La Musique
"Pourquoi, alors que nous sommes d'humeur sereine ou même gaie, sommes-nous parfois assaillis par une mélodie triste? A l'inverse, pourquoi nous sentonts-nous de temps en temps poursouvis, aux heures sombres ou désespérées, par un air joyeux?
(...) C'est la musique qui nous convoque."
Theodor Reik, "Écrits sur la musique", Les Belles Letres, 1984.
(...) C'est la musique qui nous convoque."
Theodor Reik, "Écrits sur la musique", Les Belles Letres, 1984.
18 comentarios
FREE PANTHER -
*LA PANTERA DUERME EN MI ROPA INTERIOR!
lifeonmars -
... A, y gracias por la canción. So, I say to you: Thank you for the music!
Coxis, jajaja, me parto. ¡Pero ten cuidao, chiquillo, que me mojas el teclado...! ;-))))
lifeonmars -
Esto sigue siendo aquí.
Lo que pasa es que supongo que los ocho años que viví fuera de España en un país francófono han dejado huella. Y de todas formas siempre me ha gustado mucho todo lo francés... ;-))
Coxis, ¡esa Dalida forever! De la Mónica Naranjo mejor no menciono - ;-))) -. Así es como nos gustas, petarda, petarda. Pero también seria y formal cuando se requiere. No cambies.
Sky, m'alegro volver a verte (leerte). Aún no he leido "La biblioteca de la piscina", pero en cuanto revise tu crítica estoy seguro que lo leeré. Besos y enhorabuena por tu nueva vida.
Nos vemos por aquí cuando quieras.
coxis -
jb -
Im nothing special, in fact Im a bit of a bore
If I tell a joke, youve probably heard it before
But I have a talent, a wonderful thing
cause everyone listens when I start to sing
Im so grateful and proud
All I want is to sing it out loud
So I say
Thank you for the music, the songs Im singing
Thanks for all the joy theyre bringing
Who can live without it, I ask in all honesty
What would life be?
Without a song or a dance what are we?
So I say thank you for the music
For giving it to me
Mother says I was a dancer before I could walk
She says I began to sing long before I could talk
And Ive often wondered, how did it all start?
Who found out that nothing can capture a heart
Like a melody can?
Well, whoever it was, Im a fan
So I say
Thank you for the music, the songs Im singing
Thanks for all the joy theyre bringing
Who can live without it, I ask in all honesty
What would life be?
Without a song or a dance what are we?
So I say thank you for the music
For giving it to me
Ive been so lucky, I am the girl with golden hair
I wanna sing it out to everybody
What a joy, what a life, what a chance!
So I say
Thank you for the music, the songs Im singing
Thanks for all the joy theyre bringing
Who can live without it, I ask in all honesty
What would life be?
Without a song or a dance what are we?
So I say thank you for the music
For giving it to me
Sky -
bsos
P.D. Es posible un viajecito a Madrizzzz en próximas fechas.. estaremos en contacto.
coxis -
y anoche estuve escuchando (lo confieso) a Mónica Naranjo y me di un panzón de reir considerable con las panteras en libertad
estoy muy petarda, qué le vamos a hacer
el becario de notodo -
¡Un beso!
lifeonmars -
Además veo que has pillado perfectamente el sentido de mi entrada sobre la música, porque ese texto iba precisamente dedicado a Charlotte.
Me muero de ganas por oir el disco. Ya sé que salía hoy en Francia, pero hoy he ido aquí a las tiendas a buscarlo y todavía no lo tienen en España.
Me tendré que aguantar y aguardaré pacientemente.
Me gustará todo de él: su voz desgarrada y melancólica, el tono intimista (y hasta triste) del disco, las colaboraciones de AIR y Jarvis Cocker, etc, etc... Hasta la foto de portada me parece alucinante.
Merci beaucoup! Je t'adore!!
lifeonmars -
Creo que por el momento vas a tener buenas dosis con la que te llevaste el sábado.
Por cierto, me alegré mucho verte tan bien.
PD: La luz verde guiará mi camino... ;-)
lifeonmars -
¡Qué buena era la música de la peli, por dios!
Por cierto, aún tengo que hacer mi comentario sobre el film. Lo siento pero este finde no he tenido ni un minuto libre...
Ya la escribiré en algún momento...
lifeonmars -
lifeonmars -
Es curioso, pero te juro que aún sin conocernos te echaba de menos como cuando se echa de menos a un buen amigo.
Me alegro mucho que estés de vuelta y tan en forma, de verdad. Gracias.
Mademoiselle S -
It's melancholy, sensitive and very French. But what with a dad like hers, asks Andrew Hussey, what else could you expect?
Sunday August 13, 2006
Observer Music Monthly
The high point of Charlotte Gainsbourg's career in music so far came in 1985 with a single in France called 'Lemon Incest' which she sang as a duo with her father, Serge. Charlotte was then only 14 years old but would become quickly notorious across Europe for both the song, which she sang in a semi-orgasmic rapture, and for the video in which she romped around a bed with the semi-naked figure of the by now grizzled but still obviously lascivious Serge.
The track was immediately banned in several countries as a hymn to paedophilia and incest and the video damned as not much more than low-rent kiddie porn featuring a tramp fondling a nymph. Predictably, Serge himself - the master of provocation - shrugged off all criticisms, describing the track as 'a song to the purity of paternal love' and dismissing his critics as prudes with dirty minds. The track was, of course, a smash-hit in France and - alongside similar kinky and intelligent pop from the era from the likes of Les Rita Mitsouko and Catherine Loeb - has since become part of the essential soundtrack to the French 1980s.
Twenty years on, now in her early thirties and with a successful career as an actress behind her, Charlotte Gainsbourg has returned to music with an album that is every bit as daring and sophisticated as the best of her father's work. More to the point, 5.55 reveals Charlotte not so much as a gifted singer (as with her father, her vocal range is limited) but as a stunning interpreter of songs and situations.
The main themes here are sex, claustrophobia, travel, fear and sadness, all set to an ever-shifting musical background which moves from grand orchestral settings to intimate late-night chanson to sub-Kraftwerk robot pop. This is also a multi-layered album: there are hidden melodies which surface only on successive hearings. With her slightly-too-perfect English diction, Gainsbourg recalls not only her mother Jane Birkin but, also, Black Box Recorder's Sarah Nixey; the songs here are less vicious than Black Box Recorder's work but every bit as sharp and literate.
Despite the aid and influence of Jarvis Cocker and the Divine Comedy's Neil Hannon, and the slight trace of a south London accent which Charlotte betrays in her spoken voice, this is also a very French-sounding work. This is, however, perhaps less surprising given the presence of Air's Nicolas Godin among the credits (many of the musical motifs recall Air as well as Gainsbourg's magisterial L'Histoire de Melody Nelson). Jarvis, too, is now resident in Paris and has always been deeply steeped in the esoteric end of Gallic pop culture.
Sometimes it sounds as if this album could have been made at any time between the 1970s and now - this is testimony to the knowing cleverness of its conception and production. Most of all, with its supremely French mixture of melancholy and sensuality, it will provide the perfect soundtrack to the first chill days of early autumn.
Download: 'The Songs That We Sing'
Cosimo -
Me prestarás el libro?
C.K. DEXTER HAVEN -
MAL -
dpna -
pourquoi... c'est la musique qui nous convoque.