After "Comme à la radio", Brigitte Fontaine and Areski Belkacem followed up with a series of experimental albums, blending subversive poetry and stark soundscapes. Their project "Baraka," initially conceived as a return to intimate pop with oriental influences, was sidetracked in the studio by overly dense production, resulting in "Les églantines sont peut-être formidables" – an album the duo long banned from sale, disfigured by inappropriate jazz-rock arrangements.
However, recently unearthed, the original demos reveal a rawer, more sincere version of the project. These stripped-down recordings highlight Brigitte and Areski's unique vocal alchemy, capturing a suspended moment between two eras of their work.