Seulement 20 enlèvements de véhicules par la fourrière à Montataire en 13 mois soit à peine 1,54 voitures retirées par mois...

On comprend mieux les difficultés des Montatairiens et des Montatairiennes à trouver une place de stationnement près de chez eux, près des écoles ou encore des commerces ! #montataire #stationnement #parking #policemunicipale #voituresventouses #epaves #pv #fourriere

Albert Mullins died in the RMS Empress of Ireland shipwreck. 111 years later, some of his belongings found his family

https://www.cbc.ca/news/canada/montreal/empress-of-ireland-shipwreck-belongings-found-quebec-1.7604767?cmp=mastodon
- - -
Albert Mullins est décédé dans l'épave du RMS Empress of Ireland. 111 ans plus tard, certains de ses biens ont retrouvé sa famille.

// Article en anglais //

#EmpressOfIreland #Shipwrecks #Épaves

Wÿntër Ärvń – Sous l’Orage Noir – L’Astre et la Chute Review

By Twelve

Wÿntër Ärvn is a really cool project. It takes its inspiration from black metal of the ’90s and channels it into an almost fully acoustic and almost fully instrumental framework, building on many familiar feelings from that space—bitterness, inner struggles, anger, the usual stuff—in a pleasant, rather than jarring way. The French one-man project writes on acoustic guitars and builds on it such instruments as the cello, shakuhachi, and, yes, clarinet—but no electric guitars in sight. It’s a powerful concept and worked very well on Abysses, to the delight of the venerable Emya. Following up is always tricky, but a new album is here to continue the journey; how does Sous l’Orage Noir – L’Astre et la Chute stand up?

I should admit straightaway that I didn’t love Abysses. On paper, it’s right up my alley—gorgeous dark and neo folk music with a beating heart from black metal- but I found that its lack of immediacy meant it didn’t work so well for me as it did for Emya (and a lot of you). Sous l’Orage Noir – L’Astre et la Chute—Under the Black Storm – The Star and the Fall—challenged my preconceived biases fast with “Un Voile sur l’Azur,” a calming, peaceful tune that utilizes bagpipes and whistles from Geoffroy Dell’Aria (Les Bâtards du Nord, Épaves) to stunning effect. Similarly, “Remembrances” is a gorgeous song in a similar vein, with compelling acoustic guitar and a beautiful hurdy-gurdy lead that has placed it among my most-listened-to songs over the past few weeks. It is evocative—mesmerizing, even—with an appropriately strong sense of melancholy and nostalgia that hangs over Sous l’Orage Noir in the best possible way.

As alluded to above, there is a strong diversity of instruments across Sous l’Orage Noir, thanks in part to a variety of guest musicians. Raphaël Verguin (In Cauda Venenum, Psygnosis) provides cello for “Ad Vesperam,” Vittorio Sabelli (Dawn of a Dark Age) performs clarinet for “Vingt Ans de Brouillard” and “L’Astre et la Chute,” and there’s even a harp from Laurène Telennaria (Orkhys). Similarly, not all tracks are instrumental, with singing and a few growls (Judith De Lotharingie of Ofdrykkja and Wÿntër Ärvń himself, respectively) making rare appearances throughout. Many of these elements were present in Abysses, of course, but I love the way the songwriting, production, and album direction support them. The way Sabelli’s clarinet emerges as if from the titular fog in “Vingt Ans de Brouillard” is so memorable, as is the way “Appelé à l’Abîme” builds and builds before Telennaria’s singing descends as if from a great distance. Wÿntër Ärvń demonstrates excellent songwriting on Sous l’Orage Noir, like the best of October Falls, while taking influence from across the French metal scene.

There are only two things I don’t love about Sous l’Orage Noir (a great thing to be able to say for a dark folk album). The first is that I’m not convinced the growls work with the music. While I understand the relation to black metal, I think Wÿntër Ärvń’s is too removed from the original style—his hoarse, rough growling is a stark contrast to a song as lovely as “Ad Vesperam,” and breaks my immersion a bit. It’s not even a bad choice—the backdrop of chants and percussion supports it really well, but the song itself is almost peaceful up to that point. The second is that I don’t think the back half of the album does enough to distinguish itself from the first four or five tracks, making Sous l’Orage Noir feel a bit front-loaded. I don’t love the melody in “L’Astre et la Chute, for example;” it feels passive, while “Sous L’Orage Noir” leans a bit too much on repetition. Neither are bad songs, but they don’t do much to keep up the momentum from the openers.

On the other hand, these are the same qualities that make it so easy to load Wÿntër Ärvń, close your eyes, and get carried away by the music. There is a phenomenal sense of flow to Sous l’Orage Noir – L’Astre et la Chute that complements its style so well. Whether you’re a fan of metal or folk, there’s something to love here. In my mind, Sous l’Orage Noir is a step up from Abysses, and has made me a real fan of Wÿntër Ärvń— I can’t wait to see where the music flows from here.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Antiq Records
Website: facebook.com/wynterarvnneofolk
Releases Worldwide: March 7th, 2025

#2025 #35 #AntiqRecords #DawnOfADarkAge #Épaves #FrenchMetal #InCaudaVenenum #LesBâtardsDuNord #Mar25 #Neofolk #OctoberFalls #Ofdrykkja #Orkhys #Psygnosis #Review #Reviews #SousLOrageNoirLAstreEtLaChute #WÿntërÄrvń

⚓️Opération de relevage des #épaves sur le #littoral méditerranéen

- Des bateaux abandonnés par leurs propriétaires finissent au fond de l'eau
- Ces épaves induisent de nombreuses #pollutions
- Les épaves sont actuellement relevées afin de #préserver l'environnement #marin

L'article de France 3

https://france3-regions.francetvinfo.fr/provence-alpes-cote-d-azur/var/toulon/pour-preserver-l-environnement-une-grande-operation-de-relevage-d-epaves-se-deroule-dans-la-rade-de-toulon-3115603.html