Debbie

Description

Controversial since the release of Jours étranges, his first raw album for some and not lively enough for others, Saez is the ugly duckling of the new French rock scene. A multifaceted character, he will follow up with a quirky little book ("A ton nom") before returning to music in 2002 with an ambitious double album that will stoke the flames (his critics will notably accuse him of having the pen of a delayed adolescent in crisis and an inclination for preformatted decadence) but will allow an authentic musical personality to flourish that certainly does not want to escape the public. Casting an even wider net, this third effort is a true rock kaleidoscope that Saez shakes without scruple to better clash the colors of his Anglo-Saxon influences, but not only. Vindictive ("Debbie"), endearing ("Céleste"), reflective ("Autour de moi les fous") or sound architect ("Clandestins"), Saez seems to have diluted his ardor a bit, but not to force seduction. Using rock music as a cannon aimed at illusions he surely senses are already lost, he tempers his fervor this time and deserves to be listened to more closely.