Xavier and I's first demo is marked by a disparate use of equipment. Many of the songs use the PSS-50, but there is also one (where Xavier and I play) with flute and the "harpsichord" sound of my sister's electric piano. Another one is played entirely on electric guitar. Finally, on the B side, the songs are played by the sound card of Xavier's PC... except "The Old Tower" which I played on a rented keyboard from Beckrich's store (Akai or Kawai, I don't remember).

In short, and I realize it today fully, our current tendency to voluntarily record with many keyboards with extremely different sounds (pure and hard analog synths, small keyboards equipped with an FM chip, PCM keyboards, samplers, antediluvian General MIDI banks) and my will, for our next releases, to move in a seemingly incoherent way from one type of sound to another, and from one production quality to another (clean digital recording, 4-track cassette, dying tape recorder, outdoor recordings, etc.) – all of this has its roots, unconsciously, in the very beginning of our "career". This second musical period which opened up after ten years without seeing each other and without composing definitely looks like a kind of second chance: that of fully realizing, once adult, with the means of our ambitions, what we had only sketched in high school.

The music I play with Xavier is full of false notes and off-beats, the pieces are short and wobbly, without a real beginning and without a proper end, but it is living music, and therefore imperfect; we will never go back to the temptation of mastering everything from A to Z and of building our pieces on sequencers that are nothing but assembling sonic legos. Sequencing as a default mode of composition has destroyed, had destroyed, in us, in me, any spontaneity, any ability to improvise, to go with the bluff, to include mistakes and accidents. The music we've been making since 2017 is messy, but it's better than most of what I've been able to do alone in front of Fruity Loops since the year 2000.