300 copies. Félicia Atkinson is having a very productive 2011. The French musician, artist, and writer has released tapes and CDs under her own name and the moniker Je Suis Le Petit Chevalier, establishing herself as an increasingly important voice within experimental music circles. Currently based in Brussels, Atkinson represents a new generation of artists who seamlessly blend musical composition with visual art and literary expression, creating works that transcend traditional categorical boundaries. L'Enfant Sauvage marks a significant milestone in Atkinson's artistic development, representing her first full-length LP under the Je Suis Le Petit Chevalier moniker. The project itself emerged from a period of artistic vulnerability and exploration, partially inspired by witnessing Grouper's ethereal live performances. As Atkinson has reflected, "I saw her concert where you could barely see her, and I thought, 'I should do something similar. I should disappear on stage, let only music speak for me.'"

This desire for artistic anonymity emerged from the challenging landscape facing women in experimental music during the early 2010s. "It was also a time when women were not as present on the experimental scene as they are now," Atkinson explains. "I didn't want to be judged by my gender." The Je Suis Le Petit Chevalier project served as a protective vessel, allowing her to explore darker, more vulnerable territories while maintaining artistic distance from potential gender-based criticism. The album's music pieces and accompanying visual elements are often improvised and inspired by Atkinson's travels and her night visions, creating what has been described as an "emblematic slab of some kind of savagery." The compositions move with "the slow moving sentience of a truculent child," heavy with guitar layers and viscous with emotional weight. This approach places her firmly within what has been termed the "forestdrone" movement, alongside artists like Grouper, Motion Sickness of Time Travel, and Ekin Fil.

Recorded at The Poolhouse, L'Enfant Sauvage presents two improvised sides of bleak ambience, veiled vocalizing, and haunting drones. The album's two extended compositions, "No Talisman" and "Love," each occupy full sides of vinyl, allowing for deep immersion into Atkinson's constructed sonic environments. These pieces demonstrate her ability to create music that feels both arcane and unheimlich—familiar yet unsettling—drawing listeners into psychological territories that blur the boundaries between comfort and disquiet.

The album's production benefited from the expertise of Pete Swanson, whose mastering work ensures that the subtle textures and spatial qualities of Atkinson's compositions are preserved while achieving optimal impact on vinyl. Swanson's involvement represents a significant endorsement from within the experimental music community, given his reputation for working with challenging and unconventional audio material.

The visual presentation of L'Enfant Sauvage deserves particular attention, featuring an original watercolor painting by Atkinson herself. This aquarel painting serves as "a rough impression of the savage child" and adds significantly to the music's overall aesthetic impact. The artwork, created in collaboration with Bartolomé Sanson (who would later co-found Shelter Press with Atkinson), establishes the visual language that would become central to her artistic identity.