The expectation of the other, the desire for seduction, controversy and the need for freedom are the omnipresent themes of this first album, which aims to be danceable, free and assertive. Hey Cutie is very well rendered in its simplicity and folk/country inspirations, while Don’t Say You Love Me makes us groove to R&B influences thanks to its impeccable bass line and the warm voice of its interpreter. The bass is the strongest instrument on the album, with some remarkable solos, notably on La fête and Don’t Say You Love Me. From a production point of view, Sashay Away sets the tone for what could become a very good direction for Éléonore’s sound. In my opinion, the album’s best song is undoubtedly its single, Poussière d’étoiles, with its 80s synths and driving rhythm, while Journée mélancolique is the perfect setting for Éléonore’s voice, where the full amplitude of her range and interpretation can freely take its course. The only downside is that the classical-style vocals sometimes come off well, and sometimes not so well, depending on the type of song, notably in La fête, Ne pas t’écrire and Baromètre. These songs vary a great deal in direction, style and inspiration throughout the album, making it a little dizzying and leaving us with the impression that it sounds a little “all over the place”. Some of the melodies are truly magnificent, but are not exploited to their full potential and could have honored the idea better. All in all, a first opus that wants to be very strong, with a few gems, but fails to achieve the cohesion of a well-defined identity. We’re looking for…
