Now this is what I call a homage to blues, postmodern-style and if there’s irony to be detected, well, I failed. Fabrice Eglin and Michel Henritzi play “guitars, slide guitar, amp” in the vein of Loren Mazzacane Connors in conjunction with Robert Johnson’s soul creeping up the cables. Henritzi adds a harmonica somewhere and Benjamin Renard brings in a fabulous bell in “Heavy slow train”. Every physical instrumental element – including the loop noise of the amps and the scraping on detuned strings – is used to create a fascinating flourishing of ghost harmonics, quarter-tone bendings and uncontrolled distortions which Sonic Youth would be envious of. Eglin and Henritzi are not ashamed for a second of their apparent lack of technical six-stringed expertise (and if they do have some, it’s very well disguised) because all that counts here is a feeling of rusty disenchantment in an exploration of those particulars that a purist would always choose to cut off the final mix. This is a picture of realism whose grain is the memory of a past which is strangely coincident with today. And, believe me, “The singer” works great as ambient music too: try it at a very low volume in complete silence and enjoy the spirits crawling around.