Listen to a replay of Pauline Croze’s live Facebook concert for LCI on November 2,216
Source: LCI – Timeline
Category: Music
Pauline Croze: “Success does not buy happiness”
After four years of absence, Pauline Croze returns with an album, “Bossa Nova”. A return to his first musical emotions. Notes she whispered in his teenage bedroom. Pauline Croze chose bossa nova for its fourth album. An amazing musical turn for the audience but that sounds like a homecoming for her. A hot air that lives for years, since his first love with music: “I discovered it in a movie where there is a story of impossible love. That’s what I was at that time of my adolescence. I saw myself in this character who exorcised his sentence listening to bossa nova “, says the young woman. It is in this music “the dramatic message, but the notes soaring.”
She tells her story, her way to exist: “There’s a lot of sensuality, a nonchalant sensuality that looks like me.” So for hours in his teenage bedroom, she draws, sings, and discovered a passion: “I singing phonetic way the
Yann Tiersen’s Favourite Albums
Baker’s DozenIn Place: Yann Tiersen’s Favourite Albums
Fred Bowler , November 2nd, 2016 09:56
With his ninth album, EUSA, out now, the French composer and multi-instrumentalist takes Fred Jage-Bowler from the Velvets to Bill Callahan via NEU!, Vashti Bunyan and Joanna Newsom on a tour of his favourite records
READ FULL STORY at Source: The Quietus | Features | Baker’s Dozen | In Place: Yann Tiersen’s Favourite Albums
“There is infinity through a telescope; infinity through a microscope”: DiS Meets Yann Tiersen
I speak to Yann Tiersen a few hours before he is due to play the Gewandhaus in Leipzig, as he continues to tour his new album Eusa. A collection of ten piano songs originally released as sheet music, Tiersen decided to record the songs after playing them live. In the midst of his tour, I find Tiersen unwell with a miserable autumn cold. “At least I don’t have to sing tonight!” he laughs, before coughing and spluttering over the phone to me some more. Despite being so unwell that he clearly should be in bed with whatever the French equivalent of Lemsip is, he continues enthusiastically. Nothing, especially not a meagre cold, will stop him conveying the love he has for his latest project – a musical mapping of his home in Ushant.
It doesn’t seem like eighteen years since Tiersen’s 1998 solo album Le Phare, or fifteen years since 2001’s Bafta winning Amélie brought him into the musical consciousness of so many. Made up of tracks from his first three studio albums, La Valse Des Monstres (1995), Rue Des Cascades(1996) and the aforementioned Le Phare, the Amélie soundtrack felt like a love letter to the bustling Parisian area of Montmartre; Le Phare, by contrast, was an album where the remote, desolate landscape of Ushant inspired Tiersen to write in self-imposed seclusion on the island. Eusa, as it is known in the local Breton language, is again providing inspiration for Tiersen’s ninth studio album; however, rather than being merely inspired by Ushant, the album is Ushant, as Tiersen uses music to paint a vivid picture of his home landscape.
Chanson Du Jour: Parfait Inconnu
Chanson Du Jour November 1,2016 Jeanne Cherhal “Parfait Inconnu”
I love this oldie from Cherhal’s 2004 album 12 Far Pa An. I haven’t seen a reputable english translation for “Parfait Inconnu.” It is surely about neither a tall glass of ice cream, nor incontinence. I think the song is about falling in love with a “perfect stranger,” while knowing we don’t really know a damn thing about him/her. Or perhaps not…
Help with a traslation, mes amis?
Agnes Obel’s Haunting Chamber Pop | Mother Jones
Alex Bruel Flagstad Agnes Obel
Citizen of Glass
Play it Again Sam
Agnes Obel’s music would be the perfect soundtrack for a scary movie, but not a brutish modern one—her haunting chamber pop belongs in the world of old-fashioned spooky films like the 1940s classics “Cat People” and “The Uninvited.” (David Lynch is reportedly a fan, which makes sense.)
Citizen of Glass, the Danish singer’s wonderfully transfixing third outing, weaves old and new instruments, including strings, piano, mellotron and the Trautonium, an early 20th-century ancestor of the synthesizer, into a luminous backdrop for her eerily composed vocals. Poised and uneasy at once, Obel seems to be revisiting episodes of extreme distress from a distance, as if seeking to dull the trauma through calm reflection. As she declares in “It’s Happening Again,” “The past isn’t dead/It’s alive, it’s happening/In the back of my head.” The result is a beautiful album likely to soothe the dark night of the soul, or induce an anxiety attack.
Pas De Merde 