Sages Comme Des Sauvages – Luxe Misere

Hidden beyond the jungle of their house plants, Ava Carrère and Ismaël Colombani observe life as it goes. Luxury generates misery, fashion designs suits for beasts, and the factory steals the volcano’s fire. Sages Comme Des Sauvages scaffolds its music like the lieutenant Colombo invesNgates, like Le Douanier paints his Ngers, with naivety as a shoulder strap, like a weapon against the second degree and the disillusions of our Nme. Strengthened by the success of their first album and the river tour that as followed, the band has walked all the paths of the Francophonie to meet its public. From Réunion to Quebec, the quatuor has taUooed the territory with its tunes, its fine humor and its glow. Sages Comme Des Sauvages is on stage like in its living-room, and that’s why the public asks for more. The duo, which has become a quatuor, creates a bond with the world when on stage. It is this complicity that it has transcribed when in the recording studio. Arranged at 8 hands with their stage companions Osvaldo Hernandez (afro-laNno drums) and Emilie Alenda (bassoon, keyboard, singing), recorded by the wizard Jean Lamoot (Salif Keita, Alan Bashung, Noir Désir…), Sages Comme Des Sauvages’s second album appears more luxurious than ever, and it is a well sharpened machete that will be required to stride through this jungle where pointy and polymorphous songs grow. Because Sages Comme Des Sauvages is first and foremost a grouple (a couple who has formed a group/band). And a grouple has other things to do than singing blueUes. From their two-headed point of view, songwriter-composers are inspired by the clumsiness of men (“Garçon”), by the 8 months during which they sheltered two young Sudanese men on their way to England (“InaAendu”), of suicide and its enigmas (“Quasiment Parfait”), boUom drawer neurosis (“Ah les angoisses”) or the European shipwreck (“Yassou Evropi”). Just like in their first album, each track carries its own mood and Sages Comme Des Sauvages knows a song can be just as sad as it is joyfully sung. Thus, the band allow himself all contrasts, all stylisNc fantasies. New instruments have come to join their musical zoo, such as a Kazakhstani dombra, a Mexican lioness guitar, a Malagasy guitar… This is how 12 songs to parry the brutality of the world, sink into the maquis, hide behind the foliage and prepare the revolts. The spaces are new, and yet sound familiar. The wise and wild lung comes to whisper new indispensable choruses into mindful ears. DisNnguished guests have come to join the FantasNc Four on this album, totemic singers whose existence and flawless engagement have accompanied Ava and Ismaël when the roads were long and the maUresses uncomfortable. Part of the album has been recorded in Réunion, with Danyèl Waro’s rhythm secNon lending his powerful Nmbre to the track “Le Goût de la Fumée”. Perched in the heights of Saint-Leu and recorded by Serge ParbaMa (Zanmari Baré, Tricodpo), those three tracks confirm the bond that links the band to this volcanic island and its maloyan essence. Insular as well, the folk and medicinal Nmbre of BriNsh singer Kate Stables (This is the Kit) sojly warms the track “De l’eau”.