ANGE

As I am yet again listening to this wonderful live album (got it sometime early 80s), I am moved to finally do something I've never done before - write a review on this esteemed site!

Ange's live album Tome VI from 1977 is a masterpiece that, in my humble opinion, stands as one of the greatest live albums ever recorded! This album captures the essence of Ange's progressive rock brilliance, delivering an electrifying performance that transcends time.

It doesn't bother me at all that I don't understand much about what they are singing (in French) - from the moment the first note hits, the listener is transported into a world of intricate melodies, emotional vocals, and intense and mesmerizing instrumental solos. The band's synergy is palpable, with each member contributing to a cohesive and dynamic sound that is both captivating and awe-inspiring.

This album is a testament to Ange's legacy and impact on the progressive rock genre. It's a must-listen for any music enthusiast and a shining example of live performance at its finest. This album is a timeless treasure, and for me, it is one of the best live albums ever made.

1. Butterflies, Flying Kites with the sound which is further modernized, given the synth and the slow and long tempo, which drags on; by far a long title, by near a title which will not be a landmark, the group being simply rock focused 2. Outlaw for the dynamite boogie rock air, a title which takes on wanderings from previous albums; very good for those who don't know, unique and perplexing the fan, ah aleluia what; the pulse is taken, the titles are elongated, not good for the moment 3. Wood Works, Even on Sunday intro Serra from 80 and 'Sève' from 89; Tristan tries his hand at singing, Caroline too, one of the annoying points, no she did not know or be able to make her place; the title is based on a monologue from Christian, bursting out to the point of a crazy break, a fusion of contemporary jazz rock and screams enhanced by an angry guitar; the prog is no longer what was hoped for, we are getting closer to a cyclothymic MAGMA, a warlike BROGUIERE; the dark eponymous piece, with a captivating climate which would have deserved live recognition just for the finale to TANGERINE DREAM which shocks and shows a forgotten part of the group 4. Under the Nose of Pinocchio, this strange title borders on heavy rock with a jerky crescendo and a singular air, between world trance and crazy rock; a sudden break with string instruments, ah synth when you hold us, keeps the ear in suspense 5. Voyage En Autarky spatial keyboard, easy a cappella voice, Christian on the sugar battle, yes when it is his voice that keeps you in suspense; the words pile up and intertwine to create a crescending monologue; difficult to access

6. Never Alone in acoustics, on a text that is always gripping, having nothing else to say but doing it very well; accordion for one of the rare times, a nursery rhyme finally to sit down and admire the voice once again 7. L'Oeil Et L'Ouïe in a piano bar atmosphere at night, preferably jazzy; it's in the head that it's going to happen; and here as an aside, why have these titles never been performed live, why have we always included the unmissable ones? Yes I wonder because this piece has everything of an angelic sound; the finale with this enjoyable orchestral rise and a beautiful solo from Hassan which follows Christian's cry; in short I persist why not put it live, it was well worth it; a crescendo as I like without diet 8. White Clown and the guitar riff reminding me of the Crimson King from the 'Discipline' era; well otherwise a story of a queen of spades, an echoing vocal with choir and Caroline that many have snubbed, well what is she doing there... Well she was part of the group all the same 9. Checkers And Dominos go after the cards let's walk with dominoes for the languorous ballad which honors the syrupy keyboard; Christian plays with his voice, I would say as usual, with warmth and delicacy; the final cinematic atmosphere too short, 10. Collines Roses with Caroline in front for an invasive dark wave piece; Tristan for the distant choirs shows that he has more to do than that, yes it is said; good one crescendo one more for a monolithic tune a bit soporific 11. Ultime Atome (Anatomy of a Tale in Rebours) arrives, from the ANGE as we like, soft, gripping and hypnotic in the phrasing; the break also on an avant-garde chamber orchestra with brass, bells, as if the atoms were about to collide; the rest starts with a languorous guitar solo, marshmallow, yes I like that word, it makes me hungry; it's spatial prog, between sweet melancholy and hope in vain; to make fun of the detractors I like; it continues with 12. In the Shadow of Pictograms and its endless melodic flow, words coming out of Christian's mouth as if it were raining; the pictograms let the sound come, the violin on metallic percussions, the Cello, the guitar of the London gangsters comes to light, the progression is there and becomes grandiloquent; do not underestimate this Dantesque finale and remember that Ange is immortal.

After the nice surprise of the album "Le Bois Travaille même le Dimanche", in which Ange had successfully explored new rhythmic and harmonic tracks, the band signs with "Moyen-Âge" a return to their roots, without managing to offer a coherent whole.

Indeed, the album starts with four tracks of uneven quality, and then continues with the eponymous "Moyen-Âge", eight very good tracks to which they should have added, in my opinion, "Opéra-Bouffe Ou La Quête Du Gras" which would have been in perfect harmony with the deliberately polemical tone of the album.

Indeed, this is a committed work in which the excesses of the digital world are denounced ("Les Clés du Harem"), as well as the inadequacies of political power in the face of growing social inequalities ("Un Goût de Pain perdu") or the confinement of the individual in an egotism encouraged by the new technologies ("A la Cour du Roi Nombril"; see which refers to the cover showing an individual curled up in a fetal position, sucked into the emptiness of his existence, clutching his mobile phone and wearing a disturbing-looking earpiece).

Nothing surprising for those who know Christian Décamps, who is used to punctuating his concerts with diatribes inspired by the woke left and who never loses an opportunity to vomit on religions, Christianity in particular, while Islam remains a taboo subject for him, either out of sympathy or out of caution... The album is also sprinkled with more or less open allusions to eminent public figures, among whom the French listener will easily identify the former President of the Republic Nicolas Sarkozy and his wife Carla Bruni, as well as Dominique Strauss-Kahn, the former president of the IMF.

In conclusion, an album that contains some very good tracks, but that misses the excellence for lack of a more accomplished overall vision. It's therefore difficult to decide between three or four stars, and it's finally the last track, "Abracadabra", a wink to their 1976 "Hymne à la Vie", which finally inclines me to give it the fourth star.

ANGE is the most famous and controversial French band of the last 50 years... From memory I quote its founding 'father' Christian who continues the epic after the split with his brother Francis by saying all cheerfully... Ange is the best band in the world to have gone unnoticed, in short! It is the embodiment of what can be done better in terms of progressive rock, a waste for our country living superficially, backwards with feelings of nonsense! (I heard "Ces gens-là" for the first time on the radio, however, at a time when reason still existed, wonderful composition and recovery of a great man of French music, but I digress!). In short, ANGE released a good album last year and it was a column for our friends from Quebec that I had done from memory, they who love speaking French. So let's dive into these 67' disparate tracks: "L'autre est plus précieuses que le temps" tries its hand at a potential radio hit, at a time when it was still possible, giving its all live on the A of Father DÉCAMPS' voice.

"Ce que murmurent les pierres" starts with a "crooner" song à la Michel JONASZ, a beautiful consensual ballad. Then comes one of the 2 bombs of the CD "Jour de chance pour un poète en mal de rimes" and its title of almost 9 minutes, alternating enjoyable solos at the beginning and end with the great guitarist Hassan and soaring moments in between; we are in a master piece quite simply, in any case the best piece for your servant! Oh yes I haven't dissected this piece I'll just let you take my word for it "Sens et jouissances", a small variation of sometimes bawdy words, a part of the universe of ANGE with words in the form of musical notes. "Nancy-jupiter à la nage" arrives with a repeat of "Si j'étais le messie" and "Capitaine c?ur de miel", nothing less! Inside, we find stone sounds from Fabrice BONY, breathtaking solos from Hassan, a typically prog atmosphere with breaks, ambiances, moments of serenity; it's a bit of a mishmash with an obvious desire to please, to make us dream again of the angelic progressive world. The titles "à tort ou à raison" and "heureux!" will suffer a little from the lesser intensity, especially based on the words of father DÉCAMPS, while for "Charabia" a bluesy air emerges; the alternation of old airs with other modern ones which sometimes clash roughly. "Chante n'importe quoi" is disturbing on the first listen, allowing you to thumb your nose at what is often played on French radio stations, well, I was just talking about it in the preamble; lyrics to piss in a violin, oh my, Father Décamps really hates this overrated world... That was in 2018, so imagine today in 2024 with the world even crazier!! A stage title with the endless cover of Tristan's almost ambient keyboards... Here's a return to the last album.

1. Love/Hate with the narrative intro to announce the concept film; Quercus explains his role, his life over a grandiloquent rock sound; classic synths, Christian singing like his very theatrical son, an omen; fat synths 2. Living With The Heart and the synths that continue, Quercus like the schoolmaster of the famous film narrates each title; on classy pop with colorful lyrics from Christian 3. Les Plaisirs Faciles with an energetic riff, a metronomic keyboard, an overly typical text and a very marked marshmallow piece where the drums float on a 'Subway'-style soup; go to the autumn winter catalog on sale 4. Gold, Silver and Light divine or angelic intro choose for a beautiful progressive piece that would have deserved to be played in concert; arpeggio, period harpsichord, languorous voice, explosion and orgasmic rise in D minor for a fresco... hey can you hear me? The chorus is a bit dated with a not-so-innocuous wake-up call; solo, voice and the dreamlike crescendo starts again; the catchy drum-synth finale, the guitar solo which, on the verge of good hard rock, makes this piece enjoyable with the riff eyeing another angelic title, the panard

5. Breaking the Ice ...if the Phrygian is ignorant...the title soft like a nursery rhyme for the text to incorporate and forget the rest; well the world is crazy there is nothing more to do; the stereo choirs, the syrupy keyboard, the latency, the sticky guitar solo and the Louis Jouvet-style voice as tendentious as ever 6. Les Amours-Lumières with one of the most beautiful songs on the album to the point that I have to dry my tears; sweetness, emotion, spleen, memory, intrinsic beauty; the real, imaginary sax adds the romantic tear to this air which unfolds on its own, with a particular flavor of concentrated 80-90 prog latency 7. No!! for the cry of... revolt with a cheerful air and a somewhat simplistic text where the keyboard takes the lion's share, yes Jean-Pierre must have been happy; narrated text without image or almost, push me yes well even for a witch it's olé I wrote; the most this solo which tears Haasien and Hardien to finish the enjoyment 8. Great Feelings go Louis finally Quercus go ahead we listen to you; a hymn to revolt on a fresh, changing but vintage keyboard, the voice-orchestration association is slow to come together and only the guitar saves this piece a little. 9. Sève Qui Peu arrives, Quercus with its bio-nature message a little eco-friendly before its time; rumbling synth aided by the metronomic drums introducing the anthem, the march towards the Elysée, uh the Bastille; a grandiloquent text on a tune of the same lineage, a crescendo which gives a little air with this last guitar solo which reminds us that Ange had great guitarists, two here in addition; the finale returns to the sound of the start before a drum roll.

Good after the delirium and before Mandrin, it was necessary to turn the page and release a concept under a pale air, an album which would speak of the soil, which would do honor to France, the real France, those of feasts, that of parties, that of legends!

1 Bêle, Bêle Petite Chèvre devil this title, for the air syncopated with the zik which attacks poor Christian and this marimba, it hits and it disturbs, a little in the madness, in short by all the saints it gercles even for the maidens , violent disorderly and out of tune, magical, bucolic I would say finally, ta ta ta tata; Come on Emile, we're listening to you, tell us about the goat 2 Sur La Trace Des Fées ... these are legends ... the arpeggio, the keyboard, the sound, the sound that orchestrates oh no, I'm wrong in the title .. in short, in white dresses we saw them well spent on the way on the point of the lake of Orient, all naked dressed with a torrent which passed on... the trace of the fairies; the slap for those who don't yet know Ange, yes the world is like that; the arpeggio returns to the left, Christian adjusts the balance by returning to the right, yes the drums delight passing on both sides, the organ wants to be more majestic before returning to the hammer... the words and sounds intertwine; Vintage album that has aged, for cold autumn evenings 3 The Dwarf From Stanislas arrives, even though I'm struggling, too present this dwarf, this voice, this air I don't know; good why, rhythmic yes, captivating yes, perhaps the voices that attacked me too much and whirled around; go hollow your head... yes surely a reflection of the padre who did not understand how I could listen to that; good the phrasing of if I were the messiah and it starts on a blue space, well of light, the dreamlike orchestral crescendo which swells; we are really in a particular universe 4 Day After Day ... nursery rhyme in one fell swoop on guitar arpeggio, organ by Francis which gives the la, not the sound; title that you listen to, that you drink, that you incorporate, text that you take in your head, day after day... and you are already waiting for Emile who will come back to talk to you around the village fire hydrant... the following the trace of the fairies for me 5 Ode To Emile with the sequence, so his prog! Excuse me Emile, my grandfather's first name, I'm listening, yes, we're resting, you're right, I'll start; the chimney, the plow are there, let's go on a bucolic air, an ode what; jean-Michel distills a fine angelic solo, sensitive as this last wine that we sing and we will wipe ourselves.. here is Emile it's for you. 6 Ego Et Deus yes Vidocq I can't help it, I'm thinking of them! 75... 48 years since he left... a straw, the age of recklessness, of life without major problems, without war, without all these constraints... the ship is his captain and can sail on a title flirting with a Higelin, with this lyrical flight that makes me laugh... the concept has been launched, we don't know it, but this blue flower title with colorful organ and guitar leads to 7 J'irai Dormir Plus Loin Que Ton Sommeil for the pompous title with its symbolism, its reverence and the nursery rhyme that puts Christian forward, yes he has, he had a box on each title of each album; we won't go into the details, you're clean with the message, but we're on the verge of ecstasy, Christian stop teasing us 8 Aurélia arrives, hello a drum hit, Jean-Michel in arpeggio and a title whose words I forget, a writer's slip that... Aurélien to the south of your breasts anyway! An angelic digression where Francis imprints the progression, the one that the French quidam didn't grasp, didn't understand... Aurélia yes it's more logical as a first name... to the South of your breasts 9 The wedding we feel coming, a bewitching organ that comes year after year; Guénolé, the new drummer, claps his drumstick... we're at mass; well the party is here with the last hooch and the veteran who will sing... come on guitar and a very bucolic, very enchanting, very Genesis-like hunting horn, you won't take it away from me; it wanders on a Frankreich country break on the other side of the Saône, where we take the time, where time goes away... and the music in all that, what do we do with it, but we dance sir you know the album so dance and enjoy before the 10 Le Marchand Des Planètes comes to defrock you... a little honey, a little of all that and I find myself here in 'Wind and wuthering' the last title, the one that makes you high at the very end of the said opus... jazzy break, angelic break easy to write, a wandering that closes this album really not as usual, we have the impression of having lived a moment with the group around the fire... oh yes that will be later; final spleen guitar.

Angel, of course, it's magic or angelic, it's up to you.

1. Fils De Lumière for the intro, the audience, Jean Pierre's drum solo and the atmosphere created 2. The Long Nights of Isaac for the rest with the spleen guitar, the belching cries of Christian and this beautiful two-step climb 3. Ballade Pour Une Orgie for good evening, one that you take for yourself; memories for those who were there; for the presentation, for Francis' magic organ, for this nursery rhyme that you learned by heart without doing it on purpose; 4. Ode to Emile for the history of the marsh and the feeling of being in a non-religious mass, come on Emile was my grandfather too; short secular listening for the sake of it 5. Dignity because on the album the sound was really old-fashioned from the start, and here in concert with this break on the flute and the organ it is simply divine; the rest you know; ah if after a while we really get a whiff of TANGERINE DREAL then of 'nous sont du soleil' by YES... listen, listen also to the wonderful solo of Jean Michel before the grandiose finale, worthy of a movie soundtrack 6. Le Chien, La Poubelle Et La Rose just for the prog intro as desired, just for this unique moment, yes go look for this title on an album; grandiloquent, enjoyable, explosive, just that; after this title is just written in our collective unconscious and cannot be removed from it 7. On La Trace Des Fées for my favorite title, yes it's him especially since I know how to go to the tip of the island where I see them strolling in white dresses 8 to 10 Hymn To Life: Canticle, Procession and Hymn... the 3rd slap in the face for those who claim that Ange doesn't know how to make great songs... How can we miss a title this good, this magnificent; a delicious triptych which will rise to a crescendo and give its credentials to the group, thank you Francis, Daniel, Jean Pierre, Christian and Jean Michel. A solemn title often put at the end of a concert to say, well, we still have a few minutes left; I'm crazy, I see infinity, but how good is this finale, with this riff from another time and still current; and for another, another 11. These People, that's it, it's over, so we listen, we digest, religiously; the title that makes you scream no because you know it's true, that they have to go home.

An unrecountable live performance, quite simply indescribable.

1. Le Rêve Est À Rêver (2nd Service) rock entry, haunting tune, the voice is still there and the prog side flows towards the melodic above all and Thierry's bass is already wreaking havoc, let's continue 2. Psychosomagique Génie precisely on a melodic, electronic framework; the sound changes, an Angel passes, the new musicians had been well rehearsed on the Christian DECAMPS & Fils; rock is almost dead, protest rap puts the sounds of before in the closet, quickly a text to hang on, a Mellotron and a guitar solo by Hassan the new prodigy to hit us in the right direction 3. Eurekâ ... simple as or how to interlude with a synth from the almost new millennium; the voice in the distance, Troyes, Chaumont?; Christian, Tristan? In short, ideal to launch 4. Bilboquet on a rock à la CHEAP TRICK yes the title of 'Métal Hurlant' go check for the trouble; vocal to JONASZ what Hassan and I wasn't warned?, well that doesn't catch as much as before, what can you do it's like that; the title that stretches, tries to the oriental air from afar and to fall back on the toy 5. Elle Fait Ma Rides for an a capella vocal-piano, son and father; for a jazz-rock nursery rhyme of night bar 6. Eurekâ In Extenso or how to wake up and dream to the prog sound of Ange? The enjoyable heavy interlude with its heady organ, its meticulous strike, its air that recalls, that recalls, yes without words we can approach 'Quasimodo' eh I didn't say it 7. L'Eau Qui Dort for a humidified variant with a slowed tempo, on some cloying jazzy, on lyrics that try to catch on; it's soft, it's marshmallowy, it smells of SERRA's 'Grand Bleu' and the voice is always faithful for those who follow them; for the others it's a bit of disbelief to see who it is 8. Archimède for the second progressive title with the captivating keyboard, no longer that of the 70s of ANGE but that of the new millennium that shows up with the nephew; in short an ANGEL between two asses between two chairs

9. Coma Des Mortels for the jazzy-rock symphonic essay where a beautiful guitar solo floats, with a piano variation that can make you think of the watered-down SUPERTRAMP 10. Sometimes we wonder who this group is, here is the opportunity; what happened, a desire to find a new genre? Sometimes to stay on its musically promising niche 11. Ethnies arrives and does good; it's nervous, it's cheerful even if we won't reach the mythical phrasing of BERUS and their 'Salut à Toi'; the drum-keyboard variation with prog drops that reassure a little as well as the crazy finale 12. Patisonges Et Mentisseries and the bucolic interlude ballad 13. Mémoires De Jacob Delafon for the association of voices, yes, well there you go; ah yes the finale but almost a taste of [&*!#] no? 14. And Ghandi L'Hindou Dit Tout Doux for the good surprise with this oriental title soaring-dub-energetic that is drunk like a tea in the middle of the desert 15. La Serrure Ou La Clé for the song that can pierce the ass, yes 4mn to fau and to blood like hemorrhoids on crazy heavy prog rock à la ANGE; the title that gosh darn it but why didn't they cover it live, too good that!!! Well I listened to the text again to be sure not to do 'soustoi'. The enjoyable guitar solo, I didn't write it on purpose, but what a great, what a great hard-sputnik title that hits you in the...! 16. Jardin Secret for the prog intro that we no longer expected, well me yes since I stayed unlike many who had deserted the CD; yes 70mn we go to the end; intoxicating air that hypnotizes, that upsets with its orchestral part and its expressive explosion; a magnificent secret garden to share in secret with oneself 17. The Water Car for the finale, the outro, the jazzy piece that drips into your ears; well I still listen in case the recipe for the water car is not just an invention ... that falls through.

Angel is looking for himself, the album before well how would I put it, I'm having trouble, so on a small box we had to find his successor!, it's done and hop all fired all of a sudden

1 Tout Feu Tout Flamme with a well-used sound, as if old tracks had been found, a hymn title from 1971 brought up to date, at the time when Ange was beginning his journey; brought back here in 87 to drown safely in the world of Angel with Jean-Michel and Daniel like in the good old days, sign for a restart? 2 Tout Contre Tout After the slightly traumatic Egna getaway, we return to a more direct, square sound. will say that Ange is finished... but Ange is immortal, a thrill all the same with a crazy verve at times 3 Eggshell for the fake sax piece with an egg that is not overcooked, soft where the synth has the upper hand, cutesy on Serra before its time 4 C'est Pour De Rire for the tribute piece that we would all like to play at this funeral that we dread, yes we don't want to see his dad leave; in short, even an angel must talk about it, life is just for fun, we won't avoid wars; a dynamic 7' at the limit of slow where you see yourself moving your ass, where you see yourself jumping suddenly during the chorus, where you see yourself taking up this solo; 4' and the symphonic break from sympho majestic before resuming these basic musical lines, a beautiful gift for the beyond 5 Sur Les Grands Espaces Bleus with still a very greasy electro-synthetic sound, between soaring and meditation, between the moon and the sun, even delirious perhaps; in short the sound evolves, less percussive but with blue notes of escape, plaintive notes and a slow declination, some bucolic noises of birds a nod to delirium precisely and Serge's solo which tears as it should be done lose the wings to the angels; when the whistle announces the end it's not over with this finale leading there or up there, far, far from this crazy world 6 3 X 1 = We for a crazy rockabilly, like that reminds me of the clip of Queen with the locomotive... revise a little too; pop to try (again) to get on the radio, while the biggest group seemed to spend its time being ignored by the channels and other TV sets, a shame; a test interlude, but I'm not sure of the result... doesn't that make 3? 7 J'suis Pas D'ici with a marked groovy spirit, for a sanguine nursery rhyme on one of the cruellest stories that still haunt us; boogy and boosted text but we will not have the solution on this piece 8 Il Est Le Soleil (Ritual / A Taxi For The Eternal / Perpetual) looks like Apsaras, yes you know this hovering-emo-ethereal band with a bit of the Tangerine dream of the 80s, well we're good there then; well, he's him, everyone has grasped him; break towards the 4 ' and crystalline notes, the synth which wants to be marshmallow; of course it's moving again on an eternal highway, bam accident, come on, we go back into gear and we don't stop to take the taxi that goes to 7th heaven, that's how it is; the end all in re-sweetness

Well, the album between two waters that I like for different titles, consensual and with pearl.

1 C'est Après Coup Que Ça Fait Mal frank attack, rock prog pop from the 80s with the dry side of the drums and synths, the mold becoming YES or ASIA; in short, new-wave has passed there and there is electro too, a new genre, Martine's voice coming to support the Father, a zest of jazzy with a fresh groove, a avant le cul that jazzes in fact, would there be a link?; the medical break with SERRA's bass, on 'Subway' and before the phenomenal 'Le grand bleu'; the c'est l'amour? which refers for a time to 'Fou' but that's all: in short, Laurent scratches well and Serge's solo is very much in tune with the times; but it hurts the old fans to see their group evolve; long repetitive outro 2 Fais Pas La Gueule! yes that's the goal, a title that shows the path that music took during the 80s, synthetic, cold above all, even Francis' languorous keyboard becomes Olympian on a snowy mountain; the Kleenex rock sound comes a little here by offering a very nice soft melody but where the duration and the end demonstrate a certain weariness 3 Rewatch The Witches of Salem? ah the synth in front and the air that wants to be progressive, in search, a form of latency that hits the mark; Christian tries between the softness and the choir with Martine again who comes to support him; the typical sound, a superb guitar solo and Francis who launches fruity notes, very much in tune with the times; but where are these witches in fact? Oh I forgot, a finale that rocks 4 Les Dessins Animés on the keyboard, a phonic whiff of 'La gare de Troyes', it's the voice that also starts on 'Par les fils de Mandrin', a melting pot of the progressive sound of the 80s that necessarily adapted to not die again and again; Francis' velvety synth always melts me.

5 C?ur De Paille, C?ur De Pierre go sax plays; a beautiful melody with proven spleen; a marshmallow romance that gives change, where the prog spirit is nothing more than smoke; the sax typical of the 80s after the heroic one of the 70s of SUPERTRAMP; the end is near there, FM rock with a French sauce 6 Le Dernier Romantique for the title that still appeals to me; an attempt at nervous rock, an attempt at fishing, but not romantic, ANGE has gone on a soft new-wave attempt, surfing on a number of wandering groups, there remains the monolithic bass to hold on to; well let's talk about this break where the imprint of YES from '90125' is very present, Serge's acid solo is the most of this repetitive title which takes place in lack of romanticism, snub 7 Le Cul Qui Jazze ... well let's be clear, 'Fou' had amazed me 2 years earlier for this gentle madness; this piece from the intro has a bit under the leg; crazy intro plus symphonic rise, I knew that ANGE was not dead; this solemn synth so in phase for 2 minutes and that's enjoyable; after the bellows comes down a little with the air on Michel JONASZ, well it's cool but it stands out; let's be clear we'll have to get used to it; the more this outro that comes back to the base, let's resume the normal course of this ... Dolby finale, a must progressive enjoyable 8 Tout Comme Dans Un Livre and finally the 2nd title of more than 5mn; the melting intro, the guitar solo that spurts out suddenly; it settles down, Christian has a very beautiful voice, I insist; the air come on I like to quote APSARAS for his ambient electronic music, soft as a tangy Harlequin, a chorus with the word that makes us all dream, the word Absolute and a guitar solo for the slow of the 80s that kills; come on my girlfriend so we can have a ... slow between us, just like in a book; ah ANGE will surprise me again and again, this piece is immense whatever people say! (2.5) (4 for the two last).