It is with the idea of perpetual transformation that the singer and composer took the time to master these ten tracks and breathe life into them, imposing on himself the constraint of writing them on the piano and producing them primarily with keyboards. The Pleyel piano, often central, is seconded by vintage analog keyboards, such as the Logan String or a Korg preset, which slowly oscillate. Guitars are out, but in comes the inimitable touch of American drummer Shane Aspegren (Songs:Ohia, The Berg Sans Nipple, Bright Eyes...) who managed to give the rhythms imagined by their creator all the elasticity and groove desired.
