French songs, noises, rumors of distant and early musics, short and cruel poems, handcrafted instruments, radio-amplifiers, circuit bending and other wasted electronic devices, « Bégayer » (the french word for « stutter ») pursues a gesture for those without a folklore, for this culture of void, structured by the gloaming of popular habitus as well as glitches from noise music, influenced by the public squares as well as the swarming of numerical flows, for a original kind of wog-rapsodists.

This culture of void has to be seen as a cruel joy, the occasion for a conjunction beetween strange interpretations of ancient signs, popular forms and contemporaneous attempts. It is the construction of singular variations and overflows.

For Jean Rouch, a horizon for modern anthropologists was to « put disturbing objects into motion », thus every song is a distance to experiment, an etude which is watching us. Thus every stutterer song wants to be a disturbing and joyful object, whose cruel cimplicity, obstinacy, unfolds itself as an object of unquietness.