Evohé, the song of the bacchants, is multiple and dangerous, its cult is not based on any catechism. Bacchanalian song is about intrusion, it knows neither beginning nor end, and refuses to take the stage that is set for it. Evohé is thus a permanent discipline of aggression of the ritual by the real. A cult of the dangerous object, of time gnawing at flesh, of redemption through intoxication."

French Chanson, Noise, echoes of music from faraway and long ago, modified radio transistors and other old electronic gear, French song, noisemakers, rumours of ancient and distant music, handmade instruments, modified transistor radios and other old electronic objects, Bégayer is looking for a gesture for those without folklore, for the offspring of this culture of lack, born as much from the twilight of popular habitus as from noisemakers' howling, from village squares as from the swarming of digital streams, for an unprecedented kind of rapsod-aliens.

The culture of lack can be seen as a cruel joy, an opportunity for communion between the staggering interpretation of ancient gestures and present-day attempts to construct unique variations and overflows.

In this way, each stuttering chant seeks to be a restless and joyful object, whose obstinacy and cruel simplicity offer themselves as manifest objects of agitation, as distances to be encountered, as studies that look towards us.

'Évohé bègue' moves towards an open, highly improvised composition, somewhere between the patterns of Morton Feldman, the Nigerian Ogene orchestral bands, the post-punk pleas of New York no-wave, the laughing insolence of northern Italian folk music, the ritual yodelling of the monks of Java, contemporary poetry, improvised music...