Against the inexorable backdrop of climate change, Snapshots explores the errant ways of an age that at times evokes the 1930s, at others the fall of the Roman Empire — and, on darker days, the twilight of the dinosaurs.

Rather than yielding to despair and offering the listener a rope to hang themselves with, the composer playfully grants them the option — but with irony. He mocks the vain shelters of the powerful (“My Little Sweet NZ Bunker”), denounces the manufacture of one-track minds (“Les maximiseurs de Π”, recalling a distant time of studying economics), and, adapting to French, sings as a disenchanted crooner the timely “Stop This World” by Mose Allison.

In more tender moments, he reflects on the intimate consequences of this global unraveling — the retreat into cocoons (“Notre île”), or the psychiatric labeling of youth (“Come Home”). From fatalism (“C’est comme ça, c’est la vie”) arise both surrender and release, the impulse to escape (“Papillon”, “Yellow Moon” by the Neville Brothers), and the desire to savour the present and its dilemmas (“Le Mieux et le Bien”).

Joined by Sanseverino and his longtime accomplice Thomas de Pourquery, with Élise Blanchard on vintage-toned electric bass, Daniel Zimmermann gathers his faithful companions: the incandescent Julien Charlet and the “Indian from Paname” (Paris), Pierre Durand. Together, they deliver an album conceived above all as a collection of compositions — with sound and production that foreground texture, grit, and raw edges.

1. Le mieux et le bien
2. Yellow moon
3. Papillon
4. Come home
5. Les maximiseurs de pi
6. Notre île
7. My little swwet New Zealand bunker
8. Stop this world
9. Indien de Paname
10. My little sweet NZ bunker
11. C'est comme ça c'est la vie