Confused Music is in itself new. Because it revolves not around notes, at least not at first, but around the words of its creator, San Damon. It's a departure for poetry, for what only poetry can bring: freedom. Let's call it self-permission to everything. Words in poetry can be neologisms, existing suffixes or prefixes assembled into new syllables specific to the author, flying out of the latitudes of customary perceptions. San Damon's poetry has been translated into 14 languages, and the Oiniroscopisme he created long before, in 2004, is an explosion of shades of color, thirty-two per color, SOG, his sculptures, such as the Danonaselo, a character whose emotions, intentions and intimacy are perfectly detectable, even though he has no eyes, nose or mouth, nothing to do with what humans generally need to be sure of their feelings. All these conjunctures gave him the idea of creating Musique Confuse.

Unlike contemporary, acousmatic, classical or traditional music, by traditional we mean rock, pop, reggae, jazz and so on....It's only one person's music. It's full of secrets. Secrets of universe-shaping, creative ways and executions.

Confusion is frowned upon in our society, seen and felt as an imbalance carried by anguished sufferers with no access to reality. At least, the reality of so-called normality, which we know does not exist. Nothing is more abnormal than normality, except for those who are afraid, afraid of uncertainty. Uncertainty is the element that leads to genuine creation.

In his Oniroscopist treatise “Axioms and Theorems”, San Damon already described, in 2015, the different declensions of his art, the one he created under heterogeneous aspects.

(To be read in the “Oniroscopic Treatise of the San Damon Museum” tab).

Here, San Damon's musical compositions and poetic or literary texts are in symbiosis with his arrangements and those of Fulgence Berger. Fulgence could be a singer, but he's more than that. He's an actor who sings, who says and runs through the words to the music. We could say: how can we dare to “do the inosable” - a nice neologism there too. How, what should be a gigantic mess in music and words, are in fact major works. They are magnificently audible, everything is perceptible, everything blends and juxtaposes. The music, once again confused by its lyrics, is full of secrets, anagrams and traps. The tricks leap, fuse, ripple, entice and skid, the lure is perfect and yet everything is luminous.

The confused music is perhaps above all a construction, both in its lyrics and in its musical compositions, of a storyline. Each song is a life, each life a scenario with its own singular story. Time is his common thread, inverted time, anagrams, postures and the roots of a language, Latin. 

No one will say here how they do it. But the result is enchanting.

Explanation of intent

Dream of a Late Autumn Afternoon by San Damon is not a twisted representation of Shakespeare's A Midsummer Night's Dream or of Berlioz's compositions on Gautier's collection of poems “La comedy of death", but a real experience, a whisper with the shadows experienced by the artist, many years ago, in autumn, hence the name of the first movement of his Oniroscopist Symphorapsody "October Night - October Night”, theme first composed in 1990, just like Spleen mon Amour, but under another name. The Spleen of San Damon has no common view with that of Baudelaire, who was not the inventor of the term.

Historically, this term, though of English origin "rate", was translated into French as "mélancholy" by Diderot a few years before the French Revolution. In other words, never having a free head, boredom with things to the point of disgust with existence. Schnitzler could more easily be mentioned, not for his prose poems, but for his knowledge of hypnosis. Indeed, Damon neuroses the words of his text and forces the listener to eight identical passages of his music. Identical, it seems ? Because, in fact, the interpretation of the text gives a variant to the melancholy, gradually becoming a lypémania. While Baudelaire's melancholy is very unpleasant, Damon claims it to be beautiful, almost joyful.

Interrupted halfway through by a verse recounting another story. As is often the case in his compositions, San Damon adds words to notes, too many words for fewer notes, an exercise in genius that forces the performer to take a detour in his interpretation. The fifth chorus takes off again, ending in an endless whirlwind of madness as the mind loses its footing and rushes into the finale ad libitum.

Secret film. It is first dedicated to the second version of the 15th movement of San Damon's Symphorapsodie Oniroscopiste.

It has the particularity of being different from what has already been heard in the musical landscape. It combines rock, pop and techno with a funky backdrop and, above all, a real lyric: a poem that, like the images in the film, hides secrets and a new dance, "La Spleen danse".

This is the rock,pop,techno-funky version of the 15th movement "Spleen mon Amour" from the Symphorapsodie Oniroscopiste performed by Fulgence Berger.