A chance meeting on Bon pour les Oreilles Vol. 2 (L’Hebdo, 2007) sparked an unlikely alliance: Hemlock Smith’s gently noir pop entwined with the noise-sculpted landscapes of Les Poissons Autistes. Rather than oppose the two worlds, Three Times Dead fuses them—piano threads through feedback, lullabies blur into drones, and the voice becomes an instrument that shifts shape from whisper to rupture. Lausanne singer–songwriter Michael Frei (Hemlock Smith) brings darkly ironic storytelling rooted in pop/rock/folk/jazz; LPA—Stéphane Babey and Philippe Simon—bend guitar, bass, trumpet, accordion, and the detritus of empty beer cans into laptop alchemy. The songs range from intimate (“Les Corps Subtils,” “Birmingham”) to seismic (“The Flat Hands,” “A Space Between Us”), while the lyrics wander a film-noir midway where Bukowski, Richard Widmark, Gene Tierney, and a peculiar Texas medical examiner drift through macabre vignettes. It’s a voyage to the borderlands of a dream world—tales, screams, and songs folding into a single, immersive noise-pop spell.