LE DIDOU NA​Î​T

"L'inattible" for the darkly progressive fresco made of keyboard flights and whispered phrases; like in the time of Ange d'antan with a metronomic and stroboscopic bass synth; a bit of Louis Jouvet to disturb, the diatonic accordion like that of François de Pigalle, a bit of Poulbot in the corner of the chorus; six minutes and the heavy guitar riff surprises; in the first third the accordion juggles helped by the evanescent and angelic synth; fourteen minutes and this beat which will be the musical base on all the titles, which scares me, too violent; this space then returns to the organ, phew; the spoken ending takes me back to the last albums of Gérard Manset who had given preference to phrasing rather than singing, premonitory outro with a "take good care of yourself". "My worst nightmare" where we return to the Angel of the 80s with synths; a phrasing with the accordion on alternative rock boosted with ultra-bass, the one that the progueux hated; a fusion mix that leaves you speechless with certain raw words, we don't change with the Decamps.

"The peace of the meninges" for the play on words, the gypsy atmosphere, the rhythmic, festive orchestration; words like François Lazaro could send us very far too; the Afghan break when things are heating up over there, the title coming out of the musical drawers, changing the atmosphere; the dub behind very/too modern anyway. "Hymne aux progueux" with the slightly heavy intro; the angelic speech starts on the ballad, sax or sample of Francis' keyboards still so soft; it drifts on a delightful prog break where time did not exist; text break listen it's for you, it comes from prog, stop at four and a half minutes the angelic riff snub is magnificent. The prog space continues on the accordion, another Japanese space, very melting this one, just to imagine that he will perhaps play reggae, folk song, samba in another time. The impression that Francis allows himself to phrase like his brother which is a guarantee of quality and respect; a well-made piece in fact because no bass. "The foot" lasts the intro even if the jingle bells comes to coax; phrasing accentuating the book to read for adults; the most this marshmallow accordion which vibrates your scattered hair; his foot would be to get out of this angelic straitjacket in which he was too tidy? The hyper bass synth is aggressive. It's up to you to dive in or not but the end smells good of the "madman" of 84, oh just 40 years old. "Question of point of view" with a sermon on the current debilitated life and its schizoid social networks; a real damning observation on a melancholic ballad; should we not end it but if by moving away from these media and choosing one's own way of life; Francis enjoys himself on these choirs sampled in the 10CC sauce.

Francis Décamps changes course, this opus surprises with its modern tone, its embellished words and the disconcerting atmosphere. originally on Progcensor. (3.5)

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