Listening to Haïkus for the first time, it would seem that Pascal Bouaziz has matured by twenty years or grown younger by fifteen, depending on how you look at it. Because Haïkus marks an obvious and in some ways moving break with his two previous albums. And a shock, for sure, on a par with our surprise at the fact that this talent and audacity, from Bouaziz, would produce a record so radically different from the fifth Mendelson album and perhaps even more so, less than six months later, from the first Bruit Noir, a knockout record from the end of 2015. Break, in this case, is a very small word.
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