Sages comme des sauvages are not who you think they are. You thought they were naive and nice, but they're anarchistic and angry. Plugged into the periphery, they force their way between the popular and the cool. Their songs are an antidote to the bad news, an attempt to reenchant the hollow space. Ismaël Colombani started playing the violin at the age of 6 and has played in a number of avant-garde music groups. He also composes music for the stage, notably for Peeping Tom, a dance company. Ava Carrère studied at the Beaux-Arts until she felt the need to find a more direct way of addressing people. In the world of Berlin's metacabaret she discovered that she was full of songs. Gum and LSD are examples of serendipity. These are things that you find without looking for them. Sages comme des sauvages is another. Ismaël wasn't supposed to meet Ava, just as Greek instruments weren't supposed to play Réunionese music. When they mixed their voices, a third entity emerged, that of the grouple. They found traces of music that had not been completely dominated by commerce, and brought back instruments, friendships and the idea that the creolisation of the world should be amplified. Sages comme des sauvages went on to become a household name, released two albums, received airplay on French-language radio stations such as France Inter and RTBF, and played hundreds of concerts.