Saint Louis’s letting his pop romanticism roam free all through a folk music swept along with arrangements that are sometimes choral, sometimes flowery, whose meticulous aesthetics draw an architecture shrouded in nostalgia. Mischievously mixing gospel and hippy, a warm and delicate timbre under a languorous pen borrowed from Californian songwriters of the 70s, Saint Louis emanates an air of forbidden loves, glorious adventures, and angelic troubles “sur fond d’azur de Louisiane”.
After decades on the road or in studios with multiple bands, Saint Louis began to write a handful of songs intended for a solo act.
Immersed in folk poetry from Nick Drake to Jim Sullivan and Graham Nash, he first produced an EP entitled “Philters”, which he would finally never release, rather opting to expand it to an LP format. (To be released Spring 23!!)
He thus remains focused on always keeping the same consistent creative method: first recording a guitar without any metronome, then adding the drums. From there, the rest of the arrangement naturally follows. The music then holds a living movement that he loves so much—the breathing of tempo as a Galatea, and the particular sound of analog tapes as an Aphrodite. And considering that songs come to him most often in a global visual piece, like a kind of architecture, the texts are all the more poetic and therefore inseparable from the melodies and sounds.
