LE BOIS TRAVAILLE, MÊME LE DIMANCHE

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.