Tag: Kate Bush (Page 3 of 3)

IAMAMIWHOAMI Blue

10 November 2014 /


First launched via a set of mysterious viral videos with alphanumeric code titles that eventually formed the ‘B.O.U.N.T.Y.’ EP, IAMAMIWHOAMI, helmed by vocalist Jonna Lee and producer Claes Björklund, premiered a delightfully odd BJÖRK-like cinematic sound that was enjoyed by the electronic music cognoscenti.

Under the management of DEF who also look after THE KNIFE, ROBYN and RÖYKSOPP, their first full length album ‘Kin’ came out in 2012 to critical acclaim. Following the lead of the track-by-track audio visual campaigns of previous releases and crowdfunded using a ‘Generate’ donation service with money promised to be “used for creative purpose only”, IAMAMIWHOAMI have now birthed ‘Blue’, a natural progression of ‘Kin’rather than a volte-face.

It all begins with ‘Fountain’, a windy breeze of glacial Scandinavian beauty with hints of COCTEAU TWINS, and THE KNIFE when they had tunes. A wonderfully icy, melancholic feeling is captured and Jonna Lee’s ranges her voice to compliment the variety of dreamy synthesized cinematics. But after the sedate start, the glorious ‘Hunting For Pearls’ups the tempo with pulsing sequences and trancey atmospheres, coupled with some beautifully rich vocal theatrics. If KATE BUSH made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.

‘Vista’ also features more KATE BUSH mannerisms but despite the Banshee-like shrills, the vocal melodies are pretty with everything held together by cool crystalline textures and an uplifting melancholy. It is this strange optimism within the Nordic Noir demeanour that makes IAMAMIWHOAMI such as enticing experience, both aurally and visually. The journey continues with the gloriously majestic ‘Tap Your Glass’ and its incongruous holiday mood driven by octave shifts dressed with tuned percussive elements that could be mistaken for steel drums.

‘Blue Blue’ takes the pace down again and even without the videos on YouTube, the beautiful imagery of turquoise lakes and ice fields lock into the psyche. Amongst the almost unintelligible affected vocals, Jonna Lee’s murmurs “I’ll be blue”. The harmonic main theme blends portmento synth with pitched shifted vox while a chorus of imaginary milk bottles join in for a meditative Zen-like conclusion. Adding some timbre variation, various metallic sounds emerge on ‘Thin’ alongside voice samples, arpeggios and even fretless bass as the number builds to a dramatic climax.

But one of the album’s highlights comes with ‘Chasing Kites’. Featuring that epic Scandipop sound over a midtempo backbeat and expansive electronic textures, it sees Jonna Lee hitting those high notes with ablomb before adopting a huskier register for the second half. Like ABBA meeting THE KNIFE, with a glorious chorus, it is what SAY LOU LOU could sound like if they were a bit artier.

‘Ripple’ though bursts in like a shot in the arm with a sonic construction more associated with techno yet this is brilliantly countered by Jonna Lee’s wuthering vocal heights. However, it’s business as usual on ‘The Last Dancer’ with backing that sounds like it has come from one of OMD’s more experimental early B-sides before a concluding bass mantra reminiscent of THE KNIFE.

iamamiwhoami; jonna

Meanwhile the spectre of the Dreijer siblings dominates on the closing ‘Shadowshow’, a reverberant mood piece that has Jonna Lee’s otherworldly rasp dominating the verse before transforming into the rich soprano of Agnetha Fältskog for the chorus.

Sonically leftfield yet filled with melody, ‘Blue’ may transmit into a wash to some ears but it has an elegant, escapist nature that is an important attribute to have in these socially and economically turbulent times. Like its predecessor ‘Kin’, ‘Blue’ is an enjoyably surreal experience with an artistically enlightening weirdness. But it is a supplement rather than a new chapter and unlikely to win many new converts; IAMAMIWHOAMI fans though will be more than happy 🙂

‘Blue’ is released as a variety of CD / LP / book packages by To Whom It May Concern. The download version is available via the usual digital outlets

http://www.youtube.com/user/iamamiwhoami

https://soundcloud.com/twimclabel/sets/iamamiwhoami-blue

http://www.towhomitmayconcern.cc/

http://www.iamamiwhoami.net/

Text by Chi Ming Lai
10th November 2014

IAMAMIWHOAMI Kin

30 August 2012 /

IAMAMIWHOAMI is the enigmatic electronic multimedia project fronted by Jonna Lee and managed by DEF, the same stable that represent THE KNIFE, ROYKSOPP, Robyn and Moby worldwide.

First coming to the attention of the musical cognoscenti via a set of mysterious viral videos with alphanumeric code titles, media speculation was rife that this was a side project by THE KNIFE, Björk and even Christina Aguilera! Following another YouTube campaign, the first purchasable full length download releases which featured single letter titles and eventually formed the ‘B.O.U.N.T.Y.’ indicated that even without the visuals, behind the mystery and the perceived pretence, there was accessible avant pop. From that collection, ‘T’ was an undoubted highlight.

But the best was yet to come with two outtakes from the sessions, ‘Clump’ and ‘John’. ‘Clump’ was a synthetically charged amalgam of vintage sounds with a toy piano thrown in for good measure. Delightfully odd in that Björk-like fashion, ‘John’ continued the tradition. And now, following a track-by-track audio visual campaign, Jonna Lee with silent partner and producer Claes Björklund release their long-awaited first full length physical album ‘Kin’

The album opens superbly, ‘Sever’ is surreal and otherworldly while ‘Drops’ is more uptempo, almost trancelike but without the overbearing beats that a lot of contemporary dance music suffers from. The fits of noise and shivering textures add to the hypnotism. Although comparisons can be drawn immediately with FEVER RAY, ‘Kin’ is quite different in that musically, it is low on drones and atonal experimentation. But while still sonically leftfield, there are ice station melodies, primitive rhythm units that are strangely futuristic and windy widescreen effects that hop from channel to channel.

Indeed, ‘Kin’ is head music, probably best suited to headphones for the full drama to be appreciated. The high standard is mantained with ‘Good Worker’, while ‘Play’ offers a cacophony of KATE BUSH-like voices to an off-kilter beat before the deviantly wonderful ‘In Due Order’ takes hold. A vintage sequence drives ‘Idle Talk’ over glacial atmospheres while ‘Rascal’ takes a funereal pace with Jonna Lee’s vocal samples coming over like Arctic gospel as of snaps of synth burst in.

The frosty ‘Kill’ acts as an eerie basecamp before the final ascent into ‘Goods’. Here, the percussion and bass take on classic synthpop territory while a brilliantly freeform electronic lead line segues the verses on possibly the most immediate song on the album. It’s almost like THE KNIFE meets LITTLE BOOTS!

Jonna Lee’s piercing larynx will polarise listeners like Karin Dreijer-Andersson or Björk Guðmundsdóttir have done before her but they do provide a raw edge to accompany the wintry soundscapes. Nordic weirdness in all its glory; across its nine tracks, ‘Kin’ is dreamy and trippy, a mind expansive experience that will satisfy aural curiosity.

‘Kin’ is released internationally in CD+DVD, download and vinyl formats on 3rd September 2012 by Co-Operative Music/To Whom It May Concern

IAMAMIWHOAMI plays the UK for the first time at London South Bank Centre’s Ether Festival on 10th October 2012

http://www.youtube.com/user/iamamiwhoami

http://www.facebook.com/pages/iamamiwhoami/270417754335

http://www.iamamiwhoami.net/

Text by Chi Ming Lai
30th August 2012

EMILIE SIMON The Big Machine

18 March 2011 /

Emilie Simon’s ‘The Big Machine’ has finally secured a UK release and a good thing too.

With the recent success of LITTLE BOOTS and the return of GOLDFRAPP, this electro princess has timed her entrance at just the right moment to join the party and unleash her Gallic style of avant-pop. This chanteuse from Montpellier has been a leading exponent of electro-chanson in her home country for several years now, releasing her first self-titled album in 2003 and winning critical acclaim. Her second album in 2006 ‘Végétal’ continued her success while her original score to the European version of the film ‘March of the Penguins’ helped maintain her profile.

Her covers ranging from David Bowie’s ‘Space Oddity’ and Iggy Pop’s ‘I Wanna Be Your Dog’ to the more traditional ‘La Vie En Rose’ showed her diverse range of influences. But as with all music artists, the ambition for more people hear your work always prevails. So looking forward internationally and with backing from the massive Universal Music corporation, her new album ‘The Big Machine’ becomes her first to be completely sung in English, although a few songs feature phrases in French.

Emilie has produced the album and written the majority of the music herself, but some of the lyrics have been written by English novelist Graham Joyce. The album’s release in France last September attracted an initially mixed response. Predictably, there was criticism to her singing in English and some even accused her of trying to go mainstream.

While EMILIE SIMON’s use of the Yamaha Tenorion during her live shows may mark her out as the French LITTLE BOOTS, her artistic ambitions while using synthesizer technology put her more in same circles as GOLDFRAPP or Bjork ‘Dreamland’ is a case in point. Weird and arty with toy pianos and Theremins but at the same time, accessible with a rousing chorus; it has an esoteric quality to takes female-fronted electro off the dancefloor and into the study.

Uptempo opener ‘Rainbow’ is driven by buzzing bass synths alongside brass stabs before heading into a piano driven chorus that inevitably recalls KATE BUSH. And it’s this trait that will repel or endear you. However, Emilie’s voice possesses a feline beauty and while firmly singing in a higher register, her gorgeous accented tones ooze sensuality. But as the real Kate hasn’t produced anything worthwhile for many years, why not let her musical descendents take up the mantel and try to add something new to the template?

On the brilliant ‘Chinatown’ in particular, Emilie shows her love of the pentatonic scales in her vocals and instrumentation which punctuate the entire album. Not since JAPAN’s ‘Tin Drum’ has there been a European act that has successfully utilised such an electronically derived ethnic feel to as much effect.

In common with that album, ‘The Big Machine’ is uncluttered, using space and silence as effectively as the noise which makes up the music. At times, the aural stylings also bring to mind David Sylvian’s underrated protogees SANDII & THE SUNSETZ who supported JAPAN on their final 1982 tour. The Oriental flavour continues on one of the album’s best tracks ‘The Cycle’ and the amazingly eclectic ‘The Way I See You’ which somehow manages to mix in some Balearic beats and a children’s choir.

‘Nothing To Do With You’ and ‘Ballad Of The Machine’ are more in the traditional kooky girl on a piano vein but even on these types of songs, there is always a smattering of inventive electro madness to redress the balance. Mademoiselle Simon is nothing short of quirky as her electro jazz tap number ‘Rocket To The Moon’ proves. But don’t let the concept deter you… it’s finger clickin’ good! Think ‘Satin Chic’ by GOLDFRAPP! Punchy brass, thumping timpani and detuned bursts of synth modulation only add to this impressive highlight.

This is such a diverse and interesting take on electronic music. It’s a rewarding left-field pop album. If you like a challenge, then ‘The Big Machine’ may be for you. With the open minded musical landscape in the UK at the moment, Florence and Marina need to watch their backs as this raven haired beauty comes over to these shores!

‘The Big Machine’ is released by Universal Music

Emilie Simon plays at London’s Jazz Cafe on Tuesday 20th April 2010

https://www.facebook.com/emiliesimonofficial/

https://www.facebook.com/emiliesimonofficial

https://twitter.com/emiliesmusic

Text by Chi Ming Lai
18th March 2010

EMILIE SIMON Live at the Jazz Café

21 April 2010 /


In the intimate confines of London’s Jazz Café, electronic chanteuse Emilie Simon gave a rare UK performance showcasing her first British release ‘The Big Machine’.

Although firmly established as a star in France since 2004 with her self-titled debut and its follow up ‘Vegetal’, ‘The Big Machine’ is the Brooklyn-based Mademoiselle’s first album primarily sung in English. Writing, playing, programming and producing all her own work, Emilie Simon is an embodiment of the truly independent female artist such as a Kate Bush or a Bjork. As in the PET SHOP BOYS song ‘Opportunities’, she studied at the Sorbonne and was later a student at the IRCAM (L’Institut de Recherche et Coordination Acoustique / Musique) which is a leader in its research into sound and electronic music.

Her intricate synthetic textures and Kate Bush influenced dynamic have transcended cultural barriers and appealed to a worldwide audience fascinated by her Gallic charm and inventive intelligent songwriting.

As the lights went down, she arrived on stage to a rapturous welcome completely solo and wearing a glamourous gold shoulder pad outfit. Wonderfully kooky, she slightly lost her footing as she stepped towards her ‘Big Machine’ but then kicked off her heels and opened with a bleepy sound collage before launching into ‘The Devil At My Door’. As well as her keyboard, laptop and a variety of synths, Emilie is accompanied by her faithful Yamaha Tenorion and an amazing effects gauntlet on her arm to provide all manner of echoes, phasing and distortion.

As she quickly went into the brilliant ‘Dreamland’, the heavy bass synths resonated around the venue while tinkling melodies complemented the avant electro. The chilling pentatonics of ‘Chinatown’ wonderfully run free while the satisfyingly incongruous Gregorian / Balearic hybrid of ‘The Way I See You’ actually gets some of the crowd singing along. Suitably impressed, Emilie glanced over to the protagonists and remarked “next time, you come up here and sing it with me”

One of the things that stand out this evening about Emilie Simon apart from her mastery of all the incumbent electronics is her voice. Whether she’s whispering or raging, her voice maintains a frisky feline quality.

It’s not for everyone, but it’s dynamic and expressive. For her, the voice is another instrument and in that respect, it almost goes unnoticed whether she’s actually singing in French or English, such is the beauty of the tracks on offer.

A stripped down interlude with the gorgeous ‘Flowers’ from her first album takes things down for a moment before Emilie swaps her acoustic guitar for a Casio guitar synth to play a fully mechanised beat cover of THE STOOGES’ ‘I Wanna Be Your Dog’. The brilliantly feisty result sounds like KRAFTWERK being eaten by Bjork and gets one of the biggest cheers of the night.

The climax to the show focuses on several key tracks from the new album including ‘The Cycle’ and ‘Rainbow’ before closing with electro-jazz tap of ‘Rocket To The Moon’. Here, Emilie grins and sexily finger clicks as she delivers one of the highlights from ‘The Big Machine’ to get the crowd going all Balboa!

Returning for a well deserved encore, she rewarded all the appreciation with another acoustic guitar number in ‘Fleur De Saison’ before taking to the Jazz Café’s grand piano for ‘Desert’ and ‘Nothing To Do With You’. On the latter, Emilie Simon’s love of Kate Bush fully lets rip with a few eccentric wails and some dramatic ivory runs!

The show is a brilliantly impressive performance from one of the most talented musicians on the scene at the moment.

Proficient on keyboards and guitar, a lover of modern technology and very strong in the vocal department, this little lady deserves to be heard. To use an old fashioned term, her music is a grower.

Emilie Simon’s recent ‘Bedford’ live sessions on YouTube have echoed LITTLE BOOTS’ early bedroom performance clips and tonight’s charming solo electro-girl theatrics may now have indicated that she’s asserted herself in the territory that Miss Hesketh has vacated to pursue a more conventional pop career.

Emilie Simon will appeal to those who loved the original ‘concept’ of LITTLE BOOTS but may have been disappointed by the final product. C’est magnifique!

‘The Big Machine’ is released by Universal Music

https://emiliesimon.com/

https://www.facebook.com/emiliesimonofficial/

Text by Chi Ming Lai
Photos by Richard Price
21st April 2010

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