'Pas un bruit' is a virtuosic and limpid album, a tale, a prophecy, and a call. An experience like a challenge, first for those who create it. How to come together and how each can exist fully, equally, within this whole? To forge a common ground, to allow encounter to happen, when geographies and universes could keep them apart? A space of their own that is not a juxtaposition but a union. That of voices, of course, because they all sing and each has her own voice, Bacchantes is then a voice made of all these voices. But also the instrumentation, which each of the four artists embraces. In this second album, it has been greatly expanded, offering the possibility of new textures, without losing that intimate and powerful sense of communion discovered with 'Bacchantes' in 2021. It's also amusing to realize how the pragmatic can, to some extent, define the aesthetic in the history of this album. Because Amélie Grosselin, Claire Grupallo, Astrid Radigue, and Faustine Seilman live far from each other, the writing process allowed for a longer timeline and adapted to the rhythm of spaced-out and intense encounters that demand complete availability to others and sudden inspiration. - - This creative surrender is only possible with full trust in the recording engineer. Bacchantes therefore once again called upon Étienne Foyer, also the sound engineer for their concerts, to record this new album at L'Adventice studio. The result was produced, sometimes arranged, and sensitively mixed by Jonathan Seilman, who managed to take the tracks slightly further, to reveal them, without betraying them in any way. 'Pas un bruit' belongs to nothing already heard, neither genre, nor space, nor era: a path of its own, electric or acoustic, noisy or melodic. This place of their own, exclusively theirs, is a challenge to the listener: to accept the unheard. To accept being surprised from the outset and constantly, led into new territories. The album is a work, it unfolds, it deploys, it is not a succession of tracks but a narrative. It has its prologue, through which Bacchantes invites us into its realm, one must enter it as into a dream. "Sleep peacefully," they invite, but all the complexity, the depth of the album is already there, its strangeness that precisely keeps us awake. Let us be carried away, but "let us rise up, let us rise up." Bacchantes names the world and their way of inhabiting it, of considering it. This perspective is defined in the beautiful enumeration of the second track, the list of birds extracted from Saint-Pol-Roux's poem. To pronounce each name is to grant each its value, its necessity to exist; it is then difficult not to hear a vision of the other here. To say what is and what could be is already to take one's place in the city. A world of one's own.
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