Salle Des Pas Perdus (Import) (CD) ~ Coralie Clement Cover Art

Salle Des Pas Perdus (Import) (CD)

By: Coralie Clement


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Product Description


Track Listing

DISC 1 for Salle Des Pas Perdus (Import) (CD) Album By Coralie Clement
1   Salle De Pas Perdus  
2   I'ombre Et La Lumiere  
3   Ca Valait Le Peine  
4   La Contradiction  
5   La Mer Opale  
6   A L'occasion Tu Souris  
7   Samba De Mon Coeur Qui Bat  
8   Ces Matins D'ete  
9   Le Dernier Train  
10   Lou  
11   Le Jazz Et Le Gin  
12   Bientot  
13   Mes Fenetres Donnet Sur La Cour  
 


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Product note

Personnel includes: Coralie Clement (vocals); Benjamin Biolay (guitar, trumpet, trombone, piano, Fender Rhodes piano, Hammond B-3 organ, bass, background vocals): Dieter Limbourg, Franck Le Gall (tenor saxophone); Laurent Venerey (acoustic & electric basses); David Maurin, Denis Benarrosh (drums, percussion).
Recorded in Paris, France and Brussels, Belgium.

Album Description

Salle des Pas Perdus is a soundtrack for a film that doesn't exist, but if it did, Coralie Cl‚ment says that the movie could be Jean-Luc Godard's 1959 A Bout de Souffle. And just as in the movie, Cl‚ment's debut record deftly moves between high art and pop culture, from classical arrangements to lushly orchestrated pop to bossa nova, all the while making winks toward '60s French pop. Coralie, in fact, sounds like a young Jane Birkin, and even the cover photo on the CD -- a timeless, stunningly beautiful, and melancholy Cl‚ment shot on a Paris street through a red filter -- evokes the artwork on records of such French chanteuses as Fran‡oise Hardy. This album is a result of a collaborative effort that recalls the Serge Gainsbourg/Jane Birkin relationship: Each of the album's tunes was written and arranged by noted composer/writer/performer Benjamin Biolay, Coralie's brother. His themes range from the illusory nature of love ("La Mer Opale," a wistful love song about the moon and the sea, Biolay's trumpet accompanying his sister's almost-whispered vocals as waves wash in the background; theatrical, maybe even kitschy, but utterly lovely), samba ("Samba de Mon Coeur Qui Bat," a swank, loungy bossa nova that echoes Astrud Gilberto), and lighthearted debauchery ("Le Jazz et le Gin"). It is somehow all cohesive, each of the songs a self-contained vignette that pieces together the larger theme of the album. Fans of '60s French pop will feel that they've unearthed a buried jewel in this record. ~ Kim Reick Kunoff


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