The pop world is divided into two categories. On the one hand, groups that create new things out of old ones. We know them, we have the names. Yawn, yawn. On the other, those who create old things with old ones, left behind by the wars they have not lived, in search of times they have not known and consoles on eBay in the hope of sounding like Velvet Underground. Just as pathetic as the first, the whole thing coupled with an obsession for imitation which gives their future a taste of an old biscuit dipped in formalin.
“Fashion is what goes out of fashion”, used to say Cocteau. Although he died without having been able to listen to the first Forever Pavotʼs album, we must grant the poet the gift of prophecy: the classical opposition between past and future is completely stupid. On these grounds, Forever Pavot has done honourably. Create new things with old ones, or rather make something beautiful with the old, it is the ambition of “Rhapsode”, record where Ennio Morricone, Francis Lai and other film music composers from the 60ʼs find at last the singer they were missing
Emile Sornin, Forever Pavotʼs leader is already developing techniques dear to François de Roubaix: dreaming his songs, fiddling them solo track by track to eventually produce them in his closest buddies studio, the Aquaserge from Toulouse. The result is worth all these sleepless nights: where others merely copy the past, Emile stacks up sound, rehabilitates the harpsichord in this narrow world that has become pop music. He composes arranged pieces (Electric Mami) that give the impression of hearing Strawberry Fields Forever sung by Zombies.