Pascal Comelade
Un tal jazz

THE REVIEW

How "charmingly silly" is this record? How "fuck'n'drunk" is this outburst in the form of a CD where the always eccentric Pascal plays around with none other than folk, ballroom music, rumba, and tango of Central European origin? And above all, HOW MUCH fun did he have playing accordions, toy instruments, music boxes, baritones, untuned double basses, and various oddities that belong to the Great European Folk Tradition (already pursued by Tom Waits, Pogues, and other similar artists).
You either love or even get annoyed by an album like this: no experimentation, no electronic crossovers, or pseudo intellectualism from the drawing-room... just a band of scruffy musicians who, between a serious album and a quick gig, enjoyed playing the classic dance venue tunes of the fourth rate, with references to the more chaotic Yann Tiersen or the more subdued Les Négresses Vertes: an imaginary soundtrack of a French film or a vintage Almodóvar movie (both Catalans, by the way!)

I repeat, little songs as small and tender as a baguette just out of the oven, like a little marzipan airplane, like a glass of soda from the old days (do you remember soda?!)... nothing else to seek but this. And all in all, I like it.
And, these days, it already seems like something...