From Google translate:

"To the great songwriters militants of America is added David Baerwald, son of a political persecution of McCarthyism and former juvenile delinquent (auti theft, drug dealing).

Poete maudit par excellence, Baerwald, who was already behind Boomtown (A & M, 1986), recorded in duo with David Ricketts David + David in mid 80s (just after he left the punk band The spastics) sings Revelation morale of our century.

After the overture spectral Welcome To The Boomtown, set among the ruins the moral of addicts, the duo sings the anthem of the defeated Swallowed By The Cracks in which defines his style as a mix between a scream hoarse and passionate Springsteen and the melancholy lament of David Bowie and decadent. Begins the journey into a "wasteland" on which hangs a pall of death, a circle of hell populated by beings that decomposing grope in the dark between the flames of frost. The Heroes of Baerwald are "bodies dug", "dreamers dead," "teenagers hunters dragoon." Their existence is unbearable to the point that await with trepidation the apocalypse (River's Gonna Rise). The atmosphere of tragedy touches the top of delirium in All Alone In The Big City, wrapped in a shroud of electronic funereal cadence of agreements ominous piano and estranged from a jazz trumpet. The complex electronics to accompany the two singers in their descent into hell by using large licks of funk (A Rock For The Forgotten ") and reggae (Being Alone Together). With an arrangement as soon as more modern and dance Is not So Easy also touches the strings more sentimental.

The fresco is as powerful as terrible. The concept has not a single moment of tiredness, relentless continues to plumb the shallows of the America Reagan and extracted from the ruins still more emaciated faces and lives always more humiliated. In many ways this is the Tommy's post-punk generation.

Even Bedtime Stories (A & M) of 1990 is anything but ' `what the title suggests. And 'his songbook "courteous": the songs are dedicated to female angels. The progress is mainly on a musical level: Baerwald Pennella All For You "with an air more just country, and Dance at a rate much more pronounced in mid between the boogie and the Clash. Immersed in one of his dreamlike atmosphere, Sirens In The City is the song that sums up his worldview. Less desolate, but no less pessimistic, the disc builds on the more mundane things of Van Morrison, including Colette, with the ambition of the serenade jazz (crooning aloud, counterpoint of trumpets and violins) and "The Best Inside You , the banner of a soul melodramatic.

The fame is to come in 1992 with Triage (A & M), a cycle of songs like you have never heard a complaint from the first Dylan album, with searing invective as Got No Shotgun HydraHead Octopus Blues, and finds vent the frustrations of a individual whose fate is controlled by occult powers. His stories (sometimes in the form of monologue, in the best tradition of English Romantic poets) are disordered accumulation of aberrations of power, war against corruption, they are ridiculed CIA and White House anti-drug agents and Marines. Waiter in the dissatisfaction of the main character from `rise to delusions of hallucinations (musically rendered with effects on the verge of industrial music and hip hop), and Postman, sung as a lullaby (with minimal accompaniment) contrasts the daily life of a Any man with the vortex of violence planetary (made through a mix of voices and sounds of the world). The long harangue of A Secret Silken World instead returns to his favorite themes of depravity and moral decay, and the arrangements nightmare (slightly jazz) that make the sense of loneliness and destruction as in the best film noir. Much more humble and hard adult precedents, especially Triage sings "the pain and the shame of surrender" (China Lake) that are often Baerwald exorcised by vignettes of domestic life as a Born For Love (six minutes of tender serenade) but behind which always lies the consciousness and the existential sadness of that performance in front of the evil in the world. Affections, in short, not as `the supreme expression of humanity, but as a little refuge 'petty powers by the sight of which is powerless.

Although 'his musical means are limited, Baerwald sings with a ferocity by divine punishment, arranges with samples of all sorts of sound-Truth `, borrows from rap and garage-rock emphasis URL of the road, and compensates to its shortcomings with a style of narrative coldly cynical and fatalistic but also desperately sad angrily, that has nothing to envy to Raymond Chandler and Jim Thompson. All are amoral, there has never difference between state officials and the miserable outcast of the slums. The net effect is that of a terrifying thriller in which the murderess gets away every time, or a hallucination that never ends. His music is filled scars of his personal: "There's hope for the hopeless if there's hope for me."