The babbling of children, cool guitar arpeggios, another electric guitar sounding like a kazoo, and a flute dropped from the heavens into an Eden rebuilt in miniature – rarely have we been so delightfully welcomed into an album.
Radiant songs, soft as summer night dreams and dotted here and there with a lighthearted melancholy, dressed in light veils and sung as if in bliss, away from the hustle and bustle. Adrien Gallo fell into pop melodies as a child, and even before that. In his mother’s womb, he was drumming along to an Elton John concert in Bercy, eager to get his first piano (a toy, inevitably disappointing, quickly replaced by a Pleyel, immense for his five years but not for his ambition). It was on this piano that he composed most of *Là où les saules ne pleurent pas*, and those will be the only willows not to weep upon hearing "La Saharienne," "La pluie et le beau temps," or "Des adieux."
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