A few tracks of Qu’est ce qui m’a pris first reached us through tortuous ways before landing on the second solo album of their writer, Philippe Poirier, Kat Onoma’s guitar and saxophone player.
‘Derriere le grand filtre’ was sung as the opening of Francois Breutz’s Vingt a Trente Mille Jours.
‘Une carte postale’ destined to Dani for Tout dépend du contexte and ‘Qu’est ce qui m’a pris’ (the song) which ended Zend Avesta’s Organique : these songs ring today as the beginnings of this new album which follows the 1998 album Qui donne les coups.
The twisting and turning story of these tracks is similar to that of their writing : songs which unravel themselves as they move along and bring in the instruments and the machines with a minute precision.
Dominique A. who sung and wrote ‘Gouvernance’ speaks the best about Philippe Poirier’s music: “His music is very open and dream-like, poetry is nested in every part of it and every sample contains some more.”
(Inactivity report – february 2003 on the commentcertainsvivent.com website)
Qu’est ce qui m’a pris is a place of meeting and friendships.
Arstists as varied as Guy Bickel, Pascal Benoit or Marco De Olivera, all three of Kat Onoma,have their place on the album as well as Stefan Schneider of To Rococo Rot with whom he signed the album Automne Six(Derniere Bande/Wagram) in 2003 or Ronald Lippok and Bernd Jestram of Tarwater.
These musicians, who all come from different music backgrounds, have an echoing role to the hybrid feel of Qu’est ce qui m’a pris, an album which takes neither side for the organic or the electronic, the melody or the atmosphere, and which doesnt decide between the experimental or the song side of itself.
Which makes it a really peculiar album, subtle and rich.