Nearly 10 years ago, High Tone launched the In a dubtone sessions project as an additional instrument to their presentation of a new style of dub, driven by fusion and sonic experimentation. The idea was to collaborate with the main activists of the “à la française” dub/mutant scene: Kaly Live Dub, Improvisators Dub, Wang Leï, Zenzile. Today, High Tone invites Brain Damage to write a new chapter in this musical exploration. Two kindred entities linked by references and a shared philosophy that has always led them never to set limits on their horizon. Naturally titled High Damage, this new fusion is a true synergy between an almost organic energy and the hypnotic regularity of the machine. Used to forging their own paths, to stepping outside the frame, the two groups here created in reverse, giving free rein to each one’s initial intentions, feelings, and emulation, and for the first time working with the raw material of the live performance to generate the album. A vortex drawing in dubstep, noise, hiphop, break beat, techno, or reggae to transfigure and exalt them, the musical vibrations of High Damage generate an obsessive dreamlike imagery. Their music is a gaze, dark, often lucid, sometimes hallucinatory, which leads its audience to see in this uchronian world emerging around them the traces of an almost nostalgic past and the fragments of a present disguised as future. The journey is not only temporal: from dawn to dusk, it breaks free of ethnic barriers and speaks the languages of Babel, it blends accordion, wobble, chiptune sounds and surf guitar, it reveals the flaws of desperately cold cities even as they teem with life, it turns the music box of our childhood into a clock striking the death knell. High Damage embraces the paradoxes offered by its music. If the message is dense and uncompromising, an accentuated yet pragmatic reflection of our reality, the hyper-calibrated beats and wild groove of the compositions nevertheless carry us into a dancing trance. The name of the entity speaks for itself. But there is no need to fear the promised sensory shock; it may be the jolt that awakens that last man of whom Zarathustra spoke.