everything is transformed. A distorted voice holds an inaudible speech. Landscapes emerge, blend, complex and seductive, captivating the ears, propelling the imagination, pinching the end of the heart.
Towards the end of the play, a stunning solo by Augustin Brousseloux, interwoven with tablecloths and synthetizers, chants strangled in sax ... the industrial spaces unfold and then everything is silent, on a note of guitar, alone.

2: irrational fugitive

It begins as a sax song on repetitive guitar notes. This singing becomes exasperated, erratic, quarrelsome, loses its reason, plunges into the depths of the breath and then spins in the treble, tablecloths with repetitive pulsations forming box. A Quentin Rollet superlative, impressive mastery, imagination. And always these complex, unstable sound magmas, with the regular breathing, compost of new efflorescences to the guitar, new twists to the sax. A dark beauty elaborated in the secrets stills of Jean-Marc Foussat.

This assemblage of talents produces unsuspected sound universes, of a fairly rare dream power. A remarkable album!"-Jazz a Paris (translated by Google)