With a cathedral voice like his, Charles-Antoine Gosselin could divert any boring refrain from his sad fate. But it turns out that the songwriter writes sumptuous songs, in which an intimate knowledge of the powerful powers of folk resonates.
Posted yesterday at 5:00 p.m.
He “prefers parallel paths, trails that we whisper, that no map reveals, which wear out the boots”, confides the Estrien of origin in The time I have left, a phrase that perfectly sums up the subject of this second disc, inflated by the salutary oxygen of slowness and contemplation. After Blue suncited in 2018 in the category of Folk Album of the Year at the ADISQ Gala, the former singer of the Harvest Breed band continues his humble presentation of folk and Americana heritage, through this ode to the invincible force of chance.
Propelled by a catchy little guitar motif (courtesy of co-director Guillaume Bourque), I let the sea guide me unfolds thus gently like a kind of forgotten song by Crosby, Stills & Nash, to which Sufjan Stevens would have joined.
With its borrowings from country (The rain, your pain, lovein duet with Caroline Savoie), chamber folk (The weather is rising) and rock (Forget), Charles-Antoine Gosselin certainly walks along very busy paths, but always knows how to keep his distance from banality, thanks to lyrics that sublimate clichés (“the unexpected is a rendezvous with the essential”) and rich arrangements. giving pride of place to brass, bass clarinet and choirs. His music is gospel, which would celebrate not a faith in God, but rather in life.
folk-rock
Graffiti on the wall of sound
Charles Antoine Gosselin
Independent