Star Da Napalm
A veritable modern-day troubadour, Star Da Napalm’s elegy is gentle and sensitive. His song combines complaint and documentary testimony. Strongly influenced by Friki Papoua’s definitive declaration abolishing judgment, he delivers here one of his most beautiful melodies. The cry of a man flayed alive…
Consent (everyone does as they please) (2025)
“It’s a topical subject, it’s almost journalism… almost… not quite, there’s a poetic side to it though. Almost like a chronicle. Yes, because it’s all true… yeah, that’s it, you’re right, I didn’t know the word, a DOCUMENTARY… voilààààà.” It was in these simple, modest yet powerful terms that the master kindly commented on his masterpiece. We can listen to this work either fragment by fragment, according to a radically deconstructionist approach, or more classically according to the continuity originally intended by the author. In both cases, as Télérama puts it: “A slap in the face!”
The continuous integral
The deconstructed listening
Anthology of the World Accordion (1915-current)
Anthology of Cubist Accordion
Star Da Napalm, poly-instrumentalist, explores the worldwide repertoire of cubist accordion (Junior category) in a first compilation of 2 previously unreleased recordings.
“Star Da Napalm plays like a God, which is to say, like a wanker. Jouissif!”, Télérama, January 2, 1915
“No, Star Da Napalm isn’t melancholy; he rests on his technique and his achievements. He’s so delicate you’d think he was falling asleep, but in fact he is dead (a long time ago: 1978)”, Musique & technique (dossier ‘Accordéon et pneumologie expérimentale’, March 1981)
Anthology of Globalized Accordion
“Star Da Napalm’s second worldwide accordion anthology is out! True to his legendary ability to bring a dizzying totality into existence in the blink of an eye, the great musico-pneumologist brings together, in two recordings, the essentials (one might say the entirety, if he hadn’t deliberately refused to record his own compositions, of which no one has yet been able to hear a single note), the most extensive panorama ever published of accordion music composed in the world’s sanatoria, and recorded – an idea of the artist, an apneist in his spare time – in a hyperbaric chamber for the first piece, in a Siberian vacuum training center for the second. Perfect coherence between form and content, the second part of this “complete work” features a surprisingly virtuoso harmonic and dramaturgical conclusion”, Science & techniques, May 2002.
BirthDADA! (February 9, 2025)
Star Da Napalm, like Alain Delon, is in no hurry, because he’s dead.That gives him time to see what’s coming, because nothing comes.
But unlike Alain Delon, Star Da Napalm leaves an immense legacy to no one, because he has neither descendants nor ascendants.
Star Da Napalm doesn’t particularly like emptiness, because, like a Minister of the Interior, he doesn’t particularly like what he doesn’t know.
But Star Da Napalm does like emptiness, because he’s never known where he belongs.