Catastrophe’s “La Proie et l’ombre”: A Fusion of Pop Brightness and Soulful Waves

In the first third of the night depicted by La Proie et l’ombre, there emerges an unexpected gem. While the neo-zazou collective’s previous two albums have been praised for their sense of lyricism, adventure, and a blend of ultramodern and quaint Technicolor, the arrival of a pure variety gem like Sans contact wasn’t anticipated. This beautifully melancholic song—its fragile suspension reminiscent of Christophe in the chorus delivery—exemplifies what the core group of Blandine Rinkel, Pierre Jouan, Arthur Navellou, and Carol Teillard d’Eyry can achieve when tightly knit.

The newly formed quartet enlisted the talents of cellist Jérémie Arcache (formerly of Revolver), who adorned the thirteen new tracks with exquisite arrangements, vibrant electronic notes, and pop glimmers that illuminate the melancholy. Everywhere in this album, one can find the Delicacy highlighted in one of its most moving pieces, a disarmingly sincere quality. The retro allure is never passé; as heard in the disco pinnacle Sauvons-nous, “Yesterday is dead and we are alive.”

Uncertain Promises

Similar to Julien Barbagallo, Catastrophe crafts French songs in a pink silk jacket. The second side of the album, even more intimate, features a ballet of Dictaphones, a stripped-back Falaise—rounds off the record in a cycle of eternal return, ending on a Première Fois filled with uncertain promises. This marks a return to the night-vision themes of La nuit est encore jeune (2018), Catastrophe’s debut album which was accompanied by a manifesto, after a sunny Gong! (2020). Even in the darkness, their vision remains clear—and the twilight, magnificent.

La Proie et l’ombre (Tricatel). Release date: September 12.