SOUFFLEURS DE VERS

1. All the Boomerangs of the World for the lyrics, the fluidity, and the acoustics, for the Middle Eastern fade-in... a coat rack, an engaging tune surfing the wave. 2. Les Écluses, again, the acoustic, highlighting the vocals, that voice that some will never be able to erase or replace; an album to fan the flames, to restart this iconic band for the umpteenth time with this languid classical tune, with a redundant chorus and the finale that finally adds a little spice to the violin fade-in. 3. Dieu Est Un escroc, a substitute for this previous track, with a bit of groove to embrace the turn of the new millennium; 8 minutes with a monolithic narrated text, a dynamite linear crescendo that's heady but annoying, filling? You have to wait until the 6-minute mark to wake up a little, but it's a straw in the pan since the tune is indeed a crook for having filled it at little cost, in short, a disappointment. 4. Nouvelles Du Ciel with Tristan on vocals, and what a sensual pleasure! Well, I repeat, it was the perfect time to at least do a duet at the beginning of the new ANGE; a beautiful romantic piano ballad with nostalgic melancholy, with the synth about to take over; in short, solemn, delicate, and progressive, I vote for it. 5. Interlude for the Christian-style palaver, always his desire to talk more than anything else. Well, we must be near St. Louis Hospital, I think, given the view, listening to his lyrics, a small dose of children's singing, and presto, the interlude is over, a memory sequence. 6. Où Vont Les Escargots? for the consensual piece, a slow rhythmic rise like the tracks of snails, the scent of many old songs found here; a marshmallowy tune that relaxes and surfs on the soul of ANGE.

7. Coupee En Deux with Caroline as a guest narrator. So, a first part that intrudes on the album? Question: what's the point other than the bluesy guitar solo? Oh, the end with Christian, that was definitely ANGE. Otherwise, I'll pass. 8. Les Beaux Restes for the title track symbolizing the band's spirit now; a synth base for the groovy side, the vocals that diffuse, and a touch of narration like in the old days; Tristan adds his touch. Well, this duo is excellent, I repeat, bringing energy and diversity. Oh, the guitar solo that pours out, scatters, nice even if a tad too long and lacking a prog structure! 9. Souffleurs De Vers (Synopsis) with Caroline explaining, as in 'Sève qui Peut', the story of a basic ambient piano. 10. Souffleurs De Vers (Film) for the eponymous track with Hassan's bluesy guitar, remember his connections to this musical genre; the track navigates between memories, reminders of yesteryear, and a mellow keyboard, a suave atmosphere. The break is delicate, arriving with a 70s vibe, a RIO space also reminiscent of the madness of MAGMA for the most imbued. When it starts again, it's to have a mind-boggling compulsive mantra before returning to the primary ambient state; go for a second escapade on ART ZOYD, the zeuhl, surely an impulsive desire that I don't understand with this raw, bombastic chorus that makes my hairs itch. One question: why hasn't this track been played more often live for a finale that's once again explosive? I ask because the progressive intensity reaches its peak on it, whether we like Caroline or not on it? 11. Personal Journal as a final interlude, for its immortal thoughts, a little country stroll in the area. (2.5).

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