"The moon inspires European jazzmen and improvisers. Are the crepuscular times giving matter to creation? We have reason to doubt that the approaches are different. Between the Orchestra Nazionale de la Luna, a marvelous adventure led by four musicians in love with the colors of the night and the Orchester de la Lune, a luxurious and consensual grand adventure in which Didier Havet and Brad Scott intersect?

Virtually none, except one: the moon is scrutinized from the blue planet, to the height of the dreams of men.

To venture on the dusty bristling soil, you must look to Lunar Error; It is not surprising that, It is necessary to count on the BeCoq label and its animator Thomas Coquelet (here at the harmonium and the vocal guide...) to explore hostile lands, or sometimes oxygen is lacking. That's why it takes a short exit, where every gesture counts. The 29 minutes of Sélène, twenty-eighth album of BeCoq describes this exit of the module.

Let us be frank: we only expected this kind of crew.

We had not talked about BeCoq long ago. Not that we were deadlocked, but like any independent label with a strong personality, and it is little to say that the proud gallinaceous Flanders is one, there is need to blow. To prepare.

To foment, even.

We do not, Adventure not on the Moon as we go on a picnic. It takes a seasoned team, accustomed to the topography of the place and to seduce Sélène, luminescent goddess of the Moon. It hangs like a veil on this improvisation of a single stroke, which one can without hesitate put in the family of these orchestras who takes the sounds like living organisms: Systematic Distortion Orchestra, Sean Ali, Carlo Costa Acustica, Lines of Crêtes, and of course Aum Grand Ensemble where we find Julien Pontvianne, from the collective Onze Heures Onze, almost naturally.

Sélène is a step-by-step exploration, sensitive to all sounds and movements, Where the baritone saxophone of Mathieu Lilin and the saxophones of Gabriel Lemaire du Tricollectif ( Machaut, Marcel & Solange, Walabix...) blow a wind that hardly clings to reliefs. It is believed that it is an uncontrolled mass but on the contrary. It is gathering dust. It agglomerates here and there a few instruments, which densify the breath without ever making it ubiquitous.

Pierre Denjean's guitar, Quentin Conrate's drums, and of course the Matthieu Lebrun's clarinets, which, as in Bengalifère or in his previous adventures at BeCoq, have disturbing frequencies, are small vortices that make the progression slow but inexorable.

This is what makes this music so beautiful, and powerful enough. Brilliant in any case like the stoles of Selene and just as attractive. As often with the label's records, the rough and hostile aspect that can occur at the beginning is swept away by the confusion of the senses induced by the amalgamation of the timbres.

A very nice experience."-Franpi, Sun Ship (translated by Google)