You probably recognize her voice instantly, don’t you? If not, check out who Plaza Francia is HERE
You probably recognize her voice instantly, don’t you? If not, check out who Plaza Francia is HERE
And yet another talented singer-songwriter from Québec! Here’s Geneviève Racette with “Bricolage,” a track from her soon to be released eponymous debut EP.
Given that this EP was financed via crowd-funding, “Bricolage” is perhaps an apt title, although there’s nothing DIY about this sympathetically produced, up-lifting and up-tempo folk-tinged pop-song. There’s a gorgeous melodic guitar intro before Geneviève silky-smooth vocals kick-in; the song’s arrangement ensures that the melody complements rather than over-powers the voice; and as befits someone who cut her musical teeth as a member of the all-girl a cappella group, Les Gourmandes, the soaring harmonies are absolutely note-perfect.
A graduate of the l’école Nationale de la chanson de Granby and a finalist at last year’s L’Etoile montant (the winner gets to appears at the prestigious FrancoFolies de Montréal festival), Geneviève describes her style as “Comfy folk-pop.”
You can check the song out for yourselves, below:
Can’t you stop raving about the filles from Québec?! You might ask yourself. Well, no. They keep surprising and pleasuring us with great tracks. So why quit? Take sultry Salomé Leclerc. We (well, Maks did, credit’s due) spotted her back in 2010. We raved about her debut: “The guitar-driven songs are the perfect field for her voice to play on and simultaneously kidnap the listeners mind to drop it somewhere under the trees.” Somehow we missed her Le vent nous portera cover. We loved her bass-heavy, ‘dark tranquility’ chansons. And now she’s announced a new album in September, and just released a vinyl single (and mp3s) with two new songs. Arlon, a song that might be about the village (but probably isn’t), is the winner. Again, it’s bass-heavy, drenched in echo, there’s a soulful tambourine and there’s electronica. It’s cold wave on a stove. It’s like making tender love on a concrete floor in an abandoned industrial complex.
Salomé Leclerc – Arlon (link works now)
Mark adds:
Salomé Leclerc is a great stage performer. Here are her best live performances in 2013 at Festivoix, Trois-Rivières (July) and Parc Marcel-Léger, Montreal (August).
At Festivoix here are ‘Partir ensemble’
and click HERE for Caméleon and HERE for ‘Garde-moi collée’
See how she manages with a supporting band of just two, who play multiple intruments. A short interview with Salomé is here
In memory of the famous (unrelated) Québec writer and singer Félix Leclerc (1914-1988) she sang his nostalgic ‘La Gaspésie’.
Salomé is appearing at the Festival Pully-Québec in Switzerland in June along with some other FS favourites – notably Ingrid St-Pierre, Les Soeurs Boulay and Catherine Major. The festival is held in Pully, a suburb of Lausanne, every two years. This may be the only opportunity to see these artistes in Europe in 2014. If you are in Suisse Romande next month, don’t miss it.
Guestpost by Adrian:
In 2009, when I was doing a web radio show thingy (whaddya mean, you weren’t listening?!?!), I was in touch with Marseilles band Nevchehirlian about their debut album, Monde Nouveau, Monde Ancien. Led by poet and writer Frédéric Nevchehirlian, the record was full of strong sensual driving guitar songs. After that they took an interesting sideways turn with Le Soleil Brille Pour Tout le Monde, which mixed the band’s music with unpublished poems by Jacques Prévert.
Now their latest record, Rétroviseur, is out, under the shortened name Nevche (because pronouncing five syllables is soooo hard, right? *rolls eyes*) and it’s utterly beguiling. It’s a late-night record, full of restraint and elegance, nowhere more so than in this haunting track Vas-tu Freiner? It’s the sort of song that has you playing it repeatedly until you realise the evening’s disappeared. The beautiful video features a mysterious woman, an old Peugeot 504, an owl and a horse. What more could you want?
Concerts by Francophone artists are a rather rare occurrence here in Los Angeles. In the eight years that I’ve lived in the area there’s only been a handful artists who’ve ventured this far west; Keren Ann, Émilie Simon, Jane Birkin, Coeur de pirate, while just last month, Biarritz’s finest, La Femme, played a small intimate gig. So when it was announced that ex-first lady Carla Bruni was appearing in town this weekend, an opportunity presented itself that I wasn’t going to miss… and given that half the ex-pat French émigrés of Southern California seemed to be in attendance as well, I wasn’t alone in my thinking…
After a standing ovation for husband Nicolas as he took his seat (which explained the nervous looking Secret Service types milling around), the house lights slowly dimmed and the dulcet piano of Cyril Barbessol and Taofik Farah’s guitar – both impeccable multi-talented, multi-instrumentalist musicians, who were as responsible for setting both the scene and creating the ambiance – lead into the opening bars of “Déranger les pierres”; breathless vocals floated over the P.A… and as the song drew to a close, Carla Bruni emerged from the shadows to rapturous applause…
Dressed in a simple outfit comprising a black blouse, black leather jeans, topped with a red tapered velvet jacket and just oozing effortless charm, Ms. Bruni proceeded over the best part of the next two hours to offer us a masterclass in the art of the Chanson. The format was incredibly simple – in her totally disarming accent, Carla would introduce a song, illuminating with a brief story (spoiler alert – most of the songs revolve around the universal themes of love and attraction), tell a joke at the expense of the French Language (“Ta tienne” translated nonsensically as “Your yours…”) and then hold us spelbound.
The concert was billed as “Carla Bruni sings little French songs” (the title of her most recent album). In fact she drew heavily from all three of her French-language albums (Quelqu’un m’a dit”, “Comme si de rien n’était” as well as the aforementioned “Little French Songs”). The night was a cent pour cent celebration of the chanson francaise – even to the degree that Carla introduced her version of Charles Trenet’s “Douce France” (“Dolce Francia”) in the context of a homage from a young girl recently moved from Italy and falling in love with the musical culture and history of her new home.
Carla prefaced “Dolce Francia” with “Little French Songs”, reiterating her love of the Chanson through the words of her song, explaining that while the French language may not have given the world Duke Ellington, Ella Fitzgerald, Louis Armstrong or Elvis (and er, Michael Jackson?), it has given us chanteurs; the likes of Edith Piaf, Jacques Brel, Serge Gainsbourg, Georges Brassens and the aforementioned Charles Trenet – songwriters and performers who have all placed an emphasis on lyrical content and rhythm… And it was to this memory that Carla dedicated, to great applause from those knowledgeable amongst us, a covers Barbara’s “Si le photo est bonne.”
The set was particularly well balanced – a representative mix of slower romantic numbers (“L’Amourouse”, “J’arrive à toi”); up-beat and amusing (“Pas une dame”, Raphael”, “Chez Keith et Anita” and “Mon Raymond” – an ode to hubby Nicolas – although I still can’t quite see him as a pirate); the sad (“Darling” and “Salut marin” – an ode to her half-brother who died from an AIDS-related illness).
Now no evening with Carla Bruni would be complete without arguably her best known song, “Quelqu’un m’a dit”, but the added piano introduction added a still greater poignancy, especially as before we know it, time had flown and the closing number, “La Dernière Minute”, ended almost before it begins (the song as recorded on “Quelqu’un m’a dit” lasts exactly one minute – Carla thoughtfully sang it through twice – adding, that if she has one last wish, she’s ask for another minute… and another…)
Myself? For my wish I was transported for the evening from LA to Paris; and La Pigalle, I’Île Saint-Louis and Les Tuileries of Carla’s Little French songs…
(Steve J is now an official author of FillesSourires! Hooray!)
Back in 2011 I stumbled across the eponymous debut album from that year’s Francouvertes winner Chloé Lacasse, an album that managed to seamlessly encompass rock, pop, tender ballads and even threw-in a few Bristollian trip-hop beats – and in “Tout va bien” featured one killer of a contender for song of the year… Fast forward to 2014 and the release of “Lunes”, the theoretically oh-so-difficult sophomore album…

If her debut album seemed to touch all musical bases, “Lunes” sees Chloé focused on a more adult and mature, thoughtful sound. Gone is the “turn the volume up all the way to eleven” – this time it’s those pure and crystalline vocals that were hinted at previously which take centre-stage – the music complements rather than competes for attention. Moreover the clever use of percussion, strings, keyboards – even an auto-harp – help create a more tranquil, trance-like and atmospheric sound than the album’s predecessor; Coupled with Chloé’s ethereal and at times haunting voice, the end result is the most compelling of albums…
From the opening bars of the aforementioned auto-harp that resonates throughout “Rien pour moi” – a deliciously troubling portrayal of an emotionally challenged relationship – you realise that you are listening to something rather special. The songs on this album demand attention – the lyrics have a truly biographical feel and every song on this album sets a scene as a narrative unfurls.
On an album choc-full of stand-out compositions, it is perhaps remiss to highlight a mere handful of songs here, however the way that “Écoute sans parler” and the effortlessly way that the song ploughs a similar psychedelic furrow to two of last year’s standout albums – Hôtel Morphée’s “Des histoires de fantômes” and Forêt ‘s stunning eponymous debut; “Un oiseau dans la vitre” – and it’s wonderfully uplifting and soaring chorus and “Le piège” – all hypnotic grove and emotional rawness – all hint at how truly outstanding an album this is.
There’s a perfect synergy with lyricism and melody on display here; the end result is a truly outstanding album that deserves to be in any discerning record collection. Lunes” was released in the same week as Catherine Leduc’s “Rookie” – an album that I’ve just rated as year-list material. I’d argue that this album is proof that lightening does indeed strike twice.
Regular guestposter David B. bumped into a hidden Quebecois treasure…
Wandering off the usual beat, a couple of years ago I came across ?Alice! and sought out their two released CD’s, “Divagation Douce” and “Baisers Allumette”. There’s a third, “Ce soir on mange les restes”, not released, that was at one time offered for free on their website. I can’t find it now. Or anything at all online, for that matter.

?Alice! made something of a splash on the Quebecois music circuit in 2001, with a garage band sound and Esther Teman’s filles fragile voice, sort of Ramones, Pixies and perhaps a hint of Gainsbourg. Well, considering one of the tracks is a cover of “Poupée De Cire, Poupée De Son” (slow and melancholy, starting with the sound of falling rain – I was prepared to not like it, but it seems to work somehow, and has grown on me over time), more than a hint of Gainsbourg I guess. The songwriting was mostly Vladimir Garand, and the first CD features some of his vocals (not recommended, but “Caracoule” is okay), but ?Alice! featured Esther much more heavily on the second CD.
There’s not much information ready to hand on ?Alice!, but here’s a nice article on them from their first year.
On “Divagation Douce”, a hard CD to find and roughly half of the songs are a hard go, “Polyester” and “Muse and Musette” are favorites. I much prefer their second CD (used copies are more readily found). On “Baisers Allumette”, “Tigresse” and “Le son etrange” I like best.
?Alice! – Poupée de cire, poupée de son
?Alice! – Le son étrange
?Alice! – Tigresse