We were going to start by saying that it had been a long time since we had heard from Flavien Berger, but that would have been incorrect. While it is true that his last classic album dates back to 2018 – by classic we mean an album in the rules of the art with a voice, a melody and the genius Berger at his own service – he has served us in the meantime an experimental album dedicated to the study of urban vegetation (“De la wasteland”, 2020), and more recently, the soundtrack for the film “Everyone loves Jeanne” by Céline Devaux (2022).
Despite all these projects, the 36-year-old Parisian never let go of the desire to conclude his pop trilogy, which began in 2015 with the album “Leviathan”. “Contre-Temps”, in 2018, followed and here is now “In a hundred years”, the last opus of his sound and sensory triptych. Between dreamlike texts and aquatic melodies, the magician of electronic machines becomes captain of a musical expedition. Entirely bathed in the occult and the mysteries of the future, “In a hundred years” is a disturbing but hopeful album.
Why “In a hundred years”, and not in twenty?
Because in a hundred years I would be dead. In twenty, I may not be. It also starts with an installation at the Lieu unique in Nantes, in 1999, in which they asked the inhabitants of the city to encapsulate objects that would be opened a hundred years later. This idea of putting a capsule for the future made a big impression on me. There’s a bit of that with the music
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