Maude Audet’s (she was just known as Maude back then) debut album “Le Temps Inventé” made one of our year-lists back in 2013 and now a couple of years later she’s back with her follow-up, “Nous sommes le feu” and while the album that doesn’t steer that far from the sweet folk-tinged pop of its predecessor, the poetic storytelling of Maude’s lyrics bring each song vividly to life.
In part the album revisits some of the themes of love and hope which were explored on her debut, the most obvious examples being “Je serai nacelle” and “Contre ton corps on se sent moins vieux.” The former is moving and heartfelt, the acoustic accompaniment the perfect accompaniment la tendresse – the lyrics convey, especially in the way the song’s mood totally changes during the uplifting and reassuring chorus – “…Je suis là, Avec toi, Je te prends, Dans mes bras…” as she deftly holds the note on each of the last syllables… “Contre ton corps on se sent moins vieux” explores the concept that love – like a fine wine – improves with age as she confesses “…Contre ton corps on se sent moins vieux, Nue sur ta peau tout semble mieux..” It’s a beautiful song that touches on sentiments similar to those of Les sœurs Boulay’s “Maison” from their album “4488 de l’Amour.”
But there’s also social dimensions that Maude is not afraid to tackle. “On leur demande” sees her address war crime that is the forced ‘recruitment’ of child soldiers in conflict-zones. Starting out like an acoustic version of a rock number, Maude expresses her disgust as the middle-eight cranks-up a reverbed cacophony of guitars. She also takes aim at the policies of austerity with the up-tempo “Troubles-fête.” Again there’s glorious chord progressions and refrains aplenty on a song that contains more than enough to keep mind and body occupied.
And then there’s also the way in which Maude uses cello sparingly to add texture and depth. On “Nous sommes le feu” the strings adds a touch of gravitas and reflection. The song itself is one of those seemingly effortless numbers which meanders along quite serenely, all the while reflecting that mankind’s actions le feu” are often destructive, when channeled as a force for good there will always be hope – the hungry bellies of the starving will be replaced by smiling children and the sweet taste of a lover’s kiss.
Nous sommes le feu” is an album full of timeless songs which are illuminated by Maude’s magnificent storytelling, the end result is an œuvre of delightful folk-tinged pop.
Québec City’s Héra Ménard is another talented auteur-compositeur-interprète from la belle province. Winner of the 2013 edition of Le Festival le Tremplin de Dégelis (joining a long and distinguished list of winners that include a certain Klô Pelgag), she released her debut EP “Et si…”
The EP’s opening and title track is delightfully up-tempo and merrily bounces along. At first Héra’s confident and bubbly vocals intertwine with just ukulele and guitar, but before long piano, percussion and even the plucked strings of a mandolin are added to the mix. The vocals are multi-tracked into the most perfect of soaring refrain. In fact Héra’s crystalline vocals also feature prominently on the foot-tappingly upbeat “Le vide.” There’s a similar bouncing refrain and nice choral touches – but lest you get the impression that Héra only has one string to her bow – there’s a sudden softening of mood and change of pace as the song draws to a close. Indeed, live – en session – with just a slight change of emphasis and vocal inflection sees the song takes on a slightly melancholic tinge, as the video below demonstrates.
The country-tinged “Je pense encore à toi” and the melodic folk-pop of “Les dernières heures” are achingly beautiful songs. Both demonstrate the softness and soulfulness of Héra’s ethereal vocals, while the addition of violin, low whistle and accordion add a haunting Celtic air to “Les dernières heures.”
There’s even something in Héra’s disarmingly engaging voice that makes the English language closing number “Lullaby” such a heartwarming and captivating song. Again accompanied by just the ukulele, Hèra suggests seductively that since there is no where else for her lover to go, staying with her tonight is the only thing to do.
Québec seems to produce more than its fair share of country-folk artists, so standing out from the crowd can be a challenge. With “Et si…”, Héra Ménard suggests she has more than enough strings to her bow to make a mark.
‘Ça (C’est vraiment nous)’ is a tribute to French rock royalty Téléphone, France’s answer to the Rolling Stones that peaked in the late seventies and sported J-L Aubert and Louis Bertignac among their members. Tribute-artists are Olivia Ruiz, Joyce Jonathan, Mademoiselle K and Plastiscines, Spotify link HERE
Heaviest track is this version by ZAZ
The sisters had already teased us with “Fais-moi un show de boucane”, which hinted at a more expansive and band orientated sound. While those majestic vocal harmonies still shone through, there was a defined rock-edge; solid percussion and electric guitars which marked a departure from the girls’ gentle country-folk melodies. This was by contrast is bold, brash and incredibly sexy…
Actually in the context of the album the song is arguably a bit of a departure. The opening track is in a similar vein to those of their debut. Once again “Les couteaux beurre” features the sister’s silky vocals. Even the haunting whistling is as harmonious and pitch perfect as their voices. But as the Sisters launch into the song’s sweet chorus with its catchy melody you get the first inkling of the aural richness and warmth of this album’s sound. Here the sound is far more expansive – electric guitars, drums, percussion, bass synths – even a Kalimba and butter knife(!) – and trombone; all add texture and depth to a song that revisits familiar grounds – their childhood home and memories that can be wrapped around them like a well-worn but comforting shawl.
Listening to the album it becomes obvious how much the sisters have matured as songwriters; these are still songs about love, boys, voyages and experiences. The songs are still very-much autobiographical, but while there may still be a broken heart or two, these are no longer songs written by two shy, young girls from Gaspé.
Boys feature quite prominently in the sisters’ compositions. “Gab des Îles” features a boy and his truck. It’s a simple melody, initially subdued and reflective – yet as percussion drums and piano are layered onto the sisters’ by now trademarked harmonies – you realise this is a song of naked desire and intimacy. “Andaman Islands” harks back to a holiday romance – as well as the intimate style of “Les poids des confettis” and the perfect symmetry of Mélanie and Stéphanie’s vocals, just accompanied by guitar and ukulele – and again the theme is one of lust and desire, cleverly captured in the song’s lyric’s; “Ce qu’on a vécu, nous deux, Ça se prend take out…” (“What we’ve experienced between us, We’ll get take-out…”) “Alexandre” is a song about eternal love and everlasting friendship, built on a lilting folk-tinged melody and angelic, ephemeral harmonies.
However I doubt you’ll hear a more touching love song this year than “Maison” – it’s a song that perfectly encapsulates Les sœurs Boulay – a deceptively simple yet totally enchanting melody married to their angelic harmonious vocals, apparently pulled-off so effortlessly – while the lyrics implore “Veux-tu y vieillir avec moi?” (“Do you want to grow old with me there?”) – honestly, who could refuse such a request?
Travel features on the Stéphane Lafleur composed “Jus de boussole”. Country-tinged but Latin-infused – thanks in no small part to the Mariachi-inspired brass and the güiro-lead percussion – the song features a timeless melody and aching vocals which evoke memories of simpler times.
“Prière” is perhaps the most delicate and melancholic song on the album. The song is another link to themes that their debut album touched upon. Here, Stéphanie’s piano accompaniment adds to the air of insecurity as she waits to see if her prayers will be answered…
It’s a sign of the growing maturity of the sisters’ songwriting skills that they’ve tackled social issues; “De la noirceur naît la beauté” is intensely dark and moving, sung almost a cappella, save for haunting synths which accentuate the somber mood portrayed; “Langue de bois” is probably the sisters’ acerbic output to date and a comment on the enforced austerity and growing financial disparity – There’s clever use of English (whom I suspect are the target of the sisters’ scorn). The song’s gentle folk rhythms are augmented by Trombone – which arguably sets the song’s tempo throughout – and a rock-pop chorus that again highlights their truly majestic voices.
The sisters again let-off steam with “Sonne-décrisse” as they rally against meaningless small-talk and mealy mouthed platitudes. The uptempo folk-tinged melody and forthright confident vocals are intended to challenge the status-quo, but while the lyrics suggest a hint of doubt, you know that these confident young women will overcome whatever uncertainty they encounter.
The album’s title track encapsulates all those intensely personal moments that make a house – the fictional address of “4488 de l’Amour” – into a home. It’s a truly effortless folk-tinged song that pair seem to be able to crank-out at the turn of a wheel and which also touches upon those enduring bonds of friendship and love. Nice touches involving flute and organ makes this whimsical song so difficult not to fall hopelessly in love with. And whimsical could be used to describe the closing number, “T’es ben mieux d’les ouvrir tes yeux” which neatly closes the album on a lighter, upbeat note and which leaves us not only wanting to hear but also join the sisters on their road-trip to the Val-d’Or. Infectious whistling and bright trumpet add to mood of joyfulness as the sisters’ dulcet vocals fade for the final time – that is until you hit the ‘repeat’ button…
“4488 de l’Amour” is another chapter of Mélanie and Stéphanie Boulay musical journey. Surrounding themselves with some old friends – Philippe B is again behind the controls while Manuel Gasse and the aforementioned Stéphane Lafleur lend a hand with both words and music – the album see the sisters emerge as mature, cosmopolitain auteure-compositrice-interprète. However, despite the fact that over the past couple of years the sisters have made a considerable impression in the Francophone community worldwide, they remain true to their Gaspé Peninsula roots, continuing to write and express themselves in their native Québécois-French (even if this does make grasping the nuances of their lyrics somewhat difficult – seriously does someone do a really good English – French-Canadian dictionary / thesaurus?) The end result is an album of vignettes of love, life, travels and astute social commentary.
“4488 de l’Amour” is an album wrapped in an expansive but warming sound which sees Les sœurs Boulay expand their musical horizons without ever losing touch of their musical identity…
I’ve got a soft-spot for Rosie Valland, an incredibly talented auteure-compositrice-interprète from – yes – Québec. I’ve already raved about her here and it is safe to say that her debut album “Partir avant” is one of two that I’ve been eagerly anticipating (you’ll have to wait just a little while longer for the other one…)
“Partir avant” is an album born out of break-up and heartache; of conversations that never took place. The nine songs on this stunning debut album are wrought with emotion. There’s an overwhelming air of melancholy – themes of distress and shattered dreams abound – the atmosphere is sombre; this is a dark journey that Rosie has undertaken. But it is also incredibly cathartic, there is hope and salvation. You know that Rosie has emerged stronger from this…
The album opens with the magnificent “Oublier”, a song that oozes sadness and painted with the same monochrome palette as her debut EP, the song vividly captures that moment the flames of love are extinguished.
“Noyer” and the album’s title track similarly touch on the aftermath of breaking-up, however the latter is noticeably more upbeat – driven by a hypnotic percussive beat and multi-tracked vocals, it’s arguably reflects on looking forward, rather than back – a topic revisited on the album’s closing track, “Finalement”, which not only offers closure but hints at revenge.
“Rebound”, “Quebec City” and “St-Denis” are all songs that caution love on the rebound. The former wrought with both regret and anger, highlighted by touches of brass that not only add an extra depth but also tension. Meanwhile “Quebec City” is claustrophobically dark, the grunginess amplifies the feeling of menace as it warns of stumbling out of one relationship into the outwardly inviting arms of another. “St-Denis” on the other-hand is more up-beat, lighter in texture and tone – almost summery – but you still get the feeling that Rosie longs to escape the city…
“Olympe” is perhaps the most obvious example of a radio-friendly pop-song; while the mood is still one tinged with emotion, the mood is lighter. The edginess in the voice has been replaced by a more soothing mellowness while synths and electric guitar help create a rich and easily recognisable pop-like sound. The soaring refrain and catchy hook suggest that Rosie Valland is more than capable of turning out intelligent adult-themed pop songs – if she so chooses. However, it is the utterly compelling “Nucléaire” that is my favourite song on the album. Haunting synths and reverbed guitar couple with arguably Rosie’s finest vocal performance, at one fragile, tinged with regret, yet at the same time forceful. Somehow a song about the Le fin du monde never sounded so serene…
“Partir avant” is one of the best albums to emerge from the Québec music scene this year and confirms Rosie Valland’s exceptional song-writing talents which she has married to her distinctive guitar style and oh-so compelling voice. Aficionados of the peerless Salomé Leclerc – with whom Rosie would appear to share a kindred spirit – would be wise to check out.