Ouvrage à superlatifs et autant de remarquables densités, LE CREPUSCULE DES SOURIS n'est pourtant pas une réalisation où l'absence d'incandescence puisse prévaloir - Déni des apparences.
S'il est probable qu'il ne puisse être pleinement apprécié étalé.e sur un carré de serviette fluo au bord d'une plage des Caraïbes (encore que), le contexte importe peu. Ingénieuse latence orchestrale et immersion sensorielle sont très succintement les qualificatifs qui s'imposent.
Paraphrasing the title of this album is as straightforward as its immediate fate. A work of multiple superlatives and remarkable densities, LE CREPUSCULE DES SOURIS is nevertheless not a creation where the absence of incandescence can prevail. Denial of appearances. While it is probable that it cannot be fully appreciated sprawled on a fluo towel square on a Caribbean beach (although), the context matters little. Ingenious orchestral latency and sensory immersion are succinctly the qualifiers that impose themselves.
Divided into two complementary parts, the track "Le Crépuscule des Souris" deserves, on its own, the applause that sometimes we reserve, out of breath and arguments. Ample composition, smooth and atmospheric crescendo, classical orchestration in counterpoint (Part.1). The writing becomes more precise (Part.2), an outline and swirls of a flute in flight, gravitation hovering over danger, perfidious mystery. While "Falling from Beneath" seems to be enjoyed with complete credulity, it nevertheless invites the utmost caution. The paradoxical secret of success is indeed here, a sensitive interstice contrary to emotional artifice (La Nuit Du Rongeur). Julien Ash aka Nouvelles Lectures Cosmopolites, not to mention the invaluable Aloïs L, Erwann Mercier and François Porte, had promised nothing, except to fulfill, in too much discretion according to us, a sonic event of troubling and singular sincerity.
It is sometimes difficult to conclude, not to say tear himself away without insistence. This is precisely what is likely to happen when listening to the imposing and dazzling "Die Blume, die alle Ratten gefällt" - Masterful! - Should we have to ... insist?
Découpage en deux parties complémentaires, le track "Le Crépuscule Des Souris" mérite, à lui seul, les applaudissements que parfois l'on réserve, à bout de souffle et d'arguments. Composition ample, crescendo souple et atmosphérique, orchestration classique en contrepoint (Part.1). L'écriture se précise (Part.2), esquisse et volutes d'une flute en survol, gravitation en surplomb d'un danger, un perfide mystère.
Si "Falling from Beneath" semble pouvoir être savouré en toute crédulité, il invite néanmoins à la plus extrême prudence. Le secret paradoxal d'une réussite est effectivement bien ici, un interstice sensible à rebours de l'artifice émotionnel (La Nuit du Rongeur). Julien Ash alias Nouvelles Lectures Cosmopolites, sans oublier les très précieux Aloïs L, Erwann Mercier et François Porte, n'avaient rien promis, sinon de s'acquitter, en trop grande discrétion selon nous, d'un événement sonore à la sincérité troublante et singulière.
Il est parfois difficile de conclure pour ne pas dire s'arracher sans insistance. C'est très précisemment ce qui risque d'arriver à l'écoute de l'imposant puis éblouissant "Die Blume, die alle Ratten gefällt" - Magistral ! - Devons-nous ... insister ?
thierry massard // 27 février 2024
Paraphrasing the title of this album is as straightforward as its immediate fate. A work of multiple superlatives and remarkable densities, LE CREPUSCULE DES SOURIS is nevertheless not a creation where the absence of incandescence can prevail. Denial of appearances. While it is probable that it cannot be fully appreciated sprawled on a fluo towel square on a Caribbean beach (although), the context matters little. Ingenious orchestral latency and sensory immersion are succinctly the qualifiers that impose themselves.
Divided into two complementary parts, the track "Le Crépuscule des Souris" deserves, on its own, the applause that sometimes we reserve, out of breath and arguments. Ample composition, smooth and atmospheric crescendo, classical orchestration in counterpoint (Part.1). The writing becomes more precise (Part.2), an outline and swirls of a flute in flight, gravitation hovering over danger, perfidious mystery. While "Falling from Beneath" seems to be enjoyed with complete credulity, it nevertheless invites the utmost caution. The paradoxical secret of success is indeed here, a sensitive interstice contrary to emotional artifice (La Nuit Du Rongeur). Julien Ash aka Nouvelles Lectures Cosmopolites, not to mention the invaluable Aloïs L, Erwann Mercier and François Porte, had promised nothing, except to fulfill, in too much discretion according to us, a sonic event of troubling and singular sincerity.
It is sometimes difficult to conclude, not to say tear himself away without insistence. This is precisely what is likely to happen when listening to the imposing and dazzling "Die Blume, die alle Ratten gefällt" - Masterful! - Should we have to ... insist?