Les Rencards don’t have rearview mirrors. Or rather, they move right where the mirror can’t reach, in that blind spot where memory loses focus, desire mutates, and revenge simmers. “Je suis dans un angle mort / J’y vis rongée par mes remords, oui,” sings Merli Marlowe at the beginning of Angles Morts, a title that acts here as a conceptual compass, an oil slick, a long shadow over the entire album. As if the danger of not looking back were, precisely, the most direct way forward.
Based in Barcelona and with multiple passports—Marlowe from France, Gabriel de Camargo from Brazil, Marc Argenter and Ian Kay from old Catalonia—Les Rencards debuted in 2022 with a self-titled album that already played yé-yé punk with a crooked smile. But Angles Morts (2025) takes a side step—not forward, not back—to explore more open textures, more twisted lyrics and more daring grooves, without losing the French accent or the garage makeup that has made them dance across half of Europe.

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