The world of pop is divided into two categories. On the one hand, there are bands that make old new. We know them, we have the names. Yawns. On the other, those who make old old, stragglers from wars they didn't live through, searching for eras they never knew and analog consoles found on eBay, hoping to sound like the Velvet Underground. Just as pathetic as the first, all coupled with an obsession for mimesis that gives their future the taste of a shortbread cookie soaked in formaldehyde.
Making new from old, or rather making beauty thanks to old things, is the whole ambition of "Rhapsode," an album where the sixties of and other film score composers finally find the singer they were missing. Where others merely copy the past, Forever Pavot layers sonic mille-feuilles, rehabilitates the harpsichord in the narrow world that pop has become, and composes arranged pieces that give the impression of hearing "Strawberry Fields Forever" sung by the Zombies. After a first 45T "Christopher Columbus," the story of Forever Pavot begins to take shape around a new band. Two more EPs followed, all pressed in such limited editions that the word CULT was already written large on the forehead of this long-haired Emile.
So, there's a new tenant in the residence. The discreet type, but rather noisy. Fuzz guitars, frenzied Farfisa, bass lines mixed well to the front in the tradition of , flute parts, a cavalry of horses – "Rhapsode" is the great indoor Western filmed by the ORTF. A fan of prog, jazz, but also Turkish psych, he also directs videos for others (the videos for are his) and proves at every moment that appearances are often deceiving. "The only guiding principle is my desires. No one can bother me if I want to make a reggae album in 3 years or a French chanson album. Because I decide." To be modern is to be master of one's time. As for Emile's paradise, it is obviously paved with good intentions.
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