● C'est toujours une occasion un peu spéciale, d'écrire sur un disque de Birds In Row, pour peu que l'on soit intéressé-e, ou carrément passionné-e par le groupe. À titre personnel, c'est en tout cas un réel plaisir, beaucoup d'entre vous savent à quel point ce groupe m'a marqué et continue de le faire, et pour celleux qui ne le savent pas, je suis tout simplement entrain de vous parler d'un de mes groupes favoris... Depuis le tout début, depuis Rise Of The Phoenix, les lavallois ne cesse de maintenir vivante cette flamme nourrie par tant de sentiments de rage, de frustrations, de catharsis, de souvenirs exorcisés, la même qui anime tout un pan de la génération actuelle des hardcore kids français-es. Chacune de leurs sorties est toujours reçue avec beaucoup d'enthousiasme et suscite beaucoup d'impatience, et ce d'ailleurs bien au-delà de la (f)rance : c'est jusqu'à présent le seul groupe français signé chez Deathwish Inc., le label des mentors musicaux de Birds In Row que sont, entre autres, Converge et Modern Life Is War. Et nous, les enfants de l'emo/hardcore français, une scène redevenue un peu isolée et pârfois egocentrée, on a l'impression de s'identifier un peu à ces personnes, qui viennent d'une ville à priori un peu fatiguée et fatiguante, où pas grand chose ne se passe pour la jeunesse et pour ce qui sort du cadre "normie" de la société, hormis via ce microcosme qui pourtant compte tellement dans le paysage du hardcore français , où gravit(ai)ent As We Draw, Throw Me Off The Bridge, The Brutal Deceiver, WAITC, Discorde et Throatruiner Records, et qui via le biais de la musique, s'en échappent et parviennent à voyager, ou plutôt à fuir sur la route, en nous embarquant avec eux au passage avec leurs textes, avec leurs lives... Tout cela simplement pour vivre un peu plus fort et un peu mieux, sans passer par le schéma classique de "réussir sa vie" et sans sans se perdre dans le tourbillon de l'ennui, d'une routine assassine.
Beaucoup de chemin a été parcouru depuis You, Me, And The Violence, leur premier album qui les aura révélé à la face de la scène hardcore, et encore plus depuis Cottbus, leur disque-phare pour les plus initié-e-s... Et pourtant, ces disques n'ont pas pris une seule ride. À chaque écoute, c'est la même claque, la même dose de passion et d'urgence qui explose à la figure, des rafales qui viennent nous couper le souffle, les années qui passent ne les rendant au final que plus forts et cohérent encore, tant sur le discours que sur la musique (on pensera par exemple à "Die, Testosterone, Die!" sur Rise Of The Phoenix...). Et ce chemin, il fût parsemé d’embûches, et pour être tout à fait précis-e sans rentrer dans les détails, le groupe a bien failli splitter sur la route (vous vous souvenez de ce post éphémère sur la page Facebook du groupe ?)... Mais le line-up a évolué en conséquence, et il semblerait que ces évènements les ont aidé et amené à aller toujours plus loin dans ce qui ressemble à un absolu musical, donnant entre autres ces énormes dymanites musicales que sont Personal War et le split avec WAITC. Des disques composés dans la douleur, le besoin de se vider de certains poids, mais qui n'ont curieusement pas reçus tout le background qu'on aurait pu attendre de ces morceaux. D'ailleurs, j'ai toujours pensé que Personal War était un album, mais au final il semble être considéré comme un EP...
We Already Lost The World a été composé et enregistré assez rapidement, me semble-t'il, au studio tout neuf de Amaury Sauvé, "The Apiary". Amaury est d'ailleurs toujours à la production sur ce disque. Pourquoi changer alors que ça marche si bien jusque là ? Puis, Amaury et les Birds In Row se connaissent tellement bien, sous plusieurs points, que ça facilite forcément le boulot ensemble. Ainsi, on pouvait se douter que cette release n'allait pas nous dérouter, même si naturellement, on pouvait deviner légitimement une évolution. Pendant un an, ils ont teasé cet album en jouant d'abord "Love Is Political" sur chacun de leurs lives. Et ce morceau a globalement reçu un très bon accueil. Ça ne sonnait pas encore trop éloigné de ce qu'ils ont composé jusque là, hormis cette ligne de basse super groovy qui ponctue le morceau. Mais "15-38", le second morceau annonçant l'album, a surpris tout le monde : du chant clair, un tempo beaucoup plus posé, des chœurs... Mais ce morceau sonne vraiment naturel, venant de Birds In Row. Est-ce surprenant de les entendre jouer quelque chose qui ressemble à du blues, quand on sait que Bart et Quentin en sont de bons auditeurs, et alors que cette influence se laissant très facilement deviner auparavant sur des titres comme "Last Last Chance" ? We Already Lost The World, c'est du grand Birds In Row avec une certaine retenue, un songwriting plus poussé, mais avec la même intensité, la même fougue. Avec peut-être des influences plus assumées ?
Certains parlent de post-punk pour décrire ce disque sur les différentes distros, personnellement je n'ai pas l'impression d'en entendre, j'ai plus l'impression d'y retrouver des idées héritées d'une frange plus large du punk hardcore, du post-rock, et même du screamo de manière très concrète (les géniales "Fossils" et "I Don't Dance"...), qui ne sont pas sans rappeler quelques sons de Loma Prieta voire d'Ampere. Birds In Row est souvent catégorisé en tant que groupe de screamo, mais dans les faits leur musique va bien au-delà de cela. En fait, c'est dur de les catégoriser, un peu plus encore aujourd'hui, et c'est plutôt cool. Ceci dit, je ne dirais pas non à quelques petites influs late Ceremony par-ci par-là dans le futur, ça leur irait plutôt bien !
Au niveau des paroles, on est toujours face à une balance entre la douleur, l'amour, nos routines, les barrières que l'on se pose parfois face à nous-même, et l'aspect plus politique de notre quotidien, alors que l'amour de chacun-e peut être une barrière solide contre ces politicien-ne-s, ces lois, ces normes sociétales et ces lobbys qui oppressent toujours plus de personnes dans notre monde. D'où le raisonnement de "Love Is Political" : "Love is defiance / defiance is necessary / love is disobedience / love is political". Même si ce raisonnement peut aussi prêter à débat, car l'amour n'est pas forcément une solution pour faire réfléchir un-e facho qui se pointe en face de toi pour te faire la peau si tu es racisé-e, antifasciste ou que tu es LGBTQIA+... L'amour est une clé, mais ce n'est pas l'absolu. Mais je suis tout à fait d'accord sur le fait que dans nos sociétés de plus en plus populistes, égocentriques et où la peur de l'autre est criante, l'amour est en effet une défiance. Bah ouais, on se fait bien moquer facilement quand on se situe politiquement à gauche en ce moment...
Miss The Stars Fest, Berlin, à la fin du set de Birds In Row, Mai 2018.
Dès le premier morceau, on se prend des punchlines relatable en plein dans le coeur, avec "We Count So We Don't Have To Listen", qui nous plonge relativement bien dans le mood du disque, dans ce qu'il nous réserve ensuite. L'un des énormes moments "frissons" de ce disque réside définitivement dans "We Vs. Us", un titre qui commence tout en délicatesse, avec ce fort accent bluesy que j'attendais tant sur un disque de BiR, avant de lentement monter en adrénaline, et cette explosion finale qui fera partie des nombreuses parties sing-along qui ponctueront les futurs concerts du groupe, avec son anthémique "I'm just sick of them all, and we can't be more". L'enchaînement avec "Remember Us Better Than We Are" est assez incroyable, avec ce même type de montée d'adrénaline, où Bart et Quentin hurlent plus fort que jamais. Mais genre, comment est-ce possible d'aller plus loin encore que ce qu'ils ont fait jusque là ?
"I Don't Dance", avec son superbe clip où un danseur et une danseuse mettent magistralement en scène les paroles du morceau, nous renvoie aux influences screamo du groupe, un peu aussi à ce qu'ils proposaient avec "O'Dear", à en juger les petites saccades et ce catharsis qui ne fait que s'amplifier à partir de 1:30. Des influs screamo qu'on va retrouver à fond sur le dernier titre du disque, l'époustouflant et presque éprouvant "Fossils", qui se scinde en deux entre un skramz virulent et soudainement, une accalmie beaucoup plus planante et posée...
"I Don't Dance", avec son superbe clip où un danseur et une danseuse mettent magistralement en scène les paroles du morceau, nous renvoie aux influences screamo du groupe, un peu aussi à ce qu'ils proposaient avec "O'Dear", à en juger les petites saccades et ce catharsis qui ne fait que s'amplifier à partir de 1:30. Des influs screamo qu'on va retrouver à fond sur le dernier titre du disque, l'époustouflant et presque éprouvant "Fossils", qui se scinde en deux entre un skramz virulent et soudainement, une accalmie beaucoup plus planante et posée...
- "Always lost at sea, bottles drifting in waters.
Love's still love when lone men sing.
It clings to hearts that drugs can't ease.
I'll wait. It's not the partner, it's the dance I fear."
-
Le vrai tube de ce disque, c'est tout de même "15-38", celui qui raconte le mieux et de la manière la plus "accessible" cet album, avec toute la finesse qu'a ajouté le groupe à la puissance rugueuse de sa musique, tout en y dévoilant subtilement cette sève virulente. En le découvrant pour la toute première fois, je dois admettre que j'étais un chouïa douteux. Je ne savais pas si j'allais vraiment accrocher à un disque qui sonnerait entièrement comme ce morceau. Mais au final il n'en est rien, il s'agit juste d'une accalmie dans la tourmente, qui y a au final toute sa place, et j'adore ce morceau.
Hey, et n'y aurait-il pas un petit feeling des groupes de la "Wave" sur le titre "Morning" ? Ce côté narratif dans le chant qui ressemble fort à celui de Jeremy Touché Amoré ou Jordan La Dispute ? Même dans la construction du morceau, même si rien que sur les 30 premières secondes c'est quand même vachement plus technique, je trouve que ce côté mélodieux et groovy leur ressemble pas mal, notamment le La Dispute période Somewhere At The Bottom [...]...
Voilà, encore une sortie de ce groupe qui, pour être tout-à-fait clair-e, en a mis plus d'un-e et moi inclus-e sur le cul. Encore plein de titres qui touchent en plein coeur, que ce soit par les propos que par la simple décharge émotionnelle surpuissante que contient chaque morceau. Récemment, le groupe a (enfin) fait un Audiotree Live Session pour 6 morceaux (j'ai d'ailleurs réussi à voir le direct sur mon tel dans un bus Paris > Prague qui me broyait les fesses mais m'emmenait au Fluff Fest), et n'ayant encore jamais vu le groupe jouer 4 des 6 morceaux interprétés, je peux confirmer qu'ils ont réussi à les interpréter avec ENCORE PLUS de passion et de force que les morceaux studios. C'était vraiment trop beau, à l'exception de l'écho un peu chelou qui a gâché la fin de "15-38" hahaha. Je pense vraiment que la NASA devrait songer à donner à un astre solaire en phase de supernova le nom de ce groupe...
Ah ouais, et merci à tout les trois, du fond du coeur, encore une fois. ♡
Scroll down or click on "plus d'infos" for the english version!
● It's always kind a special occasion to write about a Birds In Row record, as long as you're interested, or downright passionate about the band. Personally, it's a real pleasure : many of you know how much this band has marked me and is important for me, and for those who don't know it, you're reading a review about one of my favorite bands ever... Since the very beginning, since Rise Of The Phoenix, the Laval peeps have kept alive this flame fueled by so many feelings of rage, frustrations, catharsis, memories exorcised, the same that animates a whole part of the current generation of French hardcore kids. Each of their releases is always received with great enthusiasm and arouses much impatience, and indeed beyond (f)rance: it's so far the only French band signed at Deathwish Inc., the label of Birds In Row's musical mentors such as Converge and Modern Life Is War. And we, the children of French emo / hardcore, a scene which became again a little isolated and egocentric, seem to identify a little to these people, who come from a city à-priori a little tired and tiring, where not much happens for the youth and for what comes out of the "normie" framework of the society, except through this microcosm which nevertheless counts so much in the landscape of the French hardcore, where gravitates As We Draw, Throw Me Off The Bridge, The Brutal Deceiver, WAITC, Discorde and Throatruiner Records, and through the music, are all escaping and managing to travel, or rather to flee on the road, embarking us with them with their lyrics, their live sets ... All this simply to live a little stronger and a little better, without going through the classic scheme of "succeeding your life" and without getting lost in the whirlwind of boredom, of a murderous routine.
A long way has been traveled since You, Me, And The Violence, their first album that revealed them to the face of the punk/hardcore scene, and even more since Cottbus, their flagship album for the most initiated of y'all... And however, these records didn't take a single wrinkle. At each listen, it's the same slap, the same dose of passion and urgency that explodes in the face, gusts that come to take our breath away, the years passing by only making them ultimately stronger and more consistent, both on the discourse and on the music ("Die, Testosterone, Die!" on Rise Of The Phoenix is a good example). And this road was strewn with pitfalls, and to be quite precise, without going into details, the group almost broke up on the road (maybe you remember this ephemeral post on the Facebook page of the band about the supposed end of the band?)... But the line-up has evolved since, and it seems that these events have helped them to go further in what looks like a musical absolute, giving among other things these huge musical dymanites that are Personal War and the split with WAITC. Those records where composed in pain, the need to empty some weights, but which curiously didn't receive all the background that could have been expected. Besides, I always thought that Personal War was an album, but in the end it seems to be considered as an EP...
We Already Lost The World was composed and recorded quite quickly, at Amaury Sauvé's brand new studio, "The Apiary". Amaury is still the producer on this record. Why change when it works so well? Amaury and everyone in Birds In Row know each other so well, under several points, that it necessarily facilitates the job together. Thus, we could suspect that this release wasn't going to confuse us, even if of course, we could legitimately guess an evolution. For a year, they teased the new album by playing "Love Is Political" on each of their sets. And this song has globally received a very good feedback. It didn't sound too far from what they have composed so far, except this super groovy bass line that punctuates the song. But "15-38", the second single from the record, has surprised everyone: clear vocals, a much more relaxed tempo, choruses... But this song sounds really natural, coming from Birds In Row. Is it really surprising to hear them playing something that sounds like blues, when you know that Bart and Quentin are good listeners of the genre, and while this influence can be easily guessed by listening to songs like "Last Last Chance"? We Already Lost The World is just some great Birds In Row, and oh shit : Actually at their greatest in terms of songwriting, with some restraint, but with the same intensity, the same passion.
Some said that this record have post-punk elements to describe this record, personally I don't have the impression to hear it, it's simply inherited from a wider fringe of hardcore punk, post-rock and even screamo in a very concrete way ("Fossils" and "I Don't Dance" ...), which are reminiscent of some songs of Loma Prieta or Ampere. Birds In Row is often categorized as a screamo band, but in fact their music goes well beyond that genre, it's hard to categorize them, and even a little more now, and yo, it's pretty cool. That said, I wouldn't say no to a few late-Ceremony ideas here and there in the future, could be super good!
Regarding lyrics, it's a balance between pain, love, our routines, the barriers that we sometimes put against ourselves, and the more political aspect of our daily lives, while everyone's love can be a solid barrier against these politicians, those laws, these societal norms and lobbies that are always oppressing more people in the world. Hence the reasoning of "Love Is Political": "Love is defiance / defiance is necessary / love is disobedience / love is political". Even if this reasoning can also be debated, because love is not necessarily a solution when a fascist comes in front of you to attack you if you are a POC, antifascist or you are in the LGBTQIA+ spectrum... Love is a key, but it's not the absolute. But I completely agree that in our increasingly populist and egocentric societies, where the fear of each other is blatant, love is indeed defiance. Well yeah, we are easily mocked when we act as a leftist nowadays...
From the first song, we took some punchlines right in the heart, with "We Count So We Don't Have To Listen", which plunges us directly into the mood of the album, that continues with one of the best moments of this album, "We Vs. Us", that begins with delicacy, with that strong bluesy accent that I expected so much to hear on a BiR record until now, before slowly rising in adrenaline, and this final explosion that will launch many sing-along during future shows of the band, with this simple but universal anthem : "I'm just sick of them all, and we can't be more". The record continues in a perfect way with "Remember Us Better Than We Are", with this same type of adrenaline rush, where Bart and Quentin are screaming louder than ever. Can anyone tell me how it's possible to go even further than what they have done so far?
"I Don't Dance", with its beautiful videoclip where dancers masterfully transcribe the lyrics of the song, refers us to the screamo influences of the group, something we could already heard on songs like "Cages" or "O'Dear" : these little jerks and this catharsis that only gets more and intense starting from 1:30... A screamo feeling that we will find thoroughly on the last track of the record, the breathtaking and almost challenging "Fossils", which is a combination between a virulent and spastic skramz, and a much more hovering and posed lull...
Hey, I'm the only one to find a little something from the bands of the "Wave" on the track "Morning"? This narrative side in the song that closely resembles of the singing skills of Jeremy Touché Amoré or Jordan La Dispute? Even in the construction of the song, even if on the first 30 seconds of the songs is still really more technical, I find that this melodious and groovy side of the song looks pretty like them, including the Somewhere At The Bottom [...]-era La Dispute... But that's just me I guess.
Here is another release of this trio which, to be quite clear, has blown everyone away on their audience. Once again a collection of songs that strikes right in the heart, either by the words that the simple emotional overpowering that contains each piece. Recently, the band (finally) did an Audiotree Live Session for 6 songs (I also managed to see the session live on my smartphone in a Paris > Prague bus that crushed my butt but had the crucial advantage to took me to Fluff Fest), and having never seen the band play 4 of the 6 songs played for that session, I can confirm that they managed to interpret them with EVEN MORE passion and strength than the studio recording. Like, how the fuck the did? It was soooo good, except for the weird little echo that ruined the end of "15-38" hahaha. I really think that NASA should think about giving a solar star in her supernova phase the name of this band...
Oh yeah, and thanks to all three, from the bottom of my heart, once again. ♡
Scroll down or click on "plus d'infos" for the english version!
● It's always kind a special occasion to write about a Birds In Row record, as long as you're interested, or downright passionate about the band. Personally, it's a real pleasure : many of you know how much this band has marked me and is important for me, and for those who don't know it, you're reading a review about one of my favorite bands ever... Since the very beginning, since Rise Of The Phoenix, the Laval peeps have kept alive this flame fueled by so many feelings of rage, frustrations, catharsis, memories exorcised, the same that animates a whole part of the current generation of French hardcore kids. Each of their releases is always received with great enthusiasm and arouses much impatience, and indeed beyond (f)rance: it's so far the only French band signed at Deathwish Inc., the label of Birds In Row's musical mentors such as Converge and Modern Life Is War. And we, the children of French emo / hardcore, a scene which became again a little isolated and egocentric, seem to identify a little to these people, who come from a city à-priori a little tired and tiring, where not much happens for the youth and for what comes out of the "normie" framework of the society, except through this microcosm which nevertheless counts so much in the landscape of the French hardcore, where gravitates As We Draw, Throw Me Off The Bridge, The Brutal Deceiver, WAITC, Discorde and Throatruiner Records, and through the music, are all escaping and managing to travel, or rather to flee on the road, embarking us with them with their lyrics, their live sets ... All this simply to live a little stronger and a little better, without going through the classic scheme of "succeeding your life" and without getting lost in the whirlwind of boredom, of a murderous routine.
A long way has been traveled since You, Me, And The Violence, their first album that revealed them to the face of the punk/hardcore scene, and even more since Cottbus, their flagship album for the most initiated of y'all... And however, these records didn't take a single wrinkle. At each listen, it's the same slap, the same dose of passion and urgency that explodes in the face, gusts that come to take our breath away, the years passing by only making them ultimately stronger and more consistent, both on the discourse and on the music ("Die, Testosterone, Die!" on Rise Of The Phoenix is a good example). And this road was strewn with pitfalls, and to be quite precise, without going into details, the group almost broke up on the road (maybe you remember this ephemeral post on the Facebook page of the band about the supposed end of the band?)... But the line-up has evolved since, and it seems that these events have helped them to go further in what looks like a musical absolute, giving among other things these huge musical dymanites that are Personal War and the split with WAITC. Those records where composed in pain, the need to empty some weights, but which curiously didn't receive all the background that could have been expected. Besides, I always thought that Personal War was an album, but in the end it seems to be considered as an EP...
We Already Lost The World was composed and recorded quite quickly, at Amaury Sauvé's brand new studio, "The Apiary". Amaury is still the producer on this record. Why change when it works so well? Amaury and everyone in Birds In Row know each other so well, under several points, that it necessarily facilitates the job together. Thus, we could suspect that this release wasn't going to confuse us, even if of course, we could legitimately guess an evolution. For a year, they teased the new album by playing "Love Is Political" on each of their sets. And this song has globally received a very good feedback. It didn't sound too far from what they have composed so far, except this super groovy bass line that punctuates the song. But "15-38", the second single from the record, has surprised everyone: clear vocals, a much more relaxed tempo, choruses... But this song sounds really natural, coming from Birds In Row. Is it really surprising to hear them playing something that sounds like blues, when you know that Bart and Quentin are good listeners of the genre, and while this influence can be easily guessed by listening to songs like "Last Last Chance"? We Already Lost The World is just some great Birds In Row, and oh shit : Actually at their greatest in terms of songwriting, with some restraint, but with the same intensity, the same passion.
Some said that this record have post-punk elements to describe this record, personally I don't have the impression to hear it, it's simply inherited from a wider fringe of hardcore punk, post-rock and even screamo in a very concrete way ("Fossils" and "I Don't Dance" ...), which are reminiscent of some songs of Loma Prieta or Ampere. Birds In Row is often categorized as a screamo band, but in fact their music goes well beyond that genre, it's hard to categorize them, and even a little more now, and yo, it's pretty cool. That said, I wouldn't say no to a few late-Ceremony ideas here and there in the future, could be super good!
Regarding lyrics, it's a balance between pain, love, our routines, the barriers that we sometimes put against ourselves, and the more political aspect of our daily lives, while everyone's love can be a solid barrier against these politicians, those laws, these societal norms and lobbies that are always oppressing more people in the world. Hence the reasoning of "Love Is Political": "Love is defiance / defiance is necessary / love is disobedience / love is political". Even if this reasoning can also be debated, because love is not necessarily a solution when a fascist comes in front of you to attack you if you are a POC, antifascist or you are in the LGBTQIA+ spectrum... Love is a key, but it's not the absolute. But I completely agree that in our increasingly populist and egocentric societies, where the fear of each other is blatant, love is indeed defiance. Well yeah, we are easily mocked when we act as a leftist nowadays...
From the first song, we took some punchlines right in the heart, with "We Count So We Don't Have To Listen", which plunges us directly into the mood of the album, that continues with one of the best moments of this album, "We Vs. Us", that begins with delicacy, with that strong bluesy accent that I expected so much to hear on a BiR record until now, before slowly rising in adrenaline, and this final explosion that will launch many sing-along during future shows of the band, with this simple but universal anthem : "I'm just sick of them all, and we can't be more". The record continues in a perfect way with "Remember Us Better Than We Are", with this same type of adrenaline rush, where Bart and Quentin are screaming louder than ever. Can anyone tell me how it's possible to go even further than what they have done so far?
"I Don't Dance", with its beautiful videoclip where dancers masterfully transcribe the lyrics of the song, refers us to the screamo influences of the group, something we could already heard on songs like "Cages" or "O'Dear" : these little jerks and this catharsis that only gets more and intense starting from 1:30... A screamo feeling that we will find thoroughly on the last track of the record, the breathtaking and almost challenging "Fossils", which is a combination between a virulent and spastic skramz, and a much more hovering and posed lull...
Hey, I'm the only one to find a little something from the bands of the "Wave" on the track "Morning"? This narrative side in the song that closely resembles of the singing skills of Jeremy Touché Amoré or Jordan La Dispute? Even in the construction of the song, even if on the first 30 seconds of the songs is still really more technical, I find that this melodious and groovy side of the song looks pretty like them, including the Somewhere At The Bottom [...]-era La Dispute... But that's just me I guess.
Here is another release of this trio which, to be quite clear, has blown everyone away on their audience. Once again a collection of songs that strikes right in the heart, either by the words that the simple emotional overpowering that contains each piece. Recently, the band (finally) did an Audiotree Live Session for 6 songs (I also managed to see the session live on my smartphone in a Paris > Prague bus that crushed my butt but had the crucial advantage to took me to Fluff Fest), and having never seen the band play 4 of the 6 songs played for that session, I can confirm that they managed to interpret them with EVEN MORE passion and strength than the studio recording. Like, how the fuck the did? It was soooo good, except for the weird little echo that ruined the end of "15-38" hahaha. I really think that NASA should think about giving a solar star in her supernova phase the name of this band...
Oh yeah, and thanks to all three, from the bottom of my heart, once again. ♡
C'est super comme avis! Je suis tout à fait d'accord!
RépondreSupprimerMerci ! :)
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