LES LARMES DU DALAÏ LAMA

1. Les Larmes Du Dalaï Lama for Jean-Pierre's adventurous drums, Robert's airy guitars that can distill sweetness; Christian's tireless vocal on this long, captivating melodic crescendo; tears or not it's just an explosion of musical joy in the absence of tears for the title that shows another energy for the 90s decade 2. Le Ballon De Billy for the acoustic guitar, the synth and the metronomic vocal; the title that doesn't teach anything new but that goes well, well like the guitar solo, the soft rock atmosphere; the break with this heavy riff that had started on the previous albums, to seek the direction of the band's sound, in short a simple piece that doesn't take itself seriously but musically without stain; ah the final solo, how shall I say, angelic! A track that creates a calm, serene atmosphere, the band regaining momentum. 3. Tout Oublier for its synth-driven sound, the easy chorus, and the melodic-melancholic feel; there's a touch of SERRA in it, a track that rolls with a beautiful final guitar solo, that's something. 4. La Bête with its mysterious intro, synth pad, and Christian already; a minimalist piece that builds, swells to a bluesy-rock-heavy crescendo, simple but effective; a mysterious outro to add a bit of prog to the track. 5. Bonnet Rouge for the wink, a fresh aquatic rhyme with a time-honored organ that sets the track ablaze. The solo will be synth-new wave, creaking like the door to Nemo's submarine, oh damn, I've got the wrong Calypso, consensual with an easy fade-out.

6. Nonne Assistante À Personne À Tanger and the cinematic intro before its time; the tune go to 'Magnum' yes the series; rhythmic, nervous with the riff that oozes behind, and the chorus with the wink that does its job; I find some THIEFAINE there, a sober and dark atmosphere, latency and an energetic orchestral break, a musical melting pot of madness and clutter; the resulting guitar solo is worth its weight, pulling its notes high; a piece in 3 stages with the languid finale, narrated vocal 7. Couleurs En Colère on a guitar arpeggio, a warm text as Christian knows how to release, desire for a better world and Jean-Michel who releases a solo to damn the angels; ambient break before the very fat prog finale and a burning wah-wah pedal 8. Les Herbes Folles for the nostalgic title on memories of yesteryear and a tenacious, addictive tune, the synth that bursts its notes before laying them on the piece; prog is definitely back; Come on, a touch of Rimbaud and the bucolic progressive passage which is a pleasure given the previous albums which were lacking in this; a delicate bluesy side before the soaring synths à la JM JARRE which pleasantly surprises, Francis being able to navigate between his old and new, a true craftsman... from Franche-Comté in fact 9. Les Enfants Du Hasard for the finale, an easy title with the Gruyère cheese and the hole which made these children of chance germinate; a title with an addictive chorus without great intention lacking soul given the prog titles before; in short, a little applause to get up, stand up, stand up he says so we do it.

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