A career spanning over almost twenty years, composed of many solo & side-projects albums, a collection of writings, two documentary movies, "Cruising the Dream" made in 1994 during a long crossing of the United States & "Hi-n-dry a community" made in 2005 in Boston, numerous collaborations with other international artists as a musician, sound engineer and producer eventually brought Bruno Green back to his first love and influences: folk-country music... but of a weird kind!

Ploughed, fantasized, digested, this musical direction is the essence of The Blue Void Trilogy , a discographic and artistic project as ambitious as it is consequential that was launched in 2003 by a musician who gladly declares himself as "bulimic". This poetical re-appropriation of popular North-American culture roots itself as much in cinema and literature as in music, with confessed references among giants such as John Ford, William Faulkner or John Steinbeck, but also Woodie Guthrie, Neil Young or Uncle Tupelo.

Horse mood , first volume of this trilogy, explores the grooves and rustic crevices of this culture, with an obsessional interest for the western American mythology. Bruno Green relentlessly observes in order to better break down the origins and the mechanism of this society, which in the end has invaded the world (in the real and figurative sense). The lyrics and the music evoke the daily life of conquering generations that have paid for it in blood, sweat and despair, with poetry reminiscent of Cormac Mac Carthy or Charles Frazier. It also tells of the overarching religion, politics and social struggles. The atmosphere is of twilight, the sound as aerial as the instruments are acoustic and earth-bound. Pedal-steel, organ and guitars lead a strange dance amidst a red desert.

God's country, second volume of the trilogy, recorded in February 2005, witnesses the arrival of Pascal Humbert and Billy Conway, respectively bassist for Sixteen horsepower and drummer for Morphine, in the formation gathered at the Cocoon studio. The sound of the group evolves. The album is more raw, more immediate, more "urban" and carries the guiding presence of Bob Dylan's Time out of mind on some tracks. The surprise is as unexpected as it is assumed. The biting guitars of Goulven Hamel draw violent contours to the American tandem's rhythms, while the haunted voice of Bruno Green continues to paint the fate of these poor people, who find their solace only in a perpetual flight and a quest for a more favorable future or after-life.

Recognized and co-opted by the new Bostonian folk-Americana scene and the label Hi'n'dry, Bruno Green has closed his relentless traveler's bag and returned to his music's home land in the spring of 2005. In Cambridge, MA, he has recently recorded the third volume of his trilogy, Father & son , under the artistic direction of Billy Conway. Surrounded by musicians from the Table Top collective and by references from American folk (such as Jennifer Kimball, Sean Staples or Jimmy Ryan), Bruno Green continues to explore and build his particular universe of dusty country-folk, ageless poetry and images as beautiful as they are strange, heavy with a more or less distant history.

With little preoccupation for his personal exposure, Bruno Green follows his path on the edge of consumerist and media-filled highways, for the joy of a small group of insiders. Between electrical poetry and guitar wood, he has found his own place in this desert that he explores and where one cohabitates.

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