samedi 18 avril 2009

Emmanuel Moire trouve son équilibre

Il est temps de poster un nouvel article en français, parce que l'artiste est français d'abord, que son album est magnifique et les mots anglais me manqueraient pour exprimer ce que j'ai vraiment ressenti à son écoute.

J'ai découvert Emmanuel Moire fin 2004, comme beaucoup, avec le premier single annonciateur de la comédie musicale Le Roi Soleil, Être à la hauteur où il se faisait remarquer par les prouesses vocales dont il était capable.
Après le succès acquis grace à la troupe, il fut le premier à dégaîner son album solo, (Là) où je pars, en Novembre 2006, mais le succès de celui de Christophe Maé (plus d'1 million d'exemplaires vendus de Mon paradis) éclipsa quelque peu ce premier opus, qui s'écoula néanmoins à plus de 200 000.
Une collègue de bureau me l'ayant fait écouté à l'époque, j'avoue ne pas avoir accroché au contenu, trop sucré et surtout trop gorgé de guitares accoustiques pour accompagner un excès de ballades romantiques. Il faut dire que le premier single extrait, Le Sourire, sur une ritournelle de Benoît Poher de Kyo, ne m'avait pas vraiment plu. La pochette, elle, me l'avait pourtant bien fait remarquer dans les bacs, avec Emmanuel plongé dans les eaux lisses aux reflets verts tendres de forêt, offrant dans les rayons une couleur presque tabou dans le milieu artistique, superstition oblige...



A le réécouter aujourd'hui, je trouve cependant quelques plages qui m'accrochent les oreilles, Ça me fait du bien, belle mélodie avec piano omniprésent, mais surtout le titre d'ouverture, Celui que j'étais et Si c'était ça la vie, deux compositions d'Emmanuel Moire, et la première portée par un texte de Lionel Florence, parolier star que l'on ne présente plus... A les redécouvrir aujourd'hui, j'aimerais assez entendre de nouvelles versions de ces deux titres remaniées à la sauce 2009. Une chose est sûre, le chanteur a bien fait de s'imposer compositeur et réalisateur associé de ce nouvel album, L'équilibre, parce que les meilleurs titres de son premier album étaient les siens et que son nouveau paysage musical, plus personnel, moins lisse en est devenu bien plus séducteur aussi, à l'instar de son image. Il est passé de celle du gendre idéal aux yeux clairs au mec sexy au crane rasé et à la voix androgyne.
L'imagerie de ce nouvel "équilibre" est magnifique. C'est Laurent Seroussi, auteur du Rodéo de Zazie par exemple, qui a imaginé empêcher ce bel ange de quitter terre en l'attachant de fils de laine multicolores.



L'avant-goût de l'album, Adulte & sexy, m'avait immédiatement conquis et j'ai attendu patiemment la sortie de l'album le 13 Avril pour acheter la version collector deluxe Carrefour avec livret exclusif et interview et incluant un précieux titre bonus. Depuis mon achat, j'écoute L'équilibre en boucle et exclusivement. J'en suis totalement accro et c'est mon album français de l'année 2009 pour l'heure. Evidemment, il risquerait, d'ici à la fin de l'année, de subir la concurrence de Caféïne, le second opus de Christophe Willem sortant le 25 Mai, mais des deux singles actuels, c'est celui d'Emmanuel qui supplante le Berlin de la tortue alors on verra...

Emmanuel s'est beaucoup investi dans cet album, en composant d'abord toutes les musiques (sauf une), en en confiant les textes (dont deux qu'il a co-écrit) à son frère de mots déjà présent sur le premier album Yann Guillon (sauf un écrit sur mesure par Doriand), en y posant toutes les voix, lead ou choeurs, et surtout en co-réalisant l'intégralité, programmations et claviers compris, avec Christian Lieu. A noter qu'ils se sont adjoint les services au mix de Jérôme Devoise, connu notamment pour avoir oeuvré sur les deux derniers albums de Mylène Farmer.
Cet investissement personnel de chaque jour en studio lui a permis d'aller vocalement et musicalement là où il voulait aller, dans une pop toujours mélodique, mais très moderne et aux sons plus électroniques, sans être non plus totalement électro ou dance néanmoins. Un virage risqué sûrement mais si sincère et abouti qu'il ne saura pas perdre les fans de la première heure (que je n'étais pas) mais lui permettra d'en gagner de nouveaux, comme moi donc.

1/ SUITE ET FIN 5:27 9/10
L'album démarre doucement, sur un piano égrenant les notes lentement pour accompagner la voix d'Emmanuel Moire, calme et maitrisée, sur de nombreux couplets montant crescendo vers cette Suite et fin expliquant son parcours et ce changement de direction musicale, après une période de doute qui a suivi la tournée de (Là) où je pars, sa prise de confiance aussi, sa maturité humaine et artistique surtout. Cette longue plage au texte fort et bien mis en valeur, ascension sonore de 5'30 entre passé accoustique et présent électronique et libéré, ouvre magnifiquement l'album de L'équilibre atteint par l'artiste.

2/ ADULTE & SEXY 3:15 10/10
Intro voix très en avant pour le premier couplet uniquement porté de loops de synthés, puis deuxième couplet avec montée ascensionnelle de la rythmique jusqu'à l'explosion quasi orgasmique du refrain, Adulte & sexy est un tube immédiat, appel à assumer nos envies, nos plaisirs entre adultes consentants et libres. C'est donc un Emmanuel libéré qui, s'il chante toujours de sa voix d'ange, chante aussi "nous n'sommes pas des anges" ...Mmmmmm, comme j'imagine bien volontiers me damner avec un ange comme lui .

3/ SANS DIRE UN MOT 3:32 10/10
Avec Sans dire un mot, Emmanuel nous ramène vers le territoire qui l'avait fait connaître, la chanson d'amour en douceur mais avec envolée du refrain en voix de tête, et c'est un plaisir. La mélodie est magnifique, le thème (le coup de foudre) intemporel, les arrangements, simples mais modernes, entre électroniques et symphoniques, avec ces nappes de cordes accompagnées de claviers. Ce titre devrait vraissemblablement sortir en second single ; il réconciliera les quelques fans de la première heure éventuellement déroutés par Adulte & sexy et les ramènera à l'album. Seul bémol, le titre, puisque du refrain c'est surtout l'accroche "un jour ou l'autre" que l'on retient plutôt que le "sans dire un mot" qui n'apparaît qu'en fin de refrain.

4/ MIEUX VAUT TOI QUE JAMAIS 3:22 9,5/10
Par son intro presque accoustique avec guitare rythmique et voix, tantôt parlée, tantôt chantée, se répondant comme un duo sur ses couplets, puis son envolée d'avant refrain et son Mieux vaut toi que jamais hypnotiquement répété sur lit de choeurs très présents, ce nouveau titre se révèle sans doute le plus atypique, novateur mais tout aussi séducteur et addictif que les autres. Construit à l'inverse des autres chansons à partir de l'accroche du titre et non à partir d'une ligne piano/voix, c'est sans doute cette construction d'ambiance moîte et sensuelle par superposition d'effets de voix qui lui donne tout son charme, tout en phéromone sonore.

5/ L'ADVERSAIRE 4:48 18/10 (voui, voui!!)
Une intro électronique nous fait monter doucement dans cette chanson qui aborde un thème cher à Emmanuel et dont il voulait parler depuis longtemps. C'est l'une des deux chansons dont il a co-écrit les paroles avec son complice Yann Guillon, pour parler de ces personnes qui préfèrent faire mal en utilisant les faiblesses des autres plutôt que de vivre dans le partage et le respect. Musicalement, L'adversaire, est le titre le plus fort de l'album pour moi, un tube radio en puissance, aux arrangements très électroniques, presque "dance", mais surtout à la mélodie imparable, qui prend un instant les accents de son Être à la hauteur lorsque le refrain devient "...d'être un adversaire", mais ça ne peut pas l'empêcher d'être le single suivant extrait après Sans dire un mot, dans une version sans doute raccourcie à moins de quatre minutes, et avec des remixes electros en bonus. Il s'y prêterait en tout cas. La voix d'Emmanuel y monte également dans des sphères si hautes que l'on espère qu'il n'est pas devenu castrat durant l'enregistrement ; chapeau !
La rythmique des couplets m'a quant à elle déjà imposé les images d'un clip noir et blanc où l'on verrait Emmanuel en boxeur à l'entrainement (un torse nu en sueur serait du domaine du rêve, mais en T-shirt auréolé, plus vraissemblable) frappant au même rythme dans un sac de sable, dans un décor fondu dans un jeu d'ombres et lumières laissant entrevoir le ring et les cordes, alterné avec des images de ses pensées, images volées à sa mémoire où l'on verrait ces "adversaires" de la vie de tous les jours, pointant du doigts les failles de leurs interlocuteurs, à la machine à café du bureau, à l'accueil du supermarché, etc., et enfin Emmanuel en gros plan chantant simplement les paroles. Que pensez-vous de mon scénario ? Une fin, gros plan la tête rasée sous le pommeau de la douche pour le laver de ses pensées négatives serait une fin sensuelle et raccord avec l'univers du sport.

6/ DIS-MOI ENCORE 3:46 8/10
Après ces presques cinq minutes d'énergie à l'état brut, Dis-moi encore calme le tempo pour un nouveau titre chargé de moiteur sensuelle, avec des arrangements lounge house et à nouveau un travail sur les voix très particulier, choeurs parlés jouant leur propre mélodie en parallèle de la mélodie principale en voix chantée. Cette chanson est plus expérimentale dans son approche, plus répétitive au niveau du refrain dont la phrase titre est le moteur cyclique de la rythmique, et donc moins accrocheuse. C'est néanmoins une belle plage d'album, qui fait un effet de pause avant de basculer dans sa deuxième partie.

7/ PROMIS 4:00 9/10
Je parle de deuxième partie parce qu'avec Promis, L'équilibre reprend son enchainement de titres imparables et cette chanson pourrait aisément être elle aussi extraite en single. Véritable déclaration d'amour vrai au jour le jour sans fausse promesse d'amour éternel, Promis possède un subtil refrain aux jeux de mots croisés et l'on n'aurait pu deviner que ce texte est le seul que Yann Guillon n'a pas écrit exprès pour l'album mais adapté pour Emmanuel. il est comme la suite de Adulte & sexy et Sans dire un mot ; après la liberté d'aimer et la rencontre, on s'accorde à rester ensemble pour l'instant présent et jusqu'à ce que ça dure. Emmanuel et Yann nous offrent des love-thèmes qui rejoignent parfaitement ma vision de l'amour. Peut-être est-ce une des raisons pour lesquelles cet album me colle à la peau depuis que je l'ai écouté pour la première fois... A noter que le titre se termine sur ce qui ressemble fort au battement de deux coeurs côte à côte, comme pour illustrer le texte du refrain.

8/ L'ATTRACTION 4:15 8,5/10
Emmanuel se fond dans le costume de Monsieur Loyal pour inviter les auditeurs à venir visiter L'attraction nouvelle dans le cirque de nos vies, métaphore déclinée tout le long entre l'attirance de deux êtres et un phénomène de foire moneyant les regards étonnés des badauds. L'intro nous plonge dans cette atmosphère avec le son d'un orgue de barbarie mais la musique, si elle a une rythmique plus lourde, presque R&B, est toujours bien électro(nique). Le refrain est, encore une fois, très accrocheur avec un Emmanuel très en voix et toute cette imagerie de cirque permettrait à ce titre de se parer d'un clip intéressant si elle devenait un single.

9/ HABILLEZ-MOI 4:33 8,5/10
Composée par Claire Joseph, avec qui Emmanuel clôturait en duo son premier album, avec des paroles de Doriand, Habillez-moi est peut-être le titre qui a inspiré Laurent Seroussi pour la pochette de l'album puisqu'Emmanuel propose qu'on l'y habille d'un fil. Le thème est la franchise, voire la critique en face à face, préférable à l'hypocrisie, et surtout la force mature de l'artiste qui, quoiqu'on puisse lui dire, ne se verra ébranlé dans ses convictions et son être ; une sorte de déclaration d'insensibilité au regard et critiques des autres. Musicalement, le son est plus brut, plus rock presque, la mélodie moins aérienne surtout que les compositions d'Emmanuel. Il s'insère cependant sans problème dans la continuité de l'album.

10/ SOIS TRANQUILLE 4:39 10/10
L'album avance vers sa fin et c'est en cette dixième place qu'Emmanuel nous offre son titre le plus intime, dédié à son frère jumeau Nicolas, décédé en ce début d'année après qu'un chauffard l'ait envoyé dans le coma. Co-écrit avec Yann Guillon, Sois tranquille se place du point de vue de Nicolas parlant à son frère de l'au-delà et si Emmanuel déclare que ce titre est à la fois un exutoire et un hommage qu'il porte sereinement en tant qu'artiste, chaque auditeur ne pourra s'empêcher de trouver ce requiem à la fois magnifique et difficile à écouter sans un pincement de coeur. "Sois tranquille, tout va bien, ce n'est rien, je repose en paix" chante Emmanuel, prêtant sa voix à son frère Nicolas pour lui parler et calmer sa douleur, et ce message, qui touche chacun là où il a perdu l'un des siens, en devient le morceau de bravoure de l'album, le titre qui restera, intemporel, inusable, inoubliable. Sur la fin, lorsque la musique devient presque lyrique et la voix d'Emmanuel celle d'un ange, on se prend à penser que oui, l'écriture, l'enregistrement et la vie de ce titre a été, est et sera sans doute à jamais un passage, une communion avec sa moitié disparue. Difficile, même en ne se plaçant qu'en simple spectateur/auditeur, et bien que le message soit avant tout serein, de ne pas se laisser surprendre par une humidité de l'oeil à son écoute.

11/ RETOUR A LA VIE 5:16 8/10
Après le thème de Sois tranquille, le titre de la chanson suivante porte à confusion mais il s'agit là de parler de la difficulté de l'artiste à la sortie de scène, de retrouver une vie normale et satisfaisante après le trop-plein d'amour reçu de son public. Je ne peux m'empêcher de comprendre aussi que cet amour là est une force sans doute qui a aidé Emmanuel à surmonter la perte qu'il vient de subir et que de remonter sur scène, sortir un nouveau single et album, avait sûrement été un moteur pour lui donner envie de ce Retour à la vie. A la fois très symphonique et très électronique, ce titre ferme l'album dans sa version normale mais la version collector ajoute un bonus qui lui permet de repartir dans la légèreté, musicalement en tout cas.

12/ DEVANT L'ULTIMATUM (BONUS) 3:40 9,5/10
Devant l'ultimatum démarre en effet par un clavier sautillant qui aide les couplets à monter crescendo vers un refrain aérien et léger pour un titre globalement optimiste dont le message est cependant que la vie ne tient qu'à un fil, qu'on ne connaît pas sa date de péremption mais que ça ne doit pas nous empêcher de vivre à pleins poumons sans penser à l'instant où tout s'arrêtera.

Notez qu'à la fin de la dernière piste du CD, quelque soit la version à 11 ou 12 titres d'ailleurs, après une minute de silence, Emmanuel nous offre une mélopée atmosphérique d'environ 1'30, pour clôturer L'équilibre à la manière d'un ultime rappel sur scène.


En conclusion, L'équilibre est un pur chef d'oeuvre, la déclaration d'amour et d'indépendance d'un ange déchu tombé sur terre et qui s'y est découvert homme avant tout, homme en 2009 comme tout un chacun, avec ses doutes, ses envies ou ses failles, tout en gardant du ciel une voix céleste, pure et cristalline, faite pour nous transmettre ses émotions.
L'album d'Emmanuel Moire est un instant de grâce, une bulle de magie que l'on écoute pétiller encore et encore, à chaque fois avec le même émerveillement, un de ces albums rares que l'on se doit de posséder absolument.

Il ne me reste plus qu'à suggérer à Emmanuel d'enroler le duo Cassandre en première partie de sa tournée, parce que son nouvel univers est un prolongement du leur et d'embaucher leur arrangeur Thomas Dorian pour remixer Adulte & sexy et L'adversaire pour le dancefloor. Ça serait génial !

mercredi 15 avril 2009

Vous avez dit "bizarre" ? ...Strange, strange

in french L’Ordre des lettres
Sleon une édtue de l’Uvinertisé de Cmabrigde, l’odrre des ltteers dans un mot n’a pas d’ipmrotncae, la suele coshe ipmrotnate est que la pmeirère et la drenèire soeint à la bnnoe pclae. Le rsete puet êrte dans un dsérorde ttoal et vuos puoevz tujoruos lrie snas porlbème. C’est prace que el creaveu hmauin ne lit pas chuaqe ltetre elle-mmêe, mias le mot cmome un tuot.
La peruve…
Arlos ne veenz puls m’ememdrer aevc les corerticons otrahhgropqiues !

in english The order of the letters
Form a sudty of the Uvinerticy of Cmabrigde, the oedrr of the ltteers in a wrod is not ipmrotnat, the olny tnhig is taht the frsit and the lsat oens are at the rhgit pcale. The oehtr oens can be in a ttoal dsroedir but you slitl can raed whotuit porlebm. It is busecae the hmuan biarn deos not raed ecah slnige ltetre anole, but the wrod as a wlohe.
Taht is the porof...
So sotp gteintg on my neervs wtih splel ckecher !

samedi 11 avril 2009

Natalie Bassingthwaighte, Kylie-like australian pop princess with what a name!

I first heard of Natalie Bassingthwaigthe when I searched who was the singer of electro pop australian Rogue Traders. Then I found her duetting with Pop Idol Shannon Doll with a cover of Peter Gabriel & Kate Bush, Don't give up being featured on some australian charity album next to an unreleased song by Young Divas and Anthony Callea.
Then, despite her incredible name, I forgot about her ...till I found her first solo single Alive had been co-written & produced by former Steps producer Andrew Frampton with swedish Arnthor Birgisson. I first heard its Kaskade remix and thought it was a lot better than what she did with Rogue Traders.

I soon read she was about to release a full length CD after her brand new single Someday soon that had been co-written and produced by ex-METRO members Brian Rawling & Paul Barry. There was no way I could snob her album and I waited patiently for my australian imported CD to come in ym post to look closely the booklet notes while listening to it. I quickly felt releaved : Natalie was more Minogue than Imbruglia-like, after all. 1000 Stars is most made of dance-pop songs like Kylie used to know how to make it and it sounds wonderful to have such an album still in 2009.



It is starting oddly with a full on retro pop-rock Catch me if you can, first of three songs written and produced by the Metrophonic team of Brian Rawling & co. This one is all about 70's disco rock if you know what I mean.
Next one is written by the same people but with a completely different vibe. Someday soon, although startin' acoustic and slowly in the intro, is a full on disco-housed dance-pop number that would have fitted well on Kylie's Fever album. It has got a catchy chorus and typical METRO sounding production ; first winner in my heart and in Australia too : it has sold gold and peaked at #7 in the ARIA charts.
Then comes a song that gives its name to the album, 1000 Stars, and strangely, Natalie has no co-writing involvement on this one, this time. Produced by Chris Braide, this third single is a laidback pop-rock song with atmospheric verses and a full on guitar-led power chorus. I'm not sure it will still do the trick in the charts like the two previous ones.

Then comes Alive, that reached #8 in the charts last year (sold to reach platinum status), which is an infectious pop-dance number with funky rhythm and catchy sing-along chorus. I would have loved to see its Kaskade radio remix and b-side, the excellent Remember me, included as bonuses at the end of the CD.
It is followed by Not for you, Another Chris Braide production he co-wrote with Ina Wroldsen, who is the girl behind nearly all the songs on the Saturdays' first album. This is another pop-rock song, with acoustic guitar giving it a nice rhythm & folk touch in its verses while the chorus is once again a power rock anthem.
Feel the flow comes next and it's a baby made by Natalie with her love partner Cameron McGlinchey, formerly of Rogue Traders. It has been remixed by Brian Rawling into an electro sounding nasty dance-rock, all sleazy and fueled with sexual energy. When the music ends, this one leaves us all sweaty and lusty for more.
Time to call Chris Braide back on the following Could you be loved, not a Bob Marley cover version but an electro disco-dance anthem that marks Natalie's return in the Kylie territory for a couple of more tracks. The song is all surrounded by synthé layers a la Giorgio Moroder and it is another winner.
But Supersensual is the real jewel on there and said to be the fourth single from the CD. Produced by Kylie long-time music & tours partner Steve Anderson (formerly of Brothers In Rhythm) and co-written with Steve Lee and backing vocalist Lisa Greene, this disco-housed anthem incorporates bits of Blondie's Heart of glass in its chorus where Natalie goes all "Oooh ooh Woah ah" and it's a ...KILLER! You can't help but singing along with her, saving your arms up in the air, moving and dancing all over the room, surrounded by the powerful and sensual energy of the song. I can't get enough of it and I'm so pleased it looks like it is gonna be a single... I wonder if it's a Kylie reject... How would X have sounded if it had been included ? Better, for sure.
After all these dancing moments, we need to rest a little and Natalie gives us her first slow track, Why do I. It is co-written and produced by Stuart Crichton and is an electronic mid-tempo that has got repetitive rhythm and hypnotical etheral vocals. Not my favourite but a nice album track.
Chris Braide and Ina Wroldsen are together back on duty for Turn the lights on, another slow song, with piano-led verses but once again with a pop-rock anthemic power chorus. It seems Miss Bassingthwaighte can't really decide if she wanted to do dance-pop or pop-rock so she chose to do it both and to alternate the tracks on the CD. Maybe a better choice than split the album into two parts that would have stand side to side (and I would have prefered one for sure).
This can't be love's marks the return into disco-dance and Kylie's shadow is once again there as it is co-written and produced by Jimmy Harry, who worked with her on her first DeConstruction album. But this time, the disco rhythm melts into power rock when the chorus attacks and I feel this song is the perfect union of what I said previously Natalie intended to do : the perfect mix between her two sources of inspiration. With its anthemic chorus and catchy melody, this one could easily fit another single format.
After Supersensual comes Superhuman, a song produced by swedish new team (The Forty4s) it seems, which they co-wrote with Karen poole, another Kylie previously song-provider. And with its moving melody and aerial vocals, this song is all poppy and breezy, like a song of summer you want to whistle along to. Except it includes some "I'm alive, I'm alive..." lines that feel strange to me when Alive is already a song and single on the album.
Near the end of CD comes the last Metrophonic production and this time Natalie didn't co-wrote it. Mark Taylor did the job with Paul Barry and Alex Smith instead, and (Never had a) Love like this sounds like it is 2000 again, when the METRO production team was all around the radios. Although I like it, I think this one is just a filler track.
The album's conclusion is the most intimate for sure as In his eyes goes all acoustic with a rhythm guitar in the shadow of Natalie's voice all along the track. Something's missing though to make it a touching moment and the album ends like that, like unfinished. There could have been a better conclusion, I feel.
Because apart that, this is a wonderful tracklisting, a quality album that is worth its importation via any australian retailer you can find, and one that I will listen to for a while for sure.

There is also an iTunes bonus track, Star, that I cannot get my hands on as my french iTunes doesn't have it ...GGrrrrr!!! I hate that national releases! so if someone can help me hear it, he'll be more than welcomed.

BWO's "Big Science" fourth album studio track by track

Thus their poor results at this year's Melodifestivalen with You're not alone, the first single released from their new and fourth studio album Big Science, Bodies Without Organs (or Alexander Bard+Marina Schiptjenko+Martin Rolinski=BWO) are back on a new record label, Bonnier Music, after their Singles collection Pandemonium of last year so a split is not in store after all.



Visually, BWO have gone for a futuristic scientific cover, making them look like Star Trek spacemen attempting a conference on Mars. Marina wears an awful Mireille Mathieu like haircut that strips her down from any sex appeal, Alexander looks crazier than ever with his beard and riding hat, and Martin looks like a romantic millenium doll version of Barbie's Ken, sexy as hell! On its back, their CD displays the tracklisting like if each song were moleculars in some biochemistry table.
Musically, BWO sound like always : G-O-O-D.

1/ RIGHT HERE RIGHT NOW 10/10
The album starts off slowly with the next single and a favourite of the band, Right here right now, that builds up from an orchestral intro to a slow first verse and into an uplifting pop song with rhythm and a piano-led melody. "I'm talking about love" sings Martin with his heart on music produced like always by Alexander Bard & partner in crime Anders Hansson, except on nearly all the album, Felix Persson and Märta Grauers are co-producing. Right here right now is the perfect introduction to what BWO's new album is all about : pop with killer chorus, dance beats and strings arrangements.
2/ LOVE CAME CRASHING DOWN 9/10
A jazzy intro and old-fashioned rhythm changes the pace with this retro song, still with a chorus you can only whistle along to, this co-written and produced with Henrik Wikström.
3/ KINGS OF TOMORROW (BALLAD VERSION) 7,5/10
By its title, we know this new track is going to be a slow one and because of the two versions displayed on the CD, a next single for sure too. The ballad version is a mellow and moving ballad, sticking to the romantic side of Martin's vocal beauty, including a nice bridge with talking words & etheral piano notes. It's not what I like best about BWO myself but a nice pause.
4/ BURNING DOWN THE HOUSE 10/10
Burning down the house starts with a disco beat and strings to become a Motown inspired feelgood pop number that can only make your move your feet and nod your head in rhythm ; a song that will be hard to remix if released as a single though.
5/ RISE TO THE OCCASION 9/10
I had been dreaming this could be a cover version of the Climie Fisher 80's hit but it's not and I'm not deceived after all... Rise to the occasion is a nice midtempo with an uplifting groove with nice memorable WOooOhohoh backing vocals and once more a talking bridge, this time by Marina.
6/ YOU'RE NOT ALONE (BALLAD VERSION) 8,5/10
The piano intro shows off the emotional beauty of this song, with stripped to the bone first verse and anthemic chorus for this symphonic power-ballad with big choir. It was maybe destined to appeal to the masses on the Eurovision show but maybe too middle-of-the-road for eurofans.
7/ BITE THE BULLET 10/10
Not to be confused with Army Of Lovers' Ride the bullet, Bite the bullet is another pop song to dance to, with old school inspiration, this time from Phil Spector in the chorus I feel, but sounding very modern, with nice sing-along diva vocals by Britta Bergström. Single potential in my heart!
8/ IN TOO DEEP 9/10
Time for another mid-tempo with mellow beats with this In too deep that is a charming album track, with a chorus melody that takes you away with Martin's voice. Once again, there are beautiful strings arrangements on this one and I can't help but think that even if BWO are always an electronic-pop group, they've managed a perfect fusion with symphonic
9/ THUNDERBOLT 10/10
Produced & co-written by Star Pilots' production team, Thunderbolt is a pure electro disco-dance anthem and I dream it will be released as a single too. Remixers will sure queue up for this one! Maybe less BWO than the other tracks, this one has a magic that works on my ears and the slowed-down bridge works nice too. When the songs finishes (at 3'24), you're tempted to touch the "Repeat" button immediately.
10/ RHYTHM OF THE NIGHT 9,5/10
Except Rhythm of the night has already begun and it's another upbeat mid-tempo with a repetitive chorus that sticks to your brain and make you think it's another winner ; "Rhythm of the night, rhythm of your soul" it goes, on and on. It feels strange to call some of their songs upbeat mid-tempos but I can't say they're totally upbeat numbers as they're a little laidback but there's a fast rhythm that builds up even though throughout the whole song...
11/ SINGING IN MY CAR 10/10
This time, it's more of a mid-tempo than a fast song, but very anthemic, and with something that makes me think of tribal harmonies ; a nice surprise that has got me totally spelled.
12/ SHOOT FROM THE HEART 10/10
Shoot from the heart starts with classic ABBA piano intro then comes an upbeat rhythm and we know we're going to end the CD with full on NRG dance-pop. It is the second and last Wikström collaboration who previously worked on Lay your love on me. Despite its placing near the end, I would happily see it become a single too...
13/ KINGS OF TOMORROW (DISCO VERSION) 10/10
The album ends with two versions of songs previously seen in their ballad version with a disco remix produced by Skyylab. Kings of tomorrow really benefits from this new treatment right from the start and the disco loops in the intro. First verse still builds up from a slow start but then, it's all becoming a pop-dance future hit. I hope this is the version that will be released to the radios as a single.
14/ YOU'RE NOT ALONE (DISCO VERSION) 10/10
You're not alone was already a winner as a ballad, it is a stormer as a dance track. Once again Skyylab succeed in speeding up the tempo, making its chorus an even more anthemic one, and still clocking at nearly 3' so I can't understand why BWO tried to do better at the Melodifestivalen with This version, or another one, starting as a ballad then melting into disco.

In the end, Big Science doesn't include a single boring track and it sounds like a Greatest Hits, Part 2, as every song on it or near could become a further single.

lundi 6 avril 2009

Najoua Belyzel, after "Gabriel", she is not welcomed in "La bienvenue"

A couple of years ago, I liked Gabriel, Najoua Belyzel's first single, melting arabian inspirations with electronical pop in french a la Mylène Farmer.
The following album Entre deux mondes... en équilibre though didn't appeal to me that much because the way she was singing, after being noticeable, became irritating to my ears.

Further singles, Je ferme les yeux, Comme toi, Quand revient l'été, didn't give her the same success as Gabriel but now everything shoudl change as she is releasing here in France her new one, La bienvenue, were she sings in fact that when a baby girl is NOT welcomed, it ain't easy for her to believe in life and in her destiny. The song is very inspired, the lyrics are strong, she doesn't do too many vocal effects that disturb me and you can't hear it without wanting to sing along, which, for me, is a sign that she's got one more HIT in her hands. I may give her forthcoming new album a go, after all...

In her beautiful videoclip that is as stunning as the song itself, She is wearing there a doll's dress looking as if it has been made of angel's wings, maybe stolen from Gabriel ?

And here goes the lyrics :

Elle avance en silence les yeux baissés elle n’ose pas

S’affranchir de l’absence d’une mère qui ne l’aimait pas
Elle n’était pas la bienvenue non pas la bienvenue
Elle n’était pas la bienvenue juste une fille de plus

Et tous les hommes la derangent la solitude est dans leurs draps
Elle fait des reves etranges sur un père qu’elle ne connaît pas
Elle n’était pas la bienvenue non pas la bienvenue
Elle n’était pas la bienvenue juste une fille de plus

Mais mon Dieu qu’elle est belle quand coule son rimmel
À tomber des etoiles qu’elle ne voit pas
Lui destiner des ailes pour rester fidèle
À ce qui lui est ecrit oui mais elle n’a pas
Le sentiment que tout ira bien ça lui est egal
Le sentiment que tout ira bien elle a mal

Elle appelle en urgence un ciel qui ne lui repond pas
Elle n’est qu’evanescence c’est ce qu’elle dit et ce qu’elle croit
Quand on n’est pas la bienvenue non pas la bienvenue
Quand on n’est pas la bienvenue et qu’on se sent perdue

Mais mon Dieu qu’elle est belle quand coule son rimmel
À tomber des etoiles qu’elle ne voit pas
Lui destiner des ailes pour rester fidèle
À ce qui lui est ecrit oui mais elle n’a pas
Le sentiment que tout ira bien ça lui est egal
Le sentiment que tout ira bien elle a mal mal si mal oh mal

Quand on n’est pas la bienvenue non pas la bienvenue
Quand on n’est pas la bienvenue et qu’on se sent perdue

Quand on n’est pas la bienvenue non pas la bienvenue
Mais mon Dieu qu’elle est belle quand coule son rimmel
Mais mon Dieu qu’elle est belle quand coule son rimmel
Non pas la bienvenue.

(Christophe Casanave/Najoua Mazouri)

Velvet is the Queen of swedish Pop

I first heard of Jenny Petersson, a swedish blonde whose stage name is Velvet, when she entered the Melodifestivalen in 2006 with the TWIN produced latin R&Bish Mi amore. It didn't stand a chance to win, Carola's Invincible only could be the one, but it made me search for who she was and I discovered she had covered Livin' Joy's Don't stop movin' the year before with the help of September's producer Jonas von der Burg. It made me take interest in her album Finally but I found it was a mixed affair of R&B, pop & dance with great moments, from City of angels to DJ take me or the wonderful In & out of love including the other von der Burg production & single Rock down to (electric avenue) using Eddy Grant's song. But there was too many styles & filler tracks to really win my heart, compared to September's latest albums for example, 2004 September and 2005 In Orbit.
I still kept an eye on her though and she followed the album with a brand new song as single, Fix me like if she knew the album needed new seeds. Like City of angels, she worked with Niklas Pettersson and that song was a winner. The album as re-issued in some places with Fix me as a bonus track and I finally bought me the polish CD/DVD edition...
Then came further new singles, Chemistry, Déjà vu (she took to Melodifestivalen 2008 without winning for a second time in a row), then Take my body close and finally The queen, once again in Melodifestivalen 2009. And all these singles were WINNERS ! I couldn't wait more for a full length CD of her, wondering why it didn't came... Forget about September, it has now. It is called The Queen and it sounds more like a Greatest Hits than just an album. It would have been if the best songs of Finally had appeared on it too but they can be added to the digital version we make for our MP3 players. The fact is this new album is an absolutely must-have for every popmusic lover, post-PWL addict, Euro fan and swedish pop follower !



1/ THE QUEEN 10/10
People take a bow... I am, I am, I am the queen starts the CD and we instantly fall on our knees to show some respect to the pop perfection Tony Nilsson has written & produced for miss Jenny. Dance arrangements, memorable melody and easy-to-sing-along chorus, this song had everything to win her the ticket to Eurovision but the swedish people had a different mind (Alcazar's Stay the night was even better but neither of them won...). This song is the perfect intro though to the new musical world of The Queen Velvet.
2/ CHEMISTRY 10/10
Like Fix me before, Chemistry was produced by Niklas Pettersson and it's another dance-pop perfection. Although being a single in 2007 in her homeland, her UK new record company has chosen it to be her first single to start what can oponly become an international carrier for sure. Good verses, uplifting pre-chorus and memorable chorus once more with good rhythm and nice beats plus some na na na na bits to help people sing along in the bridge. It deserves a UK Top5 chart placing. Pete Hammond has even made a retro mix like he did with Alphabeat's Boyfriend last year, and it needs to be released as an alternative radio version 'cos it feels so good to feel like it was PWL times all over again.
3/ TAKE MY BODY CLOSE 10/10
Pitchline Productions on duty this time for another winner. Take my body close keep us on the dancefloor for another 3'30 of pop perfection. How can it be ? It took her 3 years to release it but she only took the best recorded songs for sure ! The melody is even more appealing than the previous ones and it needs to be a further international release too.
4/ SOUND OF MUSIC 10/10
An echoed intro gives us a few seconds to rest before entering into another brilliant piece of pop designed for the dancefloor. Ooh it's on my mind she goes on Sound of music's chorus and we can't help keeping this one more tune totally glued into our ears after just one listen. It is sure to become one of her following singles !
5/ RADIO STAR 9,5/10
This other Tony Nilsson written/produced song starts with electronized sounds like on Daft Punk's Around the world but then it goes back into pure dance-pop territory once more. I wanna make it serious she sings in the Radio star chorus and she's got another potential hit in her hands here. Maybe less instant than the previous ones but of quality too. I especially adore the end of the song with her voice being cut off like if you had put the CD player off-line...
6/ MY RHYTHM 10/10
Another french touch's influenced intro builds up into a more dance than pop anthem with My rhythm, once more with Niklas Pettersson on duty. The chorus is particularly uplifting and moving, making me stand up and put my hands up in the air to sing along with her. And I can't get enough of the gimmickly "Are you ready?" addition in some key points of the song. There's a lot of vocoderized additional vocals all along the song and it makes me think of Daft Punk & cie, in a more commercial approach.
7/ PLAY 4/10
Play is the one and only let-down of the album ! So seeing Niklas Pettersson in the credits isn't warrant of perfection after all... Jenny goes into laidback and etheral atmosphere with this very mid-tempo that only leaves me bored. I even skip it now when I listen to the album. Maybe other people needed a rest after 6 dancing anthems but I was ready for some more straight away.
8/ COME INTO THE NIGHT 10/10
Thankfully, Come into the night brings back the good beats and this time, it's all in the schlagger-pop from Sweden. The song is just a little too longer at 3'27 or it could have been another entry for Eurovision (3' format). It has key changes, feelgood melody and dance arrangements. Once more, the Pitchline boys are on board for a winner and further single for sure.
9/ DEJA VU 9,5/10
This already-one-year-old Velvet tune is included (but wasn't Chemistry too?) and we stay in the Europop with this song that didn't win her a ticket to Belgrade in last year's Melodifestivalen. Produced by TWIN like Mi amore, Déjà vu pushes all the right buttons this time.
10/ DANCING WITH TEARS IN MY EYES 8/10
You must have already known by its title, this new track is a cover of the Ultravox hit of the 80's. Velvet goes into pure Eurodance style with it maybe reminiscent of what Novaspace already did with the song a couple of years ago. Good version but nothing new, alas... Or maybe have we heard too many dance cover versions of it already ? Or is it because her original songs are so good that we don't need her signing some cover song ?
11/ FIX ME 10/10
Like I already said, this Niklas Pettersson previous single is another perfect pop-dance anthem and its inclusion here is a good thing, for those who bought Finally before its re-release for example. It would have bettered if included previously at the start of the CD and then here near the end in its calmed down acoustic version. But hey, I must find something to complain about... Else, I'd have nothing wrong to say.
12 MY DESTINY 10/10
A beautiful piano intro gives us the pace for this last song and you can bet My destiny is the other downtempo of the album, but what a difference with Play ! When the first one was boring and went nowhere, this new ballad builds up calmly into a solid and vocally strong uplifting anthem, like Bird in flight was on Scooch's album ; Jenny's voice shows off here and we now know she's not just a beautiful face (and body) whose voice can be handled well by studio wizzards. With only a piano, she can shine with magic and strength. Please, someone, make Celine hear this new Pitchline song to cover it on her next album ! The canadian lady needs good material and this one would suit her voice nicely.
13/ THE QUEEN (REMIX) 10/10
Tony Nilsson has made a remix of his opening song and it is a slightly more dance oriented remix that clocks here at 3'38. Perfect for me, even if it doesn't add a lot more to the original.
14/ CHEMISTRY (DIGITAL DOG REMIX) 6/10
I can't understand why this is the Digital Dog full length remix that has been chosen to end this yet perfect tracklisting. Their sound is more electro & hyped for sure but the radio edit would have fitted nicely and it could have been followed by some more remixes or bonuses like leaked demo Superlove. But now that I know the one and only ex PWL MixMaster Pete Hammond (aka God, nearly...) has remixed it, I had hoped it would be HIS remix that would fit The Queen tracklisting. Maybe on the UK edition... ?

samedi 4 avril 2009

YES! the real Pet Shop Boys are coming back !

YES, the Pet Shop Boys are back in town and this time, there's no acoustic pop-rock or trendy electronica, it's all about pop music like they used to do and like their fanbase like them to be.
Yes, is the name of their tenth studio album and it is also available in a double CD limited edition titled Yes, Pet Shop Boys etc., the etc. bonus CD including a bonus track featuring Phillip Oakey of the Human League and 6 dub versions of some of the album songs.

The album has been completely produced by Brian Higgins & his Xenomania team (of Girls Aloud UK fame, whose single The loving kind has been co-written by the Pet Shop Boys while recording their album) and latest big producing sensation of last years. They co-wrote 3 out of the 11+1 songs of the album so you don't really hear their usual song signature but they've managed to make the duo sound himself as well as up-to-date. The goal for this new album is clearly to appeal to the masses like their poptastic album of 1993 Very did.

The lead-off single, Love etc., is one of the 3 collaborations and is a bouncy uptempo with repetitive rhythm and galoping melody, with a Xenomania verses/chorus typical trademark. The boys' real work was on the lyrics, meaning superficial lifestyle and never satisfied people are missing the real thing, love. Although odd in style, this single is a perfect introduction to their comeback album and a memorable anthem for sure.

Following track, All over the world, was featured in their Brits award TV show's medley so could easily become a single too. Including a Tchaikovsky theme melodic line, it is another pop anthem with memorable chorus.

Beautiful people cools things down a little, being a classic PSB mid-tempo all with brass & strings, the boys wanted to feature in the soundtrack of the UK TV Series of the same name. It reminds me of some of their previous work but I can't think of which ones. Classic would sum it up. Noticeable is Johnny Marr's guitar and harmonica on this one.

His guitar is back on board as soon as the intro of Did you see me coming? starts but it all fades into the pop perfection of this sure-to-be the next single (I hope so). It has it all, with the title phrase being the lead chorus line you cannot get out of your head after only one listen... It has HIT written all over it!

Another memorable song perfection in the classic PSB territory, but the melancholic & mid-tempo one a la Being boring, Vulnerable is another single potential song on this album, but aren't they all ? Clocking at 4'47, the song would only need a little editing to fit radio formats and it wouldn't sound bad to have some vulnerable lines cut, the title word being far too repetitive all in all in the whole song for my taste.

More than a dream is the second Xenomania co-written song included and has a strong melody and arrangements, anthemic lyrics and uplifting choruses in perfect Xenomania style ; another highlight of the album for sure and in my heart. I believe we can change, we can make it more than a dream it goes and this song particularly makes me think of what the Boys said about the inspiration for this Yes album, the Obama Yes, we can! campaign. This optimistic song sums it all and should appeal to US audience even more.

Then comes Building a wall. Johnny Marr's guitar is once again featured on this upbeat song that see Chris shouting back to Neil some lines with more narrative parts too, that talks about being reclusive more than excluding. A fine album track.

I have the same déjà vu feeling for King of Rome I had about Beautiful people, and even more. It sounds like Dreaming of the Queen, Part 2, all laidback and breezy. It apparently refers to Napoleon's son (...?) and is a nice classic PSB mid-tempo, nothing new but nothing bad (except maybe its length, 5'31, a little long compared to the usual 3'30 length of the other pop numbers).

Next track, Pandemonium is another single must-be, all dance-pop at its best, uplifting, with electronical arrangement, memorable Wooo hooooo choir line, scanding rhythm and even bits of harmonica. This song inspired by the love/hate lovestory of Kate Moss & Pete Doherty was meant for Kylie Minogue but she apparently thought it wasn't for her. Although I like her too, I think it suits PSB's style more than hers. It was even at some stages supposed to give its name to the whole album. It would have sounded good as an album name too, but The Time already used this in 1990.

Then comes another perfect addictive track (again!), The way it used to be. It si the third Xenomania collaboration but it sounds more classic PSB than for the previous other two. All melancholic but upbeat, I would love to see it released as a single too. But That means more than half the album would be so I woudln't want to be in the place of the Boys and their record company to decide which song is going to eb released as 2nd and 3rd single. More could be too but that isn't the pace nowadays... In final, I'd say this is the song I like the most on the album, Pet Shop Boys at their best but modern.

The album is ending with an epic and orchestral 6'21 final song called Legacy. The song is not really memorable, only the lines You'll get over it stay in mind. It is all about being musically experimental here, I think. It would have suited best a B-side to me... The only let-down of the album but a bad one as it is the last track.
Thankfully, I've bought the limited edition and I've got a second CD to put in my player.

After some atmospherical intro bits, This used to be the future really starts with electronical noises & keyboards, to pay tribute to 80's coldwave a la Gary Numan, Erasure & Human League I think. This song is all retro sounding with Chris & his vocoder back on board (like in the days of Paninero) before Human league's leader Phillip Oakey comes & share the mic too. It wouldn't have found its place on the Yes tracklisting so it sounds better to have it aside opening the etc. CD.

The other tracks are Dub versions by Xenomania with or without the Boys of More than a dream, Pandemonium, The way it used to be, All over the world, Vulnerable and Love etc. These versions take the songs more into the Club sounds than the initial Pop but they stay poptastic with still vocals included. It reminds me of Relentless, the bonus disc for Very, but it was all unreleased songs there, not just remixes so I would have prefered more bonus new songs but these dub versions are fine though. That bonus tracklisting makes me think that songs that don't appear have less chances to become singles as it partly includes best potential ones for sure and it leaves me regreting Did you see me coming? hasn't been remixed there...

Just a few words on the Love, etc. B-sides. The Pet Shop Boys have always given their fans extra tracks displayed on singles formats and this time like always : First, there's We're all criminals that, despite its lyrics, is a breezy sing-a-long song I would have loved to see included on the album, then, there is Gin and jag, a darker and moody track. Both were completed and produced after the Xenomania recording sessions.

So What?
If you're a PSB fan, you already have ordered it so I'm sure it will soon & for long feature in you CD player,
If you're a PSB addict, you had pre-ordered the limited edition and you already know this new album by heart and it has entered your Top3 of PSB albums,
If you're curious about it, know and like some of PSB oldies and have been thinking Love etc. was a nice but odd piece of electronical pop, go for it, you won't be deceived !
Else, I'm afraid this wonderful piece of art will pass you by, just like all PSB albums since the Very era. Like Depeche Mode, Erasure and all thoses 80's synth-pop bands, nowadays, the Pet Shop boys only sell to their fanbase and hardly gain new fans. A real shame ! I can only their collaboration with Xenomania opens them a door to new recruits among the young generations that like Girls Aloud, Alesha Dixon, etc.

Heritage, by Shazz, when soulful House meets Blues a la Moby

I already bought an album by french house veterans SHAZZ (aka Didier Delesalle). It was his 4th album "Beautiful", released in 2004, on which he invited an all women's vocal cast of quality to sing beautiful songs for a whole package of delicate & mellow after-hours electronic and organic soul. A stripped to the bone cover version of the Annie Lennox song "Cold" by Laura Mayne-Kerbrat (ex Native) introduced me to it but the whole album is an intemporal masterpiece for loungin' evenings with friends, all with good french food and good wine, the perfect music to listen to -and- to have conversation with.


After years of wait, Shazz delivers another masterpiece and I didn't even knew it before seeing its beautiful cover in a record shop. I was tempted but wanted to hear it a little before buying it straight away, even though the cover art and nice price made me want it hard... So when I came back home, I surfed into myspace and went to his page (
www.myspace.com/shazzmusic ) to listen to his player with current songs and instantly knew I already regretted not to have bought it. So I ordered it on line and finally had this latest object of desire a few days after in my CD player.



"Heritage" is another warm and mellow piece of time that you need to listen from its start to its end, untemporal, which means, like for "Beautiful", it will stand the test of time and won't sound "old" in ten years from here. Shazz goes back to his House roots, never leaving the organic Soul, but adding a touch of Blues. This album makes me think of "Play" by Moby, but with less electronics & samples and more soul & real vocals.
Shazz delivers this album credited with the lead vocalist, previous partner in crime on some songs for first albums, Michael Robinson. Pianos are played by long-time partner & co-writer Alexandre Destrez, who has collaborated with Ludovic Navarre (aka Saint-Germain), and to know what to expect from this musical-journey-into-after-clubs-drive-out-in-the-american-desert-at-sunrise, just feel it's all breezy and warm, more mid-tempo & atmospheric than uplifting and uptempo but all in all, it is all cheerful and joyful, as if you were laying arms open wide like a cross on a warm desert ground with the eyes closed and a red sun upon you re-charging your inner battery. This album is an absolutele must-have ! In these troubled times, it will make you forget your worries for a while and have a musical journey in a better place, between yesterday and today, between dreams and reality.

I've only got one bad word to say about it : it is TOO SHORT! When the play is over, you can only push the "repeat" button once more, again and again, or put on the repeat mode .
Shall I add this physical CD is once more packed up in a quality digipack with beautiful photographs and if you want to buy it, buy it physical rather than digital, please !