Christopher Scott - Switched-on Bacharach (Decca, 1969)

L'album de reprises est une bonne occasion pour se (re)poser la question: qu'est-ce qu'une bonne chanson? C'est subjectif, une affaire de goût, me direz-vous. Certes, mais il doit bien avoir aussi des signes objectifs. Est-ce qu'une reprise ratée - trop respectueuse, trop iconoclaste ou à côté de la plaque - signifie que la chanson n'était pas si bonne que ça, ou uniquement que n'importe qui ne pouvait pas l'interpréter? Un titre mineur transfiguré par sa reprise, est-ce que ça signifie que l'interprète original n'était pas le mieux placé pour le chanter? J'ai bien ma petite idée de la réponse (pensez aux albums hommages médiocres aux Smiths ou aux Pixies, pensez aux classiques transfigurés par Galaxie 500 ou Luna), mais sur ces versions Moog du grand Bacharach je vous laisserai seuls juges!

Christopher Scott
Switched-on Bacharach
LP Decca 75141 (USA, 1969)

01. The Look of Love
02. Alfie
03. Walk on By
04. This Guy's in Love with You
05. Wives and Lovers
06. Do You Know the Way to San Jose?
07. What the World Needs Now Is Love
08. I Say a Little Prayer
09. The April Fools
10. What's New Pussycat?

Note : Credits include co-ordinator Harry Meyerson.
Produced by Metro Talents, Ltd. (MTL).
Arranged and conducted by Dave Mullaney (("Scott" is actually keyboardist Dave Mullaney).
Electronic instruments recorded in the Carroll Sound studios, borrowing Jean Jacques' Moog and Ondioline, but played by Mullaney.

http://www.mediafire.com/?ih7ot33s8vt2vgk

David Pajo - Scream with Me (Black Tent Press, 2009)

Un superbe mini-album de covers signé David Pajo, dans la même veine que le maxi proposé récemment - donc du folk à pleurer dans la veine du regretté Elliott Smith. Des reprises? Oui, et qui plus est des reprises de Glenn Danzig des Misfits, qui entre les mains de l'ex-Slint et Tortoise subissent le même traitement que celles d'AC/DC revues par Mark Kozelek - à savoir qu'elles en sortent transfigurées. Je le redis, le résultat est superbe.

David Pajo
Scream with Me
CD Black Tent Press No.2 (USA, 02-2009)

01. Angelfuck
02. Hybrid Moments
03. Where Eagles Dare
04. Bullet
05. Teenagers from Mars
06. Devil's Whorehouse
07. I Turned into a Martian
08. Horror Business
09. Attitude

Note : Songs written by Glenn Danzig (the Misfits).
Experimental cover albums generally tend to disappoint. Usually an artist’s motives for interpretation are sound, yet the final product is rarely impressive, often belittling the original work. Mark Kozelek (Red House Painters, Sun Kil Moon), known for his “interpretive covers,” has reconstructed a myriad of works ranging from Francis Scott Key’s “The Star Spangled Banner,” to various AC/DC tracks, to an entire collection of Modest Mouse songs (Sun Kil Moon – Tiny Cities). The problem with Kozelek’s covers, as with others who compose hyper-experimental covers, is that frankly, no one really cares. All he really did (and this is no knock on Kozelek’s earlier work like Down Colorful Hill, just his questionable later years) was write a completely unrelated song with his own trademark musical style. Then instead of writing lyrics that could tie a noose around any listener’s neck, he used the author’s original ones…obviously.
Unlike Kozelek’s frequent use of “poetic license,” David Pajo’s relatively unknown, vinyl only release, Scream With Me, finds a tolerable balance between interpretation and reiteration. As you’ve probably guessed, the record takes a rather sobering look at a collection of songs from the original Kings of the Underworld, The Misfits.
Pajo is probably the most important guitarist since the late 80s, and even though this record doesn’t really add to his impressive resumé (Slint – Spiderland & Tweez, Tortoise – Millions Now Living Will Never Die & TNT, Royal Trux – 3 Song EP), it does serve as an intriguing work.
Anyways, if you the thought 3-chord punk couldn’t be simplified any further, then you’ve been misled. Pajo takes punk’s musical manifesto and turns it into very simple lo-fi acoustic jams. Pajo follows the chordal tonality of each song, then turning the power chords into natural chords more suitable for the tenderness of plucking and finger picking. Pajo’s feeble vocals could bother some, but they are pleasantly human.
You’re not going to find a whole lot of progressive jazz riffs, piercing harmonics, spastic time signatures or anything else that made Pajo a Louisville legend, but there is a great way to enjoy this album: build a camp fire deep within your local wilderness destination, crack open a few cold ones and indulge in one of the most epic sing-a-longs courtesy of Pajo.

http://www.mediafire.com/?k1gqlaufoew1e2d

Dump - That Skinny Motherfucker with the High Voice? (Shrimper, 1998)

J'espère que vous apprécierez l'effort. Dans ma thématique de reprises je cherche à m'éloigner des albums de covers trop prévisibles. Après Henk Hofstede qui rend hommage à Cohen, voici un autre album peu connu qui dépasse lui aussi largement la simple curiosité. Pourtant, au départ c'est loin d'être évident! Dump était le projet récréatif de James McNew, bassiste de Yo La Tengo au civil. Le lien avec Prince ne saute pas aux yeux : McNew est blanc, binoclard, fait plus d'un mètre vingt, et on ne peut pas dire qu'il transpire particulièrement le sexe puisqu'il ressemble surtout à ce qu'il est - le bassiste sympa d'un groupe indé. Pourtant le résultat va vous épater. Si on ne connait pas les versions originales, on ne devinerait même pas qu'il s'agit à la base de chansons de Prince, ça sonne surtout comme du Yo La Tengo à la cool. C'était d'abord sorti en cassette, devenant une espèce de mini-hit underground, avant d'être réédité en CD avec quelques bonus bienvenus.

Dump
That Skinny Motherfucker with the High Voice?
Cassette Shrimper SHR 106 (USA, 1998)
CD Shrimper SHR 106 (USA, 2001)

01. 1999
02. Raspberry Beret
03. Erotic City
04. The Beautiful Ones
05. When U Were Mine
06. How Come U Don't Call Me Anymore?
07. Pop Life
08. A Love Bizarre
09. Girls & Boys
10. Dirty Mind
11. An Honest Man
12. Another Lonely Christmas

Note : CD reissue with the same catalog number and additional bonus tracks.
Shrimper has reissued James McNew's self-produced cassette tape of Prince covers and added five additional songs. Featuring a title gleamed from the Black Album track "Bob George" ("Who?/Prince?/Ain't that a bitch?/That skinny motherf*cker with the high voice?"), this album demonstrates McNew's creative and varied approach to both famous and lesser-known songs. "1999" features his understated vocals and Stereolab's Morgane Lhote on Farfisa, "When U Were Mine" features McNew's low-register vocals and his own glistening keyboards, "Pop Life" features him harmonizing off-key with his multi-tracked self, "Dirty Mind" features his ominously echoed vocals, and "The Beautiful Ones" features his attempt to emulate Prince's own vocal style, including a switch to falsetto. McNew tries to transform "Erotic City" into a swaggering indie rock number, but doesn't quite pull it off; his vocals don't quite mesh with the musical backing on "Girls + Boys" and his whispered, portentous interpretation of "A Love Bizarre" is interesting at first but lasts too long. He fares better with an acoustic performance of "How Come You Don't Call Me Anymore?" (originally the B-side of Prince's "1999") and a rendition of "An Honest Man" that is somewhat reminiscent of Neil Young and Lambchop. "Raspberry Beret" is propelled by handclaps and reverb-laden guitar to be one of the better tracks on the album; McNew even changes "She wasn't too bright" to "I think she knew that I wasn't too bright," although he keeps the most dubious part of the lyrics ("Built like she was/She had the nerve to ask me/If I planned to do her any harm"). The album's concluding track, "Another Lonely Christmas," provides further evidence that McNew is adept at finding the emotional core of Prince's songs; McNew isn't as good a performer as Prince, of course, but he does find ways to make listeners hear some of the news in new and compelling ways. So while this album isn't flawless, it is definitely more than just a recycling of someone else's songs. (All Music Guide)

[old link is in prison, new link later, maybe]

 (la version originale)

(la reprise)

Mark Kozelek - 7 Songs Belfast (Caldo Verde, 2008)

On reste - au moins un petit peu - dans la thématique de la semaine avec ce titre de Mark Kozelek. J'ai déjà dit ce que je pensais du parcours de l'ex-leader des Red House Painters lors d'un précédent post. Il se laisse vivre sur ses acquis, comme s'il était incapable de retrouver l'inspiration de ses débuts. Sun Kil Moon c'est pas mal, et ses albums live - de reprises de ses propres titres ou d'AC/DC - font toujours leur petit effet. Mais il se repose sur ses anciennes compositions - et sur sa voix - en donnant l'impression qu'il n'essaie même plus de renouer avec ses anciens sommets. Ceci dit, je fais le difficile! Sur ce live, seul avec sa guitare et ses classiques, le charme opère toujours et le frisson n'est jamais loin. Alors même s'il ne fait que ça, ce ''que ça'' restera toujours largement au dessus de la mêlée.

Mark Kozelek
7 Songs Belfast
CD Caldo Verde Records CV PRO1 (USA, 06-2008)

01. Michigan
02. Around and Around
03. River
04. Gentle Moon
05. Carry Me Ohio
06. San Geronimo
07. Tonight in Balbao

Note : Limited to 1500 copies.
1-6 recorded at The Black Box, Belfast, November 4, 2007.
7 recorded at The Dancehouse Theatre, Manchester, October 30, 2007.
Given away free with orders from the Caldo Verde Records website and also available for sale on the artist's Fall 2008 tour.

[old link is in prison, new link later, maybe]

v/a - Freedom of Choice (City Slang, 1992)

C'est le précédent post qui me fait penser à ce titre, qui me permet par la même occasion de continuer la thématique de la semaine (à savoir les albums de reprise). Je ne vous détaillerai pas le contenu de cette compilation caritative - pas même pour déplorer qu'Hypnolovewell soit un groupe injustement oublié de nos jours - puisque le premier titre emporte à lui seul le morceau. Vous ferez ce que vous voudrez avec les autres participants, mais si cette cover de Plastic Bertrand ne se retrouve pas dans votre i-machine je n'y comprends plus rien!

Various Artists
Freedom of Choice
CD City Slang Slang 026 (Germany, 1992)

01. Sonic Youth - Ca Plane pour Moi
02. The Muffs - Rock and Roll Girl
03. Erectus Monotone - Destination Unknown
04. Redd Kross - How Much More
05. Tiny Lights - 5'1"
06. Mudhoney - Pump It Up
07. Das Damen - The Wait
08. Finger - Tainted Love
09. It's O.K. - Wishing
10. Yo La Tengo - Dreaming
11. White Flag - Wuthering Heights
12. The Connells - I Got You
13. Big Dipper - Homosapien
14. Polvo - Mexican Radio
15. Hypnolovewheel - Antmusic
16. Chia Pet - Don't You Want Me Baby
17. Permanent Green Light - Hero Worship
18. Superchunk - Girl U Want

Note : Yesterdays new wave hits as performed by todays stars.
All Proceeds from this album are being donated to Planned Parenthood.
Ca Plane Pour Moi originally performed by Plastic Bertrand
Rock And Roll Girl originally performed by Paul Collins Beat
Destination Unknown originally performed by Missing Persons
5'1" originally performed by Iggy Pop
Pump It Up originally performed by Elvis Costello & The Attractions
The Wait originally performed by The Pretenders
Tainted Love originally performed by Soft Cell
Wishing originally performed by A Flock Of Seagulls
Dreaming originally performed by Blondie
Wuthering Heights originally performed by Kate Bush
I Got You originally performed by Split Enz
Homosapien originally performed by Pete Shelley
Mexican Radio originally performed by Wall Of Voodoo
Antmusic originally performed by Adam & The Ants
Don't You Want Me originally performed by Human League
Hero Worship originally performed by the B-52's
Girl You Want originally performed by Devo

http://www.mediafire.com/?5e7o3ssac7phgrv

Henk Hofstede - Yesterday's Tomorrow (United Media Company, 2005)

L'inventaire des albums de reprises se poursuit, et nous avons là une vraie pépite. Les fans des Nits devraient bondir de joie, et je les comprends! Henk Hofstede est un fan de Leonard Cohen, et pour accompagner une biographie de ce dernier, il glisse avec le livre un album entier de reprises. On a donc très peu de chance de croiser la chose chez le disquaire du coin - une majorité des fans des Nits en ignoreront probablement jusqu'à l'existence. Comment vous le décrire? Vous voyez le niveau des meilleurs albums des Nits? Vous voyez le niveau d'excellence des compositions de Leonard Cohen? Alors faites l'addition et vous aurez une - petite - idée du niveau où on se situe. Si vous ne devez retenir qu'un seul disque sur ce blog cette semaine, c'est celui-ci. Indispensable!

Henk Hofstede
Yesterday's Tomorrow
CD United Media Company ISBN 90-8669-001-7 (Netherlands, 2005)

01. Who by Fire
02. Seems So Long Ago, Nancy
03. Hey, That's No Way to Say Goodbye
04. Here It Is
05. Famous Blue Raincoat
06. Take This Waltz
07. Avalanche
08. The Guests
09. Dance Me to the End of Love
10. The Nightowl

Note : Henk Hofstede - vocals, guitar, piano; Marjolein van der Klauw - vocals; Pim Kops - various instruments, vocals; Arwen Linnemann - upright bass.
Henk Hofstede (born 1951, Amsterdam) is a Dutch musician, who founded The Nits in 1974. The Nits are a Dutch art rock group. Their musical style has varied considerably over the years, as has their line-up with the core of Henk Hofstede (the group's lead singer and lyricist), Rob Kloet, drummer, Robert Jan Stips (Supersister, Gruppo Sportivo, Golden Earring), keyboards.
Hofstede has en enduring fascination for Leonard Cohen, which made him co-write "Yesterday's Tomorrow" in 2005. With the book comes a CD on which Hofstede performs his favorite Cohen songs.
This CD is a part of the Yesterday’s Tomorrow project by Marc Hendrickx and is a supplement to the second edition of the book "Yesterday's Tomorrow".

[old link is in prison, new link later, maybe]

The Walkabouts - Satisfied Mind (Sub Pop, 1993)

Pendant quelques jours, ce Local Musical va être en inventaire. Rien de grave, je me suis simplement mis en tête de faire un peu de rangement en commençant par regrouper les albums de reprises. Tout le monde se souvient de ''Fakebook'', ce trésor d'album de covers signé Yo La Tengo. Les Walkabouts livrent un exercice similaire, proche autant dans la démarche que dans le résultat - particulièrement réussi. Une reprise, on a toujours envie de la comparer avec sa version originale, ce qui en fait la limite - sur les Tribute Albums en particulier c'est flagrant. Mais là, on est dans un autre registre. Je ne connaissais pas une grande partie des titres repris, et ça aura été l'occasion d'aller à leur recherche. Je dois ainsi à ce Satisfied Mind la découverte de Mary Margaret O'Hara. Ne serait-ce que pour cette raison, ce disque est une réussite majeure. En 2000, le groupe récidivera avec l'album ''Train Leaves at Eight'', avec hélas moins de succès en dépit d'une sélection séduisante.

The Walkabouts
Satisfied Mind
CD Sub Pop Records SPCD116/294 (USA, 1993)

01. Satisfied Mind (by Rhodes & Hayes)
02. Loom of the Land (by Nick Cave)
03. The River People (by Robert Forster)
04. Polly (by Gene Clark)
05. Buffalo Ballet (by John Cale)
06. Lover's Crime (by Pewee Maddux)
07. Shelter for an Evening (by Gary Heffern)
08. Dear Darling (by Mary Margaret O'Hara)
09. Poor Side of the Town (by Johnny Rivers)
10. Free Money (by Patti Smith & Lenny Kaye)
11. The Storms are on the Ocean (by The Carter Family)
12. Feel Like Going Home (by Charlie Rich)
13. Will You Miss Me When I'm Gone (Traditional)

Note : This is a collection of other people's songs. Some were found stacked in the back of the closet, and others were found lying in the middle of the floor. All of them shared a powerful pull. On this album, lots of different types of instruments (many of them acoustic) were used. Some of these were played by the band, and others were played by musicians we greatly admire. It was a privilege to work with them. It has never made sense to us that songs should be tied down to one specific voice or place or piece of product. Sometimes songs like to travel. Hopefully, we've given these songs that chance. (Chris Eckman, Sept. 29, 1993)

[old link is in prison, new link later, maybe]

Petra Haden - Petra Haden Sings: The Who Sell Out (Bar/None, 2005)

Attention, un post azimuté peut en cacher un autre. Fille du grand Charlie Haden, avec un frère qui s'est fait remarquer sous le nom de Spain, Petra Haden est quelqu'un de tout a fait recommandable. Alors pourquoi? Non mais franchement, pourquoi? Les Who ne font pas partie de mes fondamentaux, l'album que la miss reprend ici ne fait pas partie de mes classiques, je ne sais donc pas vraiment quoi en penser. Est-ce fait avec respect et affection? Est-ce une démarche iconoclaste avec l'envie d'en découdre? Toujours est-il que Petra Haden y a passé du temps, beaucoup de temps, donc on peut exclure l'hypothèse d'une blague potache. Vous l'aurez compris, c'est un exercice surprenant!

Petra Haden
Petra Haden Sings: The Who Sell Out
CD Bar/None BRN-CD-160 (USA, 2005)

01. Armenia City in the Sky
02. Heinz Baked Beans
03. Mary Anne with the Shaky Hand
04. Odorono
05. Tattoo
06. Our Love Was
07. I Can See for Miles
08. I Can't Reach You
08. Medac
10. Relax
11. Silas Stingy
12. Sunrise
13. Rael
14. Untitled

Note : Written by John Entwistle (2, 9, 11), John Keene (1), Pete Townshend (t3 to 8, 10, 12, 13).
Recorded sporadically in the years 2000-2003.
So many times the title of an album is peripheral to what the contents actually hold. In the case of Petra Haden Sings: The Who Sell Out it is perfectly descriptive because, yes, Petra Haden does sing the Who's Who Sell Out album right down to the make-believe ads that link the songs. Not just the vocals but all the instruments too. Working from a suggestion from Mike Watt (who may or may not have remembered the Who's own foray into singing instrumental parts on "A Quick One, While He's Away" when they had to sing "cello, cello, cello" because they couldn't afford to hire the real thing), Haden spent time during the span of three years (2000-2003) re-creating the sound of the Who's pop-art masterpiece using her voice and an old eight-track recorder. The results are pretty amazing. Apart from an occasional rhythmic stumble and the tendency for the drum sounds to sound like synsonic drums, she really nails the layered, flowing and psychedelic in the true sense of the word feel of the original album. She pulls off the feat of being reverent to the original material while also sounding completely out on a limb artistically. Never trying to imitate instruments exactly, she instead goes for the feel and texture of them. It would have been impossible to sound like Keith Moon anyway and she wisely limits the drums to an occasional piece here and there. The astounding moments are many but some of the best are the guitar plinks and twangs from "Our Love Was," the drum hits and wailing guitar solos on "Relax," the chant-like bass on "Silas Stingy" and the choral effects of "Rael." Maybe the most impressive feat was managing to account for all the parts and pieces of "I Can See for Miles," a task which would have driven a lesser artist insane but one that she makes sound effortless. The song that actually competes with the original is " Sunrise" as she imbues the song with a feeling of joy and light equal to the original and her lead vocal is perfect. The aspect of the album that will probably be overlooked is the actual vocals — the vocals that sing the lyrics, that is. She has a crystal-clear, beautiful voice that really soars and her harmonies are consistently breathtaking. It would have been lovely enough just to hear her sing the Who's melodies and lyrics without all the backing "instruments." The likelihood that you will reach for Petra Haden's version of Sell Out before you will reach for the Who's will vary with each listener's tolerance for novelty. Even the strictest Who purist should hear Haden's version at least once though and anyone who likes to hear artists taking wild chances and succeeding wildly should hold up Petra Haden Sings: The Who Sell Out as a shining example. (All Music Guide)

http://www.mediafire.com/?h9zz78k4c3dg4p0

Cat Power - Dark End of the Street (Matador, 2008)

On ne présente plus Cat Power. A ses débuts, elle était seule sur le créneau des filles à forte personnalité. Il y avait elle, PJ Harvey, Tori Amos, Liz Phair, et c'est à peu près tout. Maintenant, elle est une référence pour beaucoup de jeunes chanteuses. Et je vais dire un truc égoïste, depuis qu'elle a fait la paix avec ses démons, ses disques sont moins bien. Elle a un orchestre solide derrière elle pour la soutenir, elle plante moins ses concerts, mais c'était plus fort quand elle exhibait sa musique d'écorchée vive. Elle avait déjà sorti un album de reprises auparavant. Des reprises tellement personnelles qu'on ne reconnaissait même plus les versions originales! Jukebox est donc son deuxième album de covers, et il est comme les remakes américains de films européens : plus pro, plus propre, mais sans surprises et avec moins d'émotion. Les titres de ce maxi ont été enregistrés durant les mêmes sessions, mais ça fonctionne beaucoup mieux. C'est plus détendu, plus dépouillé. On retrouve la Cat Power qu'on aimait, et elle prouve qu'elle est encore capable de nous faire frissonner!

Cat Power
Dark End of the Street
10'' Matador OLE-835 (USA, 12-2008)

01. Dark End of the Street (James Carr, Aretha Franklin)
02. Fortunate Son (Creedence Clearwater Revival)
03. Ye Auld Triangle (The Pogues)
04. I’ve Been Loving You too Long (to Stop Now) (Otis Redding)
05. Who Knows Where the Time Goes (Sandy Denny / Fairport Convention)
06. It Ain’t Fair (Aretha Franklin)

Note : For Christmas 2008, Cat Power presents a 6-song deluxe double-gatefold 10" vinyl composed of tracks recorded for Jukebox (January 2008) but not released on that album. In keeping with the theme of the Jukebox album, all songs are covers.

http://www.megaupload.com/?d=WN46JD74

Franz Ferdinand - Covers EP (Domino, 2011)

Les Franz Ferdinand ne feront jamias mieux que leur premier album. C'était le bon disque sorti au bon moment. Ils peuvent essayer de refaire aussi bien, ils peuvent écrire d'autres tubes, ça ne sera jamais plus commplètement pareil. Pour ce maxi sorti le jour de la fête des disquaires, au lieu de reprendre les autres c'est eux qui se font reprendre. Ils ont des bonnes chansons, et aussi un sacré carnet d'adresse qui va de Stephen Merritt (Magnetic Fields) à Debbie Harry. Preuve que le groupe a su rester à la fois indé et mainstream.

Franz Ferdinand
Covers E.P.
12'' Domino Recording Company Ltd. RUG405T (UK, 04-2011)

a1. Debbie Harry & Franz Ferdinand - Live Alone
a2. Stephen Merritt - Dream Again
b1. LCD Soundsystem - Live Alone
b2. ESG - What She Came for
b3. Peaches - Turn It on

Note : Record Store Day EP, written by Franz Ferdinand

http://www.megaupload.com/?d=068XD7HS

Scott Walker - Sings Songs from his TV Series (Philips, 1969)

Scott Walker, c'est ce géant à la voix unique qui a fait des disques incroyablement ambitieux (Scott 1, 2, 3 & 4), aux arrangements sublimes et déments, cultes et imposants. C'est même intimidant, ou grandioloquent diront ceux qui n'aiment pas. En tout cas c'est pas vendeur du tout! Et quand il a tenté un grand retour avec Climate of Hunter au début des années 80, il a fait à nouveau un flop commercial. Le disque est resté des années la plus mauvaise vente du label Virgin, qui lui a rendu son contrat avant que Scott Walker retourne dans son silence pour dix ans de plus. Dans les années 70, comme il faut bien vivre, il a lui aussi sorti des albums alimentaires. On les réédite peu, les fans les trouvent honteux (faut bien dire que ses disques de country...), mais c'est pas si mauvais qu'on le dit. Vous aviez toujours été curieux d'y jeter une oreille, maintenant c'est fait.

Scott Walker
Scott Walker Sings Songs from his T.V. Series
LP Philips SBL 7900 (UK, 1969)

01. Will You Still Be Mine
02. I Have Dreamed
03. When The World Was Young
04. Who (Will Take My Place)
05. If She Walked Into My Life
06. The Impossible Dream
07. The Song Is You
08. The Look Of Love
09. Country Girl
10. Someone To Light Up My Life
11. Only The Young
12. Lost In The Stars

Note : Accompaniment directed by Peter Knight
Produced by John Franz

http://www.megaupload.com/?d=KGOJCDX1

Hannah Peel - Rebox (Static Caravan, 2010)

Indie pop-folk comme on l'aime sur Static Caravan, une référence. Il y a toute une vague de filles qui jouent dans la même catégorie qu'Hannah Peel, comment se distinguer? Plutôt que de se distinguer avec ses propres compositions, elle s'attaque à des classiques. Elle est courageuse, parce que pour passer après les Cocteau Twins ou apporter quelque chose de neuf à Electricity, il faut une bonne dose de talent. A l'arrivée elle s'en tire plutôt bien. Son album sorti au printemps est bien joli lui aussi.

Hannah Peel
Rebox
7'' Static Caravan VAN 209 (UK, 2010)

a1. Sugar Hiccup (Cocteau Twins)
a2. Electricity (Orchestral Manoeuvres in the Dark)
b1. Tainted Love (Gloria Jones)
b2. Blue Monday (New Order)

Ce qu'en disait le label :
Hailing from Liverpool, Hannah takes the delicate sounds of music boxes and a raft of other instruments to concoct gently enchanting suites which seem to meld the repeated melody patterns of Steve Reich and the twinkling poise of Colleen. Re-Boxed is simply beguiling in reassessing a handful of iconic 1980s pop songs, providing a unique twist on those synth-pop vignettes and lacing them with a swelling beauty and sense of melancholy.
Carefully crafted, these four songs are touchingly reinvigorated and presented here as beautiful and intricately textured compositions in their own right. Though these songs are inextricably linked with a particular period, they’re shaped and performed in a way which divorces them from any specific time.

 http://www.megaupload.com/?d=5MQUX2ZG