More about Rose and her new album HERE
More about Rose and her new album HERE
Guestpost! Theo M. writes:
Recently Filles Sourires featured the “La chanson d’Hélène” version by Sophie Hunger. She recorded that cover with famous French footballeur Eric Cantona. Well whaddayaknow, Eric’s wife is an actress and singer in her own right. Rachida Brakni sounds almost as saucy on her debut (which was released in 2011) as her husband does in his duet with Hunger. Brakni, who’s of Algerian descent, delivers her songs with a dark mystique. On the album’s opening track ‘Je Danse et je Ris’ (try it on Spotify), and in ‘Terre Fatale’ she proves she masters the Gainsbourgian ‘Sprechgesang’ as well as her husband. Hopefully we will hear more of Mrs. Cantona very soon!
(This guestpost was originally published on the wonderful Lie in the Sound-blog, and written by Christoph/SomeVapourTrails)
Every country has it’s own musical charm, in France it’s the ‘airy Chic’ that’s sprinkled onto songs by chanteuses from every generation. The graceful members of this guild can either sing saucy or sentimental, but in any case the singing floats at least a foot above all earthly things. As is proven by Parisienne Céline Tolosa, whose début-EP was released recently. The four delicate songs on the EP channel the charm from 60s French pop. Even the title track Covergirl precipitates as graceful as profound. Tolosa embodies a cover girl, either a Lolita or Femme Fatale from any glamour magazine. But behind the glittering façade of the Fashion Business lurks the realization that they will one day be replaced, when a slimmer model comes along.
The nice, for predestined humming melody follows with Rue Mansart, a rather moody piano chanson. It includes that special sophisticated French perspective, which is located somewhere between daydream, still lifes and tears in a buttonhole. Tu est fantastique is an airy number full of retro charm. Every French musical stereotype is confirmed here in distinctive ways.
Fais-moi souffrir is more moody. Céline Tolosa is singing with tender melancholy. Can’t wait to hear mme Tolosa on a full length album. Because, honestly, don’t we all need some disarming French lightness from time to time? I know I can.
You know Ry Cooder. You might know Ali Farka Touré. You should listen to their marvelous album Talkin’ Timbuktu. Belgian Paul van Eersel owns this moniker, the Belgian guitar player Paul van Eersel sounds like a love child of Cooder and Farka Touré. Folk Afro-Belge is what he makes, indeed he incorporates folk and african influences. In 2012, he released an EP, featuring a VERY cool duet with one Stella Zekri. A song to see the sun set in the Serengeti. I bumped into Paul via Ivan Tirtiaux (see below).
In a few weeks, Paul releases a full album. Check his Facebook for more details. See a teaser clip HERE
Paul just released this video for ‘Du temps’
Blondy Brownie: A blonde and a brown-haired girl from Belgium, making post-rock tinged music. In French. With John McEntire (Tortoise). And Antoine Wielemans (Girls in Hawaii). And more guests, on an upcoming album. If this sounds promising, wait ’til you hear the music by Aurélie Muller (V.O., Soy Un Caballo, The Tellers, Melon Galia…) and Catherine De Biasio (Mièle, Kris Dane, Ici Baba, Le Yéti…).
It’s been a while since we’ve heard from the marvellous Arnaud Fleurent-Didier, “Le grand dandy français”, whose last album, La Reproduction, we all took to our hearts. Is it really five years ago? Surely not. Now, it would appear, he’s back, with an amusing teaser for a new record in the style of a 1960s film trailer for Un homme, deux femmes. Singer Dorothée de Koon is still on board, thankfully, and it sounds simply wonderful. So sit back, enjoy the flight, and the stewardesses will be along with cocktails when the ‘fasten seatbelt’ signs are off…
Need your help! Want to compile a Spotify playlist with afro-tinged French pop. I was ticked off when I heard Mathieu Boogaerts’ delightful ‘Le ciment’, then I thought of the afro-influence in Vanessa’s ‘Tu vois c’que je vois’, and of Irene Jacob’s album, and before I knew it, there was THIS playlist on Spotify. But there must be more French afro-tinged pop songs – listen to the tracks already here, and you get the picture. Add to the playlist!
Unfortunately, this really cool track isn’t on Spotify, but it sure is nice to hear it again.
Yep, another guy on a blog dedicated to singing filles. And no, not a duet this time (tho there’s a girl in the background choir) But a really, really cool song by a Belgian guy who plays, apparently, ‘folk nouveau’, which in this case means he adds Brazilian folk(sy) music to his chansons. The result is, to me, a feelgood hit for the summer.
A balmy April evening in LA seemed a million miles away from that cold winter’s evening in Switzerland where I had my first introduction to the delightful Keren Ann Zeidel, but as her appearances here are as about as frequent as ground-frosts (this being only the third time to my knowledge since I moved to La-La-Land that she has played here) – in a venue holding only a couple of hundred like-minded souls – I was rewarded with the most intimate of shows from arguably one of the greatest singer-songwriters of her generation. Backed only by Thomas Bartlett on the keyboard, she regaled us – not as a paying audience, but more as old friends – over the course of the best part of a couple of hours with somethings old, something new (a track from her latest, as yet unreleased, album) and even a chanson ‘en français’.
The set – opening with “End of May” – actually drew heavily from 2007’s eponymous album and 2011’s “101”. There were only a couple of tracks from “Not Going Anywhere” and “Nolita”, including the evening only French language offering, “Que n’ai-je” – it’s my one small (indeed not sure why I’m even mentioning it) criticism in that her first two albums (“La Biographie de Luka Philipsen” and “La Disparition” tend to be criminally under-represented. That being said, Los Angeles isn’t – despite fact-fans hosting the second largest French Expat community in the US – noted for being a particularly Francophone city…
However, there’s more than enough to compensate (when you’ve a back catalogue as rich as Keren Ann’s, what to leave out must be a bit of a challenge). There’s a haunting and poignant version of “You were on fire” ( a beautiful homage to her late father) before, harmonica to hand, we’re treated to “Chelsea burns.” There’s also the best version – on record or live – of “Lay your head down”, arguably one of the greatest contemporary love songs ever-written and the finest 4’46” ever laid down in the studio… Tonight the song just felt personal… hard to explain really, but the message seemed to be addressed to all present.
Keren Ann is also a great story-teller, spending time to tell us of her thoughts and background to some of her songs; “All the beautiful girls” we discover is based upon an old lover – an artist – (“it’s not him – honest”) to whom the denouement is quite humorous, “I thought he was a genius. My friends thought he was an arsehole…”
Joking that old songs given new treatments are really new songs, we are treated to inventive reinterpretations of some standards; “The harder ships of the world” is layered with heavily echoed and reverbed keys. Keren unleashes her inner rock-chick on “It ‘ain’t no crime”, complete with psychedelic keys and a great tumbling jam to end; “Sugar mama” gets the “Peter Gunn” treatment and (with a nod to our location) a touch of the surf-rock guitar, while “My name is trouble” adds staccato guitar and “Blood on my hands” is textured with a deliberate change of pace during the middle-eight, featuring gunshots and ‘plink-plonk’ western saloon piano effects on the keys.
We’re finally treated to a brand new number from destined for her new album (as featured in this very Blog last December). The song is a haunting and biographical tale of a mother seeing in face of her child an old lover, is heart-warmingly evocative. If you haven’t already pledged to help fund her new album, do so now. There is no excuse!
Unfortunately, all good things must come to an end as the set ends with – probably to the public at large – her best known song, “Strange weather” and while we must thank both Anna Calvi and David Byrne for bring this song to everyone’s attention, here – with heavy reverb and echo, swirling keys and the guitar crying as if falling rain in a storm – Keren reclaimed ownership…
Keren encores with “Not going anywhere” – and visibly moved – an a cappella cover of the Chet Baker standard “It’s always you.” It was without a doubt the most moving performance I’ve seen…
1. “End of May”
2. “You were on fire”
3. “Chelsea burns”
4. “The harder ships of the world”
5. “Lay your head down”
6. “It ‘ain’t no crime”
7. “Sugar mama”
8. “Que n’ai je”
9. “All the beautiful girls”
10. “In your back”
11. “It’s all a lie”
12. “My name is trouble”
13. “Blood on my hands”
14. New song
15. “Strange weather”
16. “Not going anywhere”
17. “It’s always you” (Chet Baker cover