If Franz Schubert had made the journey to Carrefour La Mort, he would not have resisted the obstinate beating of the voodoo drum, nor the rough Creole language. He would have written these Lieder which are there in this album. Well, possibly. On the piano, Fabian Fiorini has husked his playing and the Kongo, Dawomen or Petwo rhythmic structures to reconstruct them into structures of European inspiration as well as with the sense of the present time. On vocals, Renette Désir opened windows in her expression like probably no Haitian singer before her. Her voice is a gift, but it's not enough. She allows herself violence, madness, according to what the poems command her which she carries in her song. Because there is the essence of the wrath and joys of Haiti in the words of Inema Jeudi and James Noël. The stunned memory of January 12 is there with Tranbleman syèl and Echantiyon. For those who have visited Port-au-Prince, they will find in Ala vil the energy of all these humanities who run endlessly in search of a little better. Sometimes they go crazy. Memories of a first show, All Africa (Max Roach) and Fleurette Africaine (Duke Ellington) sing about the lost dream of African origins, widely shared by the descendants of enslaved people in the Americas. Soufle Van, a traditional song magnified by Toto Bissainthe, it's the same. Between the present and this nostalgia, there is an immense sea, a crossing. Tragedies do not end. Yo Anpil, taken and adapted from the play Eurea by In Koli Jean Bofane, evokes another terrible crossing: that of refugees on the Mediterranean, at this moment. And death strikes everywhere, but as long as there is life, there is hope. The vital force of Love despite the sticks in the wheels, is what Pos Machan says. Fraying at the end of the album, Krache Lanmou also gives us the right to a little softness.