REED CONSERVATION SOCIETY - Sing A Song That Never Ends

Born from the artistic vision of Mathieu Blanc and Stéphane Auzenet, the Reed Conservation Society project has upended the traditional idea of a band right from the start. Conceived as a genuine collective open to outside contributions and cross-pollination, the group declared its fluid nature as early as its debut album “La Société De Préservation Du Roseau”, enriched by a dense web of guest musicians. The real turning point came with the shift from self-released outfit to flagship act of the Hot Puma label, underlined by a structural change as well.

For the new album “Sing A Song That Never Ends”, the lineup evolves and solidifies into a formidable quartet thanks to the strategic additions of Cédric Bermond on drums and Nicolas Pain on bass. This structural growth, however, doesn't betray the band's original identity: the stable core still engages in dialogue with a stellar cast of guests – among whom the contributions of Florian Robinaux, Emma Broughton, Vincent Mougel and a refined string ensemble stand out – confirming the band as one of the most dynamic acts on today's folk-pop scene.

The French outfit's is a pop with literary and poetic leanings. The songs are seductive, delicate and harmonically inspired, marked by fleeting aesthetic nuances that don't lend themselves to distracted or casual listening. Right from their name, Reed Conservation Society make no secret of their influences, having borrowed it from a song by Jeff Tweedy; the band's delicate, cultured folk-pop shrewdly draws on both the European and American traditions. With such a wide-ranging vision, the musicians move effortlessly from the fairy-tale atmospheres of “I Keep The Thorns Right In My Chest” – halfway between Clientele and Trembling Blue Stars – to the bolder, Apartments-style tones of “Bucky Jay”, a ballad with shifting melodies and interwoven trumpet and hushed grooves that lend the track an almost cinematic aura.

With the same verve, the French band recount American pop mythology in “Elvis Has Left The Building”, a poetic ballad where icy lyricism finds its perfect romantic key in an elegant, Divine Comedy/Elo-style string arrangement.
What's surprising is the songwriters' ability to stay true to a coherent sonic narrative without ever slipping into mannerism. Proof of this lies in the album's perfect balance, able to alternate the gentle acoustic textures of “I Wish You Were Much More Than An Affair” with the pop vigor of “Goldfish With Glitter Gleam”: three minutes and twenty seconds of pure melodic energy.

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18/08/2026