Deep Triskell’s artistic approach falls within a scene that mesh experimental practices with traditional music and that has been strongly resurging in France in recent years. On the album, it takes the form of dissonant motives, typical of drones in traditional music - sometimes dark and lingering (“Devant le Silence Noir”), sometimes throbbing and techno-leaning (“Il recrache le diable”) - that Primault integrates into a broader idiosyncratic musical language, made of psychedelic figures developed via his High Wolf project and digital distortions - characteristic of his recent work as BZMC.

More than mere sonic motives, Deep Triskell borrows from Brittany’s traditional music scenes something fundamental: the sense of a space and time that is shared, and in which bodies - driven by an archaic energy conveyed by dance - form an insubordinate group; something deeply rooted in Breton culture, weaving its way through Fest-noz and Britany’s high-spirited free parties.