"Couleurs sur Paris" (release date: 12th November 2010)
New Wave, Bossa Nova, Nouvelle Vague - three terms that ultimately have one and the same meaning: It's all about a new wave, a stylistic counter-movement that eventually vast, find spillover countless followers and define an entire era should. New Wave, bossa nova and Nouvelle Vague same time are three passions Marc Collin and Olivier Libaux together and they for seven years now in their eponymous musical project - Nouvelle Vague - Merge into one. The approach of both producer and multi-instrumentalist can be described as follows: Together with an ever-growing community of (mainly female) vocal guests they miss the melancholic somber melodies and lyrics of the New Wave era a contemporary and sure-footed painting in which flares up not only the elegance of Bossa Nova but also deliberately distanced attitude of the great Nouvelle Vague films the late fifties and early sixties resonates. Or, to put it in their own words: Take songs that you love, and turn them into something in which you can easily fall in love anew.
However, this applies only to the two, because just like many of their fans also knew the various Gastvokalistinnen that Collin and Libaux fOr the respective interpretations into the boat picked, often the originals of cover versions do not. "It used to a certain extent, a condition in Nouvelle Vague, working with singers who had possibly heard the title of the original before. That made things always pretty exciting because they could completely unbiased approach to each song ". The initiators addition has always been considered the following motto:" Sweet Girls sing hard texts that actually come from men "No wonder you. Cover incomparable sound should make an impact.
Certainly are cover versions of classics always a tricky business: permanent, the danger is to mutilate the original, not to be him justice or bring purists on the palm tree, but their versions of songs like "The Guns of Brixton", "Dance With Me" or "Love Will Tear Us Apart" have shown that Nouvelle Vague this tightrope as hardly speak another cover band. Even the authors of them selected pieces were thrilled - so, for example, Morrissey or Mick Jones from The Clash.
That the two have at the necessary sensitivity, however, explained when you consider that you are dealing with two musicians who even before the establishment of Nouvelle Vague Fixed sizes in the French pop and electro scene were: Marc Collin, Incidentally confessed "exploiters of the Eighties" (but why not?), The first in the band Ollano played and composed film soundtracks, to devote himself later reinforced the club music met Olivier Libaux already in 1998. The turn was in the early nineties when the band Les Objets played and beyond already Alex Gopher worked and regularly produced plays for the French television. When they jointly took the decision to simply times to devote their Fanvorlieben and unearth the personal hits of their youth for a common cover project, let's international breakthrough not long in coming ...
The figures alone speak volumes: the three previous albums "Nouvelle Vague", "Bande à Part" (2006) and "3", which appeared between 2004 and 2009, sold a total of over 700,000 copies; played to Nouvelle Vague around the world sold out concerts (in 2005 they toured 21 countries), where they were supported just like on their albums of various high-profile guest singers on stage: Camille for example, the case immediately after the release of their debut album Nouvelle Vague helped out, the elegant Mélanie Pain, a permanent resident with them, or even the sensual Phoebe Killdeer (from Phoebe Killdeer The Short Straws); and then there was the wild one performance Nadeah Miranda, or how their current gigs grandiose vocal performances of Helena Noguerra and Mareva Galanter - They all have the audience and listeners drawn around the globe under its spell and the dignified Bossa cover of Sound Nouvelle Vague The last straw placed. But these live shows made again absolutely clear that their cover concept was not a musical fluke, no mere crackpot idea, but rather something completely self-contained and Stunning, music in which transports the gloomy aspects of the Eighties sounds with new innocence and in a completely different light could be moved.
While Nouvelle Vague excavated on their first two albums treasures from the British new wave and post-punk period and reinterpreted have (such as songs by Joy Division, The Cure, Killing Joke, New Order or Echo The Bunnymen) to break on album number "3" in the direction of country and bluegrass, and to be able to win the first time even a few of the original authors for their cover versions - Martin Gore from Depeche Mode sang here Mélanie Pain, Terry Hall from The Specials has shared the microphone with Marina Celeste, and Ian McCulloch (echo The Bunnymen) Was also one of the party - they turn on their new longplayer "Couleurs sur Paris" Now the French New Wave sound to the seventies and early eighties. To meet the milestones of this "new French wave" do justice, they have brought even more guests on board to the ancestral vocalists: So every single song is sung by another protagonist of the current Poplandschaft - with a clear focus on behalf of France. However, what is not to be understood as a break with some tradition, was Nouvelle Vague but never conceived as a band with a fixed occupation, but rather as a platform, as a cultural melting pot, as an open project lab. As usual, found at the beginning of the work a dignified Listening session instead: Collin and Libaux, still primarily fans, sat down to find the said treasures from the past - this time with the requirement to limit themselves to milestones of the French New Wave. The result is a new chapter of their retro-futurist odyssey, another prime example of this "cultural transfer power, the great music snatches oblivion." (Der Tagesspiegel) Because with vocalists like Vanessa Paradis, the French overachiever Olivia Ruiz or regulars like Mélanie Pain and Camille but also male recruits as Charlie Winston (UK) and the French Julien Doré show Nouvelle Vague once again how beat her sense of is to find the right person to get the pieces actually appropriating and making them "to their songs". As Truffaut told you in 1957? "The film of tomorrow will be an act of love." Similarly with him Nouvelle Vague and their music. With one difference: In them is "tomorrow" whenever they go into the studio or go on stage.
Despite all the big names should not be forgotten that on "Couleurs sur Paris" the songs (this time by bands like Mano Negra or Noir Désir) The real stars are: You are in the limelight, there catapulted from the magnificent vocal guests - and are only much later, the two producers Collin and Libaux. Also indicative of the approach of Nouvelle Vague.
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