L'Espoir n'est pas Mort

Description

Hope is not dead. Do we need an album to remind us of that? Yes, most certainly. This is what Dodudaboum's new album proclaims. Here, it's about rediscovering one's soul, pure of all the defilements of sad reality, and letting oneself be carried away by punk and synthetic waves, like an ecocup full of local beer thrown in the face of a joyful and bewildered audience. There is also this other hope, crucial and volatile, of total liberation, through music as deep as it is light, epic and fun, packed with endorphins. In the kitchen of this unclassifiable yet catchy album, we find Dorian Verdier, an eminent, though often discreet, member of the underground international scene. His journey between the experimental hip-hop of the trio Le Pingouin, the indie choir of Crane Angels, and the garage punk storm speaks volumes about his versatility and love of risk. After two decades in collective projects, Dorian returns with a solo project, an ideal formula for expressing himself in the simplest and most personal way possible. Dodudaboum therefore offers a kind of all-you-can-eat buffet here, surprising and always focused on immediate pleasure, even if some tracks take us to more nostalgic, even melancholic, climes. A distant Dadaist cousin of a Vladimir Cosma addicted to retrogaming, or a Dan Deacon still capable of playing in smoky basements, Dodudaboum never confines himself to a formula. His extrasensory musical openness has been nourished as much by the hip-hop of Cannibal Ox as by the psychedelic beauty of Panda Bear. A project made for the stage, far from the new androids of ultra-virtualized electronic music, Dorian has filled his tracks with the life that inhabits him, a taste for celebration and catharsis: foot to the floor, head in the stars, and the rest of the body busy taking us on unique electronic pop epics.