Saez - Le Manifeste Lulu (2017)

It was not always easy to defend Saez, with his obstinate rebellious attitude, his crude rhymes, his caricatured diction ... But as soon as his Young and con inaugural, then his J'accuse enraged or his triple Messina, one appreciated the enthusiasm and the sincerity of his style which made a bridge between Noir Désir and Brel. Rock activist clashien and classical French song and fever. Before Christmas, he published a collection of protest songs post 13 November. This engraved disc, whose desperate message excused the feeling of stuttering that emerged from it, arrived in preamble to this new triple album (Saez does not know the measure). Alas, if Saez always has the right indignation and fight (for the little ones, the migrants, the culture and the love against the wicked wolves of capitalism, showbiz, media, etc.), his inspiration is at half-mast. Like a recourse to the same words at the turn of so many refrains (songs-enumerations truffled of "bistrots", "cons", "whores" in this "France of Voltaire" in perdition), Saez became Prisoner of his schemes, both melodic and written ...
An enervated first part (My European) begins in Spanish, such as Manu Chao singing Renaud, before sinking into a frightful ode to the streets of thirst (imagine Patrick Sebastien at the head of the Dropkick Murphys!), The rest repeating to infinity Almost the same melody. The second part (Lulu) tilts in the register of the flayed romanticism, with its uniform sequence of ballads, half-Barbara mi-Mistral winner, which end on a baby not Cry with the accents of Florent Brunel of the Unknown! Is the third (On the banks of the Seine) the right one? Not sure. Saez proposes a painful appeasement, where the words disappear to leave the piano, instrumental, borrow the orchestral way of the Song for Guy of Elton John ... The snow, white, immaculate, and its last words, mode Serge Lama If), come to cover the whole at the end. It's generous, surely. But no less balanced. Pity. Anger is not always good counselor.