DEBOUT SUR LE ZINC
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DEBOUT SUR LE ZINC | STANDING ON THE COUNTER (BAR)
DSLZ is a band which traveled all over France and Europe for the last decade and that cultivates an alternative “pop”, far from the usual song “clichés”. Appearances are misleading: the elegant fluency of their verses hides deeper and more subtle thoughts dealing with our everyday life. Nevertheless, the poetic quality of their songs does not impact the popularity of the band.
“De Charybde en Scylla”
Charybde and Scylla are two mythological characters symbolizing the choice between the calculated sacrifice and a random future for any of us. That is somehow the decor and atmosphere chosen for DSLZ’s new album: light irony and adapted optimism, innocence in seriousness, life seen as a never-ending jump into unknown and dreams at the end of the tunnel.
De Charybde en Scylla is the 5th album from DSLZ. Its preamble could sound a little bit out of the line compared to the apparent good mood of the band, its easy listening melodies and its clean voices on awesomely accurate arrangements. Written collectively by the three authors, DSLZ releases some jewels of irony and mischief among their songs; “Sport 2000” for example (which deals with how to break up with principles), or “J’ai” which is a stylistic composition on the model of “Je suis sous” from Nougaro. On another hand the existential and enigmatic poetry of “Fin Septembre” and “L’invisible” contrasts with the cheerful and oneiric “Coup de foudre”, however if there is only one thread for the whole album, that would be a deep dive into love and its tribulations (“Scylla”, “Aller Simple”).
DSLZ could be considered as a model of participative democracy: almost every song is written individually but then adopted (or not) by the majority among the crew. Actually that is how they do reach a slight kind of universality right from the base. The same could be said regarding their music: DSLZ came up with an acoustic concept which was “spiced up” with an electric guitar in order to implement rock influences: Stéphane Prin, their director (also Jean Louis Murat’s one among others…) contributed to this. Each of the recorded songs in its final version sounds as if it was performed on stage.
If their influences could be referred to Calexico, Taraf de Haïdouks, Joseph Racaille or even Leonard Cohen, DSLZ does not seek any recipe. Even if that somehow implies to cloud the issue, their founding principle would be not to have any! No fatalism, only questioning, and above all keeping in mind to be careful not to slip into conformism.