A 23 ans, l’artiste défend en tournée « Les Failles », son enthousiasmant deuxième opus, en lice pour un prix dans la catégorie « Album révélation » aux Victoires de la musique, vendredi .
The early bird woke up at noon. The day before, Monday, January 27, the well-deserved celebration continued late after the first triumph of three Apple concerts in the Parisian hall of La Cigale (before February 28 and April 9, all sold out), accompanied by his news instrumentalists, Clémence Lasme (bass and keyboards) and Caroline Geryl (drums and percussion). Little excess – Claire Pommet, 23, does not drink alcohol – but a lot of friends and laughs to prolong emotions “so strong that I have the impression that a truck drove me on the head ” , laughs the singer, seated at the Edith Piaf bar, close to her little two-room apartment, in the 20 th arrondissement of Paris.
The truck is not ready to stop. Nearly a hundred other concerts should punctuate 2020, in the wake of an exciting second opus, Les Failles , published in November 2019 (and recently reissued, supplemented by five unreleased, under the name Les Failles cachées ), including l shivering acoustics will perhaps win him a Victoire de la musique, Friday, February 14, in the category “Revelation album”. [ . . . ]
For forty years, the songs of Rita Mitsouko have accompanied us. Today, Catherine Ringer is named as female artist of the year at the Victoires de la Musique for her tour. Catherine Ringer sings Les Rita Mitsouko , which brings together sentimental crowds. Interview with a great secret.
She shakes hands, firmly. Rehearsals have just ended at Studio Bleu, adjoining the New Morning, in the Strasbourg-Saint-Denis district, in Paris. She asks where we are going, the Napoleon? All right, let’s go. But first, she shows us the dancers’ changing rooms, because she loves dancing, firmly there too. We feel assured and fierce, shy and brave. We were warned here and there that Catherine Ringer was no small task. But there was no doubt, from the broken tooth, the strapless dress marked Jean Paul Gaultier in the clip by Marcia Baïla , the unstructured haircuts, the explosive voice, the shimmering clothes, the gesture mixing flamenco with jerky expressions. and robotics, the clash with Gainsbourg on the sofa, the past X.
The Rita Mitsouko, this clever mix of genres, duo of whimsical lovers and pranksters born in 1979, evoking Sailor and Lula as much as Gomez and Morticia Addams, Almodóvar’s movida than the punk of dirty caves, their heads constantly immersed in a vast musical well, without censorship or constraint, digging up sounds to better hack new, creating immense tubes like Marcia Baïla , Andy and C’est comme ça , stacking the levels of readings, seizing the clip format from the start with Philippe Gautier and Jean-Baptiste Mondino, falling in love with free figuration with Robert Combas and Di Rosa, appearing in Soigne ta droite(1987) de Godard, taking care of the funny face and the zinzin, the irony and the mockery, solid because riveted to each other, with some crashes all the same here and there.
Forty years after their formation, thirteen years after the death of Fred Chichin, Catherine Ringer publishes the complete reissue of the Rita Mitsouko, nine albums with new releases and two legendary films shot by Roland Allard in Moscow ( Breakdown in the Cold War, 1989) and in Bombay ( La Vie du rail, 1990). And is named to the Victoires de la musique 2020 in the female artist of the year category. She does not like to tell herself very much, out of a taste for mystery and a certain posture, perhaps also because it is hard to describe the atypism of their tandem in the French rock landscape, from India and halo of success, poetic and stupid of scenes, cartoonesque and follower of the autopastiche. The Rita, quite simply.
You are nominated for the Victoires de la Musique in the female artist of the year category. Do prices matter to you?
Catherine Ringer – Yes and no. It’s nice to know that we are thinking of you, at the same time it is not fundamental. I wonder especially why Aya Nakamura is not there since it is she who has done everything for two years. She has fantastic life energy. His work on language and rhythm is very beautiful. And then I also said to myself: “Well, I am named as a female artist, but I would have liked to be named also for the best album of the year!”
It’s surprising that there are only men in this category, right?
Maybe it’s because they made the best albums of the year. We are not going to make the par everywhere everywhere anyway!
Does it swell you?
These are endless discussions. My first reaction is to say “Where does it end? How about half the young and half the old too ?! ”But I also know that there are glass ceilings to break. I have no definite answer.
Quand je pense à toi, soudain je revois, je ne sais pourquoi le jardin fleuri. D’où tu m’as souri, quand je suis partie, souviens-toi. Depuis ce temps je voyage, et sur toutes les routes. À jamais ton doux visage, qu’un rêve effleure, demeure. Car le temps qui fuit, au vent de l’oubli, passera sans bruit sans rien effacer. Maman tu le sais, rien ne peut changer le passé. Je me souviendrai, de tes yeux jusqu’à mon dernier jour. Maman, mon plus tendre amour.
Pas De Merde 