Instant-mag2 interview, biography, photos

[Roman]

This really should have gotten it's own thread in the first place and since I don't think anyone ever bothered to post a translation of the actual interview with Alizée, which should have been the first thing just like it is in the book, here is what I have done. I will only post the English translation. If you want the original text, you should buy the book (from K&B - www.kandb.fr (http://www.kandb.fr)) or look for it elsewhere. It is a 96 page magazine shaped book with a long interview, biography, interviews from people who know Alizée and photos. It's described in another thread no doubt and of course all of this is at Alizee-forum.com. In case someone does not know me and sees this, I do not know much French and make heavy use of automatic translators, dictionnaries, etc. - mostly: translate.google.com, fr.wiktionary.org, wordreference.com.
pages 5-15 pages 12-15 are not part of the interviewINTERVIEW

Alizée

Independance Day

Liberated from the sulferous costume sewn from golden threads by the tandem Farmer/Boutonnat, the tinkerbell of pop returns to her career with lucidity and modesty, references and reverences. Interview.


Your third album has been in the stores since the 3rd of last December. Is it still too early to take first account of this adventure with Psychédélices?

What is happening around this new album is very positive. I am especially pleased with the reception of music professionals who seem to have appreciated the work done and I am pleasantly surprised by the public who have followed me. I have had loyal fans for nearly eight years. In changing the musical register, nothing was certain about their feelings, while I presented them an album more personal and more in phase with my desires today.

The promotional plan of your new label RCA around Pychédélices is focused and important. Up until then, your former producers had not distilled your interviews but as a trickle. Do you consider this renewed media as a blessing or were you worried to be, this time, thrown once and for all into the lion's den?

In facing the challenge of producing Pychédélices alone, many things have changed. It has not escaped anyone that I left Mylène Farmer and Laurent Boutonnat who had supported me until then and have started my career with success. All that they taught me is essential for me today and with them, I was in the best school there is to confront the world of music. However, the profession has evolved since my first single. I accept the new rules and while controlling the periodicals and broadcasts in which I appear, I have accepted more interviews. At the release of my first album, Gourmandises, I was very young and not really at ease with responding to questions from journalists more or less well intentioned. It's no secret, Mylène Farmer has a singular rapport with promotion and that suited me well. I am grateful to her for having protected me. Today, I have grown up and I feel more able and more armed to defend my music.

You defend your first disk "of heart" (my note: referring to the personal nature of this album), that you have brought artistically and financially via your production company, Wisteria Song. You seem remarkably serene ...

Pointless to impose useless pressure. I have known success from my adolescence. I had a lot of fun and I was very happy during this period of my life. During these early years, I learned to live quickly as well as the requirements of this job and the constraints of the whirlwind media. Today I try to avoid at all costs allowing myself to be overtaken by events and I try to take time for me and my family. I sing, I live my passion and I just released a disc that I love. Why shouldn't I be serene? In addition, this new album brings a nice surprise: the incredible welcome of foreign countries.

You get a trip to Latin America where you become a star in Mexico. Psychédélices sells as much there as the latests opuses from Britney Spears and Alicia Keys. Did you expect such a success?

This is a totally new adventure for me. With my first two disks, I was successful in numerous European countries and Asian countries. Things started to happen in Mexico via the Internet during my break. Actually, the Mexicans knew me by way of my live DVD (ie: Alizée en concert, 2004) and we decided to release Psychédélices at the same time in France and Mexico. It was the first time that I had gone there and frankly, it was crazy! Obviously, it's always the same thing when one goes to a foreign country to promote one's album, one never has the time to take advantage of it or visit. In general, one must concentrate into one week what we would have done in six months in France. Despite all I tried to eat Mexican as often as possible. It ends up being frustrating not to discover the culture of the country that welcomes you. I had time to do two or three things, not much ... but I already know that I will return there in the month of June and will have been brought back because a tour has been organised there after Moscow and Saint-Petersburg.

Your Corsican origins make you a Mediterranean. Does the geography of your childhood attract you more toward the Iberian languages?

Español was my second language in highschool. From there to talk or sing is another story! The surprise is that my Mexican fans wish that I sing in French and are not seekers of Spanish versions.

The craze is such that the majority of videos concerning you on the Internet are about to be all subtitled in Spanish and that you had to cancel an autograph session in a store...

The fans in Latin America are more hysterical. They are very tactile when they greet you, readily putting their hand on your shoulder and and liking to toucher your arm or hair. It's always a bit disconcerting. In France, Tokio Hotel gets mob type of attention (note: literally more like "one watches/participates in crowd movements") for example but for my part, my fans are respectful, they always approach gently and stop there after having asked me for a photo or an autograph.

Your international career starts following "Moi... Lolita" in the Netherlands, in Germany, and in Great Britain. It is however just the first steps (note: or something like that)...

I went to number 9 in sales in England with "Moi... Lolita", which permitted me to be programmed into the mythic musical program "Top of the Pops". I'm pretty sure that I was the first (female) French singer since Vanessa Paradis to enter the Top 10, and this plateau is really a nice memory. It's much rarer to enter the English charts than to go there in Spain, Italy or Germany.

A country where your public, at the time of "Moi... Lolita", was older than in France. This corresponds, more or less, to your current public, no?

Yes, they grew up with me and I hope to interest a new fringe of listeners. My public has evolved and new ones discover me... what more could I hope for?

Would you have been able to continue this journey without the presence of your mom by your side?

I think not. She has supported me in permanence and to have her next to me while traveling was reassuring. My family and friends have been a great support throughout the first part of my career, and also at the moment when I decided to slow down, when things calmed down and I could finally think a little about me and my little girl who would arrive soon.

In June 2002, you receive at Monaco an award at the World Music Awards. For you who has already gotten an M6 Music Award in November 2000 and an NRJ Music Award in January 2001, is it just another award?

No, this was not just another award... I realized what this prize represented. The French artist who sold the most records abroad, that's certainly not nothing! All my awards, including this one, are in my room in Ajaccio.

Do you hope for a nomination to the Victoires de la Musique 2009 for Psychédélices?

I don't run after that type of honnor, but I would be delighted to have that happen for this album. When one does things for oneself, it's not quite the same as when they are done for you, even if they are done well. One feels more responsibility and it's also more fun. The ransom for this liberty, it's the verdict of the public: make or break! In any case, recording this album has been a great adventure: to be able to choose the people with whom one wants to work, to chose the sounds, to chose what one wants to say and to tell. (note: from the time Alizée was a young girl she had been doing performances at the direction of others and it had gotten pretty intense by 2003. Finally as an adult she got the chance to take time and do things her way.) I am proud to have successfully managed this project to the end. Some will like it, others less so. Regardless, one can not please everyone.

Mylène Farmer and Laurent Boutonnat never managed to make an impact with the Anglo-Saxon versions of some of their songs like "My mum is wrong" or "My soul is slashed". It is hard to believe that they had considered an international career for "Moi... Lolita "?

Originally, there was no intention to initiate steps to break abroad. As for me, just the fact of recording a disc already seemed crazy. I had rather followed the course of dance, and I had never thought to become a singer. If there had really been an artistic domain I thought inaccessible, it was singing! When "Moi... Lolita" started to make headway in foriegn countries, everything was faster than the music. I did not know if this success came from the song itself, or if it was on account of me, or if it was everything as a whole (note: I'm going with the third.). I only had one thought in mind: to take advantage of it. I have had not only the chance to meet producers, to make a single, then an album, but moreover I was allowed to travel. It was so exceptional, I wanted to live life to it's fullest. And actually, not once but twice (laughs)!

When you published Mes courants électriques (note: my electric currents), did it seem obvious to record « I'm fed up », « Amelie », « I'm not twenty » et « Youpidoo » in English?

Yes, I recorded those titles at the same time as the original French. This means that we made those versions for nothing since the the foreigners made fun of the songs in English. The French [versions] had more charm [for them], even if they didn't understand everything. We had a foot in the international market, but we had had luck with "Moi... Lolita". We couldn't believe that success would still be met with only French lyrics. We decided not to mess around or take it easy and we worked on English versions. Finally, I admit that I was rather pleased that the public chose (note: plébiscité is what it sounds like and carries the idea of the people's choice or vote)
the original versions. To tell the truth, English was never my strength. (poor Alizée. The lyrics came off a bit odd the first couple times, or certain word choices, but she did a fabulous job herself. On some of those one would not even know that she was not American, and moreover, it's the way she sang and what she communicated with the style of the singing. Sadly she may never really understand that some people thought so. I guess she must think of and speak of what the grand majority thinks. La Isla Bonita was another example of her very good singing in English. Maybe it took a lot of work to be able to do that, but just judging by what they did put out back then, in the studio anyway, I would not count anything against her when it came to English. Though yes, for my part while I do still think it's cool to have gotten some songs in English sung very well by Alizée, it was not necessary. I just wish they could have maybe been written a little better and had more impact in the US for example.)

Another part of the world where you do well: Asia. With Mes courants électriques you made an impact in the Chinese, Japonese and Korean markets as well as Taiwan where your first ablum was released after your second...

It's unsettling to have to manage releases always shifting around. When "Moi... Lolita" was release abroad I had already defended (note: like "defended the crown" of a champion I guess. Sounds a little strange, but I don't know what else to use.) "Parler Tout Bas" and "Gourmandises". At each country, one must start over again, respond to the same questions often posed in the same order and again explain the same things. With Psychédélices I was anxious to avoid the disorder. Everyone has discovered "Mademoiselle Juliette" at the same time, and each country is at the same place with "Fifty Sixty". (I will concur with all that though from my experience with Psychédélices. In the first few months after the release (especially the first month) she was constantly on tv shows and written articles answering all the same questions every time.)

What reaction did you have when you saw yourself for the first time on the big screens in Japan in a commercial for the biscuit brand Elise?

It was a bit strange, but I had a nice experience with this publicity spot. The whole tour team was Japanese and the only thing I understood was that I was supposed to crunch into a biscuit at a given moment! (note: :-P ) I had the impression of being on another planet. When the Sofia Coppola film Lost in Translation was released I found myself in this Bob Harris with his bottle of whisky who had to run an advertisement in Japan. He was without landmarks and didn't understand was going on around him except by his sentations. (dang, Alizée talks like she's in show biz. :-) I must say, it's really great to hear (read) her talk about all this stuff. I don't know why, just to maybe fill in something that I missed from years ago and tie in that with her current self. We'll not talk about why I didn't do this sooner.)

I imagine that you were not as depressed and exhausted as the character!?

No, but at the moment when the director speaks to him for long minutes and the translator summarizes it for him in two words, I really had the feeling that they were filming my life during fifteen days in Japan! Once again, I didn't have occasion to visit this country and get to know better the atmosphere that reigns there, but the bit that I have seen of it was interesting.

You are the latest French icon in Japan since Jane Birkin (i.e. "L'aquoiboniste" was a generic soap broadcast three times a week, making Birkin's, a few years ago, the best selling discs in Japan for nearly four months). Gainsbourg is a figure who pursues you since one has frequently associated "Moi... Lolita" with "Sucettes". (note from wikipedia: " [Gainsbourg's] next song for [France] Gall, "Les Sucettes" ("Lollipops"), caused a scandal in France: Gainsbourg had written the song with double-meanings and strong sexual innuendo, of which the [teenage] singer was apparently unaware when she recorded it. ... The controversy arising from the song, although a big hit for Gall, threw her career off-track in France for several years. " Damn! Those Frenchies won't quit it eh?) What pleasure did you feel when revisiting his songs on the 20th of last March for a gala in support of Fight Aids Monaco? (note: the gala which specifically featured a tribute to Serge Gainsbourg.)

That evening was a revelation, notably because I sang only accompanied by guitar. That was not planned, but Jane Birkin being absent for afternoon rehearsals, Jean-Félix Lalanne suggested that I sing "La Javanaise" (note: the Javanaise is a dance referred to in the song) "en guitar voix" (in guitar voice - apparently referring to such an acoustic solo guitar accompaniment). I thought I would be afraid of this form of nudity. Against all expectations, I adored this acoustic experience. A few weeks later I rejoined him at the Casino de Paris for "Autour de la Guitar" (around the guitar) where we again played this reprise. That makes me want to do two or three titles of my repertoire in acoustic during my coming concerts. During the course of the evening, I also sang a very difficult to sing bossa(nova) version of "Ces petits riens" (these little nothings) in duet with Élie Semoun. At the level of the rythm and implementation I had never sung a title so hard...

Regarding the humorist, Pierre Palmade is in good placement in the aknowledgements of Psychédélices. Had he tried to write some lyrics for you?

No, he's just been a really good friend since we met at Les Enfoirés during the first time I participated in the event.

How did you find yourself in a duet with Adrienne Pauly for "La Gadoue" during this event (note: still talking about the Monaco concert.)

She's not just an extraordinary girl, but also an artist in her world, fully living in it. I really enjoyed her and she came several times to see me to develop the song. At first glance, "La Gadoue" (note: very informal for mud) doesn't seem to be a song that needs comedy or staging but for Adrienne, it was essential to discuss the story of two girls who are tired of the rain, and want to go home! While we were preparing in the dressing room, she began to write a song about handbags. Grandmothers' bags, marble bags ...a bit like Gainsbourg could do.

A song about bags? She could not have fallen in better than with you who are a devoted admirer of hand bags...

It's true, but I had managed to not talk about them until then [laughs]! I was in awe of this girl, and now when I listen to her album, I hear it differently because I understand what she thinks when she performs a particular song.

(note: haha Check out this video. Adrienne Pauly is so french, the stereotypical french singer I guess you could say: http://www.youtube.com/watch?v=rchhOTfngF8)

One has the habit of associating you with your camarade Jenifer (ie: they have both recorded a third album closer to their desires, are both young mothers, both Corsicans and both strong personalities in the face of paparazzis), but do other feminine rhymes in the French musical landscape interest you?

I have listened to the albums of Émilie Simon a lot, a real creator and a consummate artist. As to the most perfect voice in the world, it's that of Maurane. She's a woman I appreciate with discretion, but above all. Her performance is always in tune and full of emotion. For me, she is the most beautiful voice of the Francophonie. It's just the best!

[Amigo!]

Thank you sooo much Roman, I would imagine your french has gotten even better working on all these translations ;)

[Roman]

Thank you sooo much Roman, I would imagine your french has gotten even better working on all these translations ;)
Je ne sais pas... je travaille parce que je dois savoir les penses de notre fée. J'essaye un peu, et je puis lire quelques texts. En même temps, je comprends toujours à peine français orale. J'apprends petit en petit. Entre mon faible français et le faible anglais à Alizée, nous nous converserions très bien :), d'accord pas si bien (encore). :(

[TheBarrett]

Je ne sais pas... je travaille parce que je dois savoir les penses de notre fée. J'essaye un peu, et je puis lire quelques texts. En même temps, je comprends toujours à peine français orale. J'apprends petit en petit. Entre mon faible français et le faible anglais à Alizée, nous nous converserions très bien :), d'accord pas si bien (encore). :(

Aku enga bisa ngomong bahasa Franca! :(

[Fralizee]

Wat een prachtig stuk werk heb jij gedaan, fantastisch! Hartelijk bedankt !!

[Roman]

good thing google translate can also automatically detect your indonesian and dutch comments as such
et je vous en pris

[Ben]

Klaatu barada nikto!

Try that. :p

[TheBarrett]

Klaatu barada nikto!

Try that. :p

So we're resorting to SciFi now? :p

01000010101110100000101000010100100000111101000111 0100

[Ruroshen]

Klaatu barada nikto!

Try that. :p

I got it, I got it! I know your damn words, alright?!

KLAATU...BARADA...N...necktie... nectar... nickel... it's an n-word, definitely an n-word...IT'S DEFINITELY AN N-WORD!

:p

So we're resorting to SciFi now? :p

01000010101110100000101000010100100000111101000111 0100

What did you just call my mother?! :eek:

[Roman]

Klaatu barada nikto!

Try that. :p
LOL ok, you got us with that one.

[TheBarrett]

LOL ok, you got us with that one.

What.
The Day the Earth Stood Still? Come on guys! :p

[Rev]

Thanks very much Roman.



Klaatu barada nikto!

Try that. :p

Great old movie - one of my favorites (by the way it was on TV again a couple of weeks ago).

Now for a puzzle - Of course, his name was Klaatu. However, what exactly do the other two words mean?

[TheBarrett]

Thanks very much Roman.





Great old movie - one of my favorites (by the way it was on TV again a couple of weeks ago).

Now for a puzzle - Of course, his name was Klaatu. However, what exactly do the other two words mean?

The meaning?
It was what Helen was commanded to say to Gort if anything happened to Klaatu. An actual meaning, I don't think it was ever really translated.

[Tomtentp]

What did you just call my mother?! :eek:

Couldn't find it on youTube...
Celebrity Deathmatch - Star Wars vs. Alien (http://www.kewego.se/video/iLyROoaftM4G.html)

Sorry for the off-topic but it had to be done, really appreciated the reading Roman... Sheds some light on the speculations and half-assed rumors about what she 'thinks' and 'intends'. Here you get it in black and white.
Great stuff :cool:

"Independance Day"
Pretty neat title :D




Btw, The Day when the Earth etc,etc... Sucked pretty good, Should've read the book instead, as usual I guess :p

[edgar93]

The interview was absolutely readable and understandable for me Roman, thank you very much for posting it ;). I can see (read) you are improving your french. I got several interesting facts I didn't know such as her spanish was her second language in highschool (:eek:).

Español was my second language in highschool. From there to talk or sing is another story! The surprise is that my Mexican fans wish that I sing in French and are not seekers of Spanish versions.

Oh really? do I :p? I want you, Lilly, to at least sing for me a new single in spanish!

[ed2010]

So we're resorting to SciFi now? :p

01000010101110100000101000010100100000111101000111 0100

Oh ho! TheBarrett has finally admited he isn't an Earthling, but is a Binar from Star Trek. We should have known :rolleyes:

Would you like a nice piece of 11.001001?
:)

[Ruroshen]

What.
The Day the Earth Stood Still? Come on guys! :p

I was quoting Ash from Army of Darkness (which has a callback to TDTESS)!! It should have been immediately apparent! What kind of geeks are you, anyway?! :mad:

Oh ho! TheBarrett has finally admited he isn't an Earthling, but is a Binar from Star Trek. We should have known :rolleyes:

Would you like a nice piece of 11.001001?
:)
I salute you, sir, for you have out-nerded even me.

However, I do feel compelled to point out that the 11.001001 is a lie.

[Ben]

I was quoting Ash from Army of Darkness (which has a callback to TDTESS)!! It should have been immediately apparent! What kind of geeks are you, anyway?! :mad:
[Simpsons Comic Book Guy Voice]
Pff, everyone knows that Army of Darkness changed the spelling to "Klaatu verata nikto".
[/Simpsons Comic Book Guy Voice]

Anyway in all this I forgot to thank Roman. Um, thanks Roman! :)

[Roman]

Thanks guys. I still am having trouble with some parts. I really wish I could do better because it does make a difference of a sort. This stuff does not come around every day. People like Alizée may only come around once in a lifetime. I'm still working on more even right now.

[ed2010]

I was quoting Ash from Army of Darkness (which has a callback to TDTESS)!! It should have been immediately apparent! What kind of geeks are you, anyway?! :mad:


I salute you, sir, for you have out-nerded even me.

However, I do feel compelled to point out that the 11.001001 is a lie.

I think that the Cake was a lie all along.

<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Y6ljFaKRTrI&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Y6ljFaKRTrI&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>

[Roman]

I think that the Cake was a lie all along.

<object width="425" height="344">


<embed src="http://www.youtube.com/v/Y6ljFaKRTrI&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></object>
ah yes, that's why this web site was called one big off topic. Well, as I have no friggin idea what that is about, I guess I better get back to work on translating more Alizée. Hey, at least you guys are having fun and that's what's important, right?

[lowbeam]

Thank you for the translation, Roman. I know you put in a lot of hard work for us and we appreciate it. I really enjoy reading about her thoughts and preparation concerning performances.

[Ruroshen]

[Simpsons Comic Book Guy Voice]
Pff, everyone knows that Army of Darkness changed the spelling to "Klaatu verata nikto".
[/Simpsons Comic Book Guy Voice]


Oh, wow. I stand appropriately humbled, sir. Truly, your geek-fu is stronger than mine today.

ah yes, that's why this web site was called one big off topic. Well, as I have no friggin idea what that is about, I guess I better get back to work on translating more Alizée. Hey, at least you guys are having fun and that's what's important, right?

Ah, sorry Roman...every thread I get involved in seems to be derailed at some point. (I wonder why that is?) :o

I've been following your translations of this over at AF, and I appreciate you bringing them over here as well. Many thanks for your hard work, sir.

[TheBarrett]

Oh, wow. I stand appropriately humbled, sir. Truly, your geek-fu is stronger than mine today.



Ah, sorry Roman...every thread I get involved in seems to be derailed at some point. (I wonder why that is?) :o

I've been following your translations of this over at AF, and I appreciate you bringing them over here as well. Many thanks for your hard work, sir.

On topics gets so borings somes times.
Its becomes rusty dildoes and I cants stands its!

/Skwisgaar

[Roman]

...
Ah, sorry Roman...every thread I get involved in seems to be derailed at some point. (I wonder why that is?) :o ...
haha, well, it's always been like that here since I came around. Many a complaint has been made about it, but seriously, especially now, it's like I said, the most important is that people are having fun. Certain types of threads, like planning threads, need to be clean, but this isn't that. It's cool.

[lefty12357]

Thanks for your hard work Roman. It is truly appreciated.

[ed2010]

Thanks for your hard work Roman. It is truly appreciated.

Your work is very appreciated Roman, please don't let us deter you!!

[Roman]

pages 12-15 are not part of the interview and not included here

If you became a star in Japan, it's also because the country suits you. You care particularly for mangas and the new technologies, no?

Yes, I am passionate about informatics [computerized stuff] and Japanese animations. I've always liked them and when I disembarked for Tokyo, having three hours in fifteen days for shopping (note: that sucks) it was necessary to choose between clothes, mangas and gadgets. I was in front of a sort of Eurodisney times a thousand! I like the manga "Doctor Slump", a Japanese comic (ie: from Akira Toriyama) not so well known in France. Other than that, I've seen all the "Sailor Moon", "Dragon Ball" and "Nicky Larson". One does not start over. I am a girl of the 80s and of the Dorothée generation (note: apparently referring to the tv show Club Dorothée).

80s generation: there's nothing better to describe the sound of Psychedelices, so very referential of the eighties. Which are the parts reminiscient of childhood or discovered more recently?

I love the artistic expressions that were born in the 80s. In music, I have the impression that one had more fun (note: me too) and that it was one of the most interesting periods in terms of sound research. Obviously, there are good and bad sides to the 80s. The objective of my side was to not trade in the cheap or the "ready-to-sing". I did not want to imitate and I wanted a sound at the same time young and modern. I think we came to sprinkle the album with references and to work as we went more than being in well defined atmospheres according to the songs. Jérémy (i.e. Jérémy Châtelain, composer and director of the majority of Psychédélices, her husband and the father of her daughter) and the musicians were delighted and wondered often how their predessesors obtained certain sounds. That was fun to find old machines to bring back the time. We all have vague memories of songs rooted in in us that our parents listened to. Furthermore, I have been a great admirer of Madonna since those years of True Blue and Like a Prayer.

Yes, I in particular had the experience several years back when I got a record player and a bunch of records that my parents had back in the 70's or so. Listening to certain songs for the first time in many many years instantly brought back a memory of listening to that from an 8 track casette tape in my father's truck. I have lived through that experience of rediscovering all that music that I loved from my early childhood even before I developed musical tastes of my own. I still like some of it, though I haven't really listened to it for quite some time. The record player is defunct and I haven't bought CD versions of all of it. Oh well, at some point one must move on I suppose. Alizée will change yet again and her music if she makes it will be different yet again. It will be great to find what she has to offer next.

Ok, I'm a bit older than Alizée, but I remember me and my sister listening to Madonna when I was a little kid – certainly not my parents music. http://www.alizee-forum.com/images/smilies/icon_razz.gif Those were the days of Like a Virgin.

You have frequently revisted Madonna on television, with "La isla bonita" in a broadcast that was dedicated to her in June 2003, and "Hung Up" on the 5th of last April for the release of the film Disco. Whenever there is a possibility, you jump at the chance?

It was happenstance for that last broadcast. I was invited to participate there and we needed a hit to reprise. I went in search of a bit of disco not too dated, not too ridiculous and in good taste. Finally, when "Hung Up" was brought up, I did not hesitate. I remain objective and I don't like all of her work. It was not all successful, but she tried everything and she's still there today! I admire the manner in which she has managed her career and brought the public to love her and follow her, whatever her mistakes. (note: interesting for her to say that...) Her shows are also very impressive and even if these are concerts I appreciate less, they gave me a lot to dream about when I was younger. (note: something doesn't seem right in that translation.)

To last, there are two schools: the European school as of Mylène Farmer – carve out a niche and explore fetishized themes - and the American school as of Madonna - to reinvent onself with each album. Which strategy seems to you the most effective or the most interesting artistically?

I don't think there is a strategy to adopt or a recipe, otherwise people would know about it! It suffices to try to have fun while making the music, while living new experiences and in making things that resemble us at the time one makes them. (note: you go girl http://www.alizee-forum.com/images/smilies/icon_razz.gif )

As you presented to us in 2000 Gourmandises, Madonna pays also in sweets with Hard Candy. You have inserted a few measures of "Music" in "Moi... Lolita" during your latest performances, and in a remix of "Mademoiselle Juliette", one guesses from Nelly Furtado. Are you taking up the principal of live bootleg?

In concert, I wish to break out and have people be amused and surprised by the mixes. This also allows me to show the public that "Moi... Lolita" may have been a hit, it remains nevertheless a song. (note: not sure about those sentences.) I'm far from saying that it's easy to compose, but for me who is not a musician and know only to express what I want, it is reassuring to see that by using the same arrangements we can make tens of different songs.

Yes, it's cool how many versions of her earlier songs were made and even MJ and FS. Some of the remix music and vocals are really cool. It's funny how I didn't really care for remixes until I found Alizée. I guess because I never cared that much even if I have listened to other music as much (for a while).

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Do you already have ideas of reprises for your concerts?

I am going to look into the repertoire of Blondie. I don't know how many reprises I will do because I've never done it live. This will be an opportunity for my musicians and me to enjoy ourselves even more.

Would you say that you have suffered a show too micro-managed (note: or perhaps one should say too constrained to every detail) during your last tour?

That tour remains an unforgettable memory. As for my next show, I would like it fully as precise as the old one, but a tiny bit more relaxed actually [laughs] ! (note: well, we saw the results and one can see here anyway that she really did mean a less vigorous or I should say rigorous concert, hense the laugh of understatement. I guess those 2003 concerts were some really serious work.)

What was the soundtrack for the creation of Psychédélices?

I listened to Gorillaz, Mike and Daft Punk, but the album most that has turned the most on my turntable is Hot Fuss from The Killers. (note: I want to sing Mr. Brightside for Alizée.) There it is, the sound that I like and one of the most obvious references during the recording of my new album. We often listened to "Somebody told me" (note: I kinda like that song, but the actual lyrics drive me a little crazy because they are so bizarre. That's one song for which I wish I did not understand English.) and also some pieces of Björk and Blondie.

In addition to the eighties, you evoked the golden age of Simon & Garfunkel. What song inspired you from this duo?

My favorite song is "The sound of silence". It reminds me a lot of my childhood because my parents frequently listened to it in the car. (they should have been listening to Crosby, Stills and Nash or America - Gerry Beckley singing Sarah. http://www.alizee-forum.com/images/smilies/icon_smile.gif Or yeah, in the car Seals & Crofts' Hummingbird. Those guys had such great harmony singing together and so captured the hippie culture at the time, that my parents were into. Go on YouTube and listen to that song and you'll know my early childhood. I haven't thought about that stuff much in a long time, until Alizée went and brought it up.)

On 17 January 2004, you completed your tour at the Zénith of Paris. How did you feel after having returned to your dressing-room?

I was first very proud of having being able to close my tour through the Zénith, but I knew it was time to take a break after four years of madness. During my period of rest, I started to reflect on what I wanted to do musically. The three of us (with Mylène and Laurent) talked about it and decided to separate. (note: it wasn't until over a year after the end of those concerts that it was sort of officially announced that they had separated and of course being 2005 everyone knew Alizée was pregnant by then. Seems like it was not an easy or quick decision to make.) I wanted to reach out to new music and take my flight!

You have often described this depart as that of a child who has left the family bosom at the age of eighteen years. When one emancipates oneself, it is also done in opposition. You have learned a lot, but what have you wanted to unlearn?

Frankly, not much! This is the best school there is! (note: I guess they're just never going to get her to say it. You know what I mean.)

The months that followed, were they a period of rest or reconstruction?

Of rest of course, but mostly of reflexion! I had some not bad ideas and desires for this third album. I started to work very quickly after the birth of my daughter, to lose the least time possible.

After that, you drew up with Jérémy a sort of ideal list of artists with whom you wished to work. Nicola Sirkis had hinted at a press conference at the Eiffel Tower that you were in contact. Was there any unpublished material born of this meeting?

I like what Indochine has done, particularly since Oli de Sat joined the group. We met, but ultimately it was not done... first for questions of planning and also for a question of feeling. I march to the beat of my heart and humanity. When it doesn't happen, I let it go. (note: She does what she loves and feels right?
I had previously read something about that Indochine had to promote their own album and didn't have time or something. Looks to me like it just got too complicated dealing with a big and busy band like that. When it wasn't working out, she gave up on it? :-( What can I say but that they were supposed to take care of Alizée better than that. But, I think also her point is that she does not dwell on it, but rather moves on to the next thing. I guess if that kind of attitude is what allows her to be happy, then she is successful.)

The most attentive will have noticed in the booklet of Psychédélices a note for Jean-Pierre Pilot and Olivier Schultheis, loyal collaborators of Zazie. Did they propose some compositions for you?

No, they are just friends since Jean-Pierre did the preproduction for Variétés françaises, Jérémy's second album. We saw them a lot and these thanks were an opportunity to show all who had surrounded us since the beginning.

Most of the lyrics in the album were written by Jean Fauque, like the majority of the music, Jérémy Chatelain. How did they function together?

Everything unfolded in parallel. I asked Jean to participate in this disk almost three years ago while explaining to him why I wanted to work with him. I hoped that he would write me one or two songs. Eventually he made for me many more. For his part, Jérémy started to compose, as is his custom, some random melodies from inspiration. Some were definitely not for me, such was just the daily work of a composer. I loved the music that became "Fifty Sixty" and I asked him if he really wanted to save it for me and that it be the first written for my album. I am pretty stubborn and I decided to give this melody to Jean Fauque for him to write a song.

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[Ruroshen]

Tech nerd, check. Manga/anime geek, check. Fan of 80's retro pop, check. Loves Simon & Garfunkel, check.

It's nice to know that Lili and I would have an abundance of things to geek out about with each other, if we could manage to get past that pesky language barrier thing. :p

Thanks again for this, Roman. I was grinning ear to ear as I read this while stuck at work, today.

[edgar93]

Hmm, I dislike anime and manga :(.
Thanks a lot Roman for the translations, and hey, at least we didn´t turn this into a Dragon Ball thread :D

[Roman]

Tech nerd, check. Manga/anime geek, check. Fan of 80's retro pop, check. Loves Simon & Garfunkel, check.

It's nice to know that Lili and I would have an abundance of things to geek out about with each other, if we could manage to get past that pesky language barrier thing. :p

Thanks again for this, Roman. I was grinning ear to ear as I read this while stuck at work, today.
Well, can't help much with talking, but if you can get Lili to write to you, I'll mediate. :cool:

[Rev]

Thanks again Roman for the continuing translation.

I will admit I'm not familiar with the Killers (at least I never put their name to the songs I heard). I'll have to go listen.

[mavsluver41]

Roman, you are my hero :). I feel like a newbie again, scouring AF and hungrily learning all I can about this mysterious woman :cool:.

I will admit I'm not familiar with the Killers (at least I never put their name to the songs I heard). I'll have to go listen.

Hmmm, they're all right. I think these are their only passable songs:

Human

When We Were Young

Somebody Told Me (ignore the lyrics, they're mindless drivel)

[Rev]

Roman, you are my hero :). I feel like a newbie again, scouring AF and hungrily learning all I can about this mysterious woman :cool:.



Hmmm, they're all right. I think these are their only passable songs:

Human

When We Were Young

Somebody Told Me (ignore the lyrics, they're mindless drivel)

Thanks mav.

I immediately recognized the singers voice. I think I've heard "Human" 2 or 3 times in the last week.

I listened to:
Human
When We Were Young
Romeo and Juliet
Read My Mind
Somebody Told Me
(ordered from least favorite to most favorite)


They write good music (and the lyrics are simply part of the music). Every tune was catchy. It seems fairly obvious that the music probably comes first, followed by lyrics that are fit into the music.

The lyrics on the other hand are unimpressive, going from downright simple and sometimes verging on nonsense, to OK.

I'm guessing that they write their songs based on an overall performance perspective - it is the overall feeling of the song that matters, not any component.

I can see why Alizée might like them (In fact, I wonder if Romeo & Juliet was a possible partial inspiration for her song MJ). They are very listenable, and "nice," - kind of like her. :)

[Roman]

Well, it's been a while; so here's some more (though it's at AF already)
page 20 is a photo

Had you given him any themes to follow?

No, I had not made any request of him, if not but a song about my daughter which became "L'effet". Even there, I had only tossed out the idea and left him be. I have known Jean even before I became pregnant. He's known me, therefore, before and after my daughter, he saw me live as a young girl, then with "l'effet-mère" (note: the mother effect). I think he really tried to be inspired by my life, even if I didn't want an autobiographical album. When one does not write one's songs oneself, it's difficult to describe one's feelings or to relate situations too intimate. I prefered to let the talent of the authors express itself around me.

Did you know of Jean Fauque's work for Alain Bashung, Jacques Dutronc, Johnny Hallyday, Marc Lavoine or Tchéky Karyo?

Yes, he has worked a lot with [male] singers, and wrote less for ladies (ie: Patricia Kaas on Dans ma chair, Carole Laure on Sentiments naturels, Isabelle Bouley on Mieux qu'ici bas, also Guesh Patti, Luz Casal, Romane Serda and Anggun) (note: In my flesh, Natural feelings, Better than here below) I knew the songs of Bashung and his recent lyrics for Vanessa Paradis. If I had wanted lyrics without asperity (roughness of manner or of temper), with simple words and immediately comprehensible expressions, I could have written them myself or I could have turned to someone else. In choosing Jean, I expected words that would carry me to a new dimention, but I conserved a certain magic and kept the mystical side of the double meanings of Mylène Farmer. I also feel as much at ease with Mylène's lyrics as with Jean's because each permits me to tell things while donning roles and none give to the public an unambiguous meaning. (note: oh, the inscrutable Alizée!) Their lyrics do not offer up everything and invite people to dream or to find the meanings they wish. When I listened to Bashung, I liked to here these oddities that no one understood the same way. Jean himself admitted to me to finding hidden meanings some months after having completed the lyrics. (note: oh yeah, I remember Alizée mentioning that before with regard to some more specific question. I think someone asked about Idéaliser and how it might have related to Mylène and Alizée said that Jean had no idea of that until later seeing how one might think that.)

Jean Fauque is also the narrator of the short film of Psychédélices (note: Spychédélices), available on the limited edition of the album. How did you come upon the idea for this bonus video?

I wanted to tell the story of this album in images and not on paper, which would have been less glamorous. I would have explained this disk in an interview, but I also wanted to have a filmed record of the tale of Psychédélices. And yet, who was the at the heart of it if not Jean Fauque? He wrote seven songs for it, was close to me since the beginning and I logically asked him to write this story. This short film summarizes me and summarizes my album with a nice story. A bit complicated, but a nice story!


Have you kept some unpublished texts (lyrics) or produced songs left behind due to time or place?

There were twelve songs on the song list of Psychédélices. An unpublished exists therefore, written by Jérémy and Jean. We didn't keep it because eleven was a good number and because it just didn't quite make it. It lacked the touch of magic that was in the others. I didn't want each composer to offer me ten songs and I pick from this repertoire. On the contrary, I preferred to take the time and focus on the melodies that pleased me and seemed to me indispensable, emphasize quality over quantity, and not find myself bothered about what to choose or regrette it afterward.


Were you surprised by some themes when you received the texts?

I was delighted by "Mademoiselle Juliette" which evoked my taste for the enchanting and my rather childish side. Everything that Jean has told in this song has called out to me. He knew how to turn Shakespeare's story around to his style to create from it another. "Fifty Sixty" was a godsend (note: as I find it rather amusing, I just wanted to point out the original words: "du pain béni" which means literally "blessed bread") for the fan of trends/style that I am, bringing together all the muses of style from the 50s into today. I am also very fond of "Lilly Town", a song crammed with references past and present. I still wonder how Jean was able to write it. He is terribly young in his head and his songs combine as much poetic images as characters anchored in their epoch or conversely, timeless. That's why a text by Jean Fauque is never at risk of becoming obsolete (demoded).

"Mademoiselle Juliette" is an effective song where the drum is precise and the first couplets form a grand introduction up to the refrain. Did it seem like a single since the beginning of recording?

It was obvious to make it the first single, because it seemed to me to be a good transition between what I had done before and my music today. Those who bought the album because they liked "Mademoiselle Juliette" shouldn't be surprised by the content. If I had released "Fifty Sixty", that would have been too obvious, if I had chosen "Décollage" for example, they would have expected an R'n'B album. A bit violent as a transition, pour le coup!


Have you taken a more detailed treatment in the production of this first single?

No, all the songs were treated with as much heart. "Mademoiselle Juliette" had not evolved much from the maquette (first version or mock-up) to the final version, even if the sound is bigger. On the other hand, "L'effet" had nothing to do with it's first draft. It resembled something Bertrand would do. It grooved and if I loved the melody, I was not comfortable with the arrangements. I was not used to singing this type of melody and I was a little shaky at the time of the recording. Otherwise, it was a song about my daughter where I described what happens between her and me. It was better to soften it like a lullaby rather than make it a rhythmic song. Thus, it closes the album well and has became a little jewel, one of my favorite songs of the album, if not my favorite.



Since "Morgane de toi", wishing welcome to his child became an obligatory passage (note: Morgane from/of you, a song by Renaud about his daughter, Lolita) ("Lola majeure", "Cést de l'or", "Millésime", "La bienvenue"...). (note: 'Lola, of age', 'This is golden', 'Vintage year', 'Welcome') You have spared us the effusions of the type "Mère, mon plus beau rôle" (note: Mother, my most beautiful role), without avoiding the tribute. Did you hesitate before recording "L'effet"?

Yes, quite a while because I did not want to fall into the cliché. However, my daughter was born at the same time that I started the album. She is an integral part of the history of the disk. When I started to make the maquettes, she was but a few weeks old! I told myself that I could dare this song, as I did not write it and her father had not composed it. Presented by Bertrand and Jean, I found that this would be an elegant song of which she will be proud at my age. After 20 years, it might be said, "But what were my parents thinking!?" (no no Alizée, come on! http://www.alizee-forum.com/images/smilies/icon_razz.gif ) I hope that in discovering "L'effet" when she grows up, she will be happy and at least not embarrassed. (I think she'll love it.)

Well I'm not French and I don't know those references and thus don't have those prejudices and besides, like I'm sure all Alizée fans, I wish she had written that herself.

For "Fifty Sixty" and "Mademoiselle Juliette," you've followed the Farmer school and offered many remixes. As usual?

No, it's an excercise that I am called to do and it's always fun to find different versions. After all, we give an a cappella to the remixers who imagine their own title. I have left it since the beginning. (note: she says, but it seems like I've heard her singing differently on different remixes suggesting a different recording. Do you think she did not go back to the studio later to record her voice again (and otherwise maybe actually recorded the different style in the same sessions as the original song)?) While we're at it, we'll keep this tradition. (note: Well, yeah, I guess. If it's between that and no extra songs, then sure. It might be nice to just have more original songs and a very few if any remixes, but as she suggests, this is a way to get more people working in parallel sort of. So, I guess it's easier to do the remixes. I think it would make sense to go around and do more performances of all her songs and try more as singles and then those that have the best response get more attention, like remixes. But that's a lot more work of course. If not that, then how about do some market studies to decide on remixes? Maybe that's both too much work and too impersonal and taking the artist out of the picture so her music is not so much hers. Then again, if it made her more successful, then she'd have more ability to spread her music and profit by it. DON'T EVER UNDERESTIMATE GOOD MARKETING! It is what makes things happen. It is why any product is sold! As some guys talking about inventions were saying, you can have the best product in the world, but if no one knows about it, it won't sell. Of course, you must be ready to sell it for that to be of benefit too. http://www.alizee-forum.com/images/smilies/icon_wink.gif You know what I'm talking about. I wish I had the aptitude for sales and marketing. I'd have a lot more options in any case.)

In a music industry that has so changed over the course of a decade, do you still believe in this proliferation of formats?

I am discreet about what affects my private life, because it has been to my benefit and I don't understand those who expose themselves more than makes sense to do. (note: unless I misunderstood, it sounds like she's lumping in her business decisions with her "private life" and not wanting to give away too much of her opinion, perhaps because it has to do with barganing. If so, I kind of wonder why she doesn't just say, that has to do with business decisions that I don't want to say too much about.) However, as long as it's about the music, I am for giving the maximum. This time, I actually made available on my myspace the a cappella of "Fifty Sixty". I received an enormous amount of mail from people who asked me for them and wish to remix my songs. It was impossible to make contact with each of them; so, I opted for this solution. Even though, I was put off before the release of my disk by "Fifty Sixty" being put online on the Internet, even though the song was neither mixed nor mastered.

Up to that, the most minimal of your remixes was "Moi... Lolita" piano version...

Yes, most of the remixes were destined for clubs and thus, especially dance. Excepting a version of "J'en ai marre" by DJ Abdel who was inspired by the lounge atmosphere of Costes. (note: apparently Hotel Costes: http://goparis.about.com/od/nightlif...otelCostes.htm (http://goparis.about.com/od/nightlifeinparis/fr/HotelCostes.htm))

Even though you have put your confidence in Julien Rotterman and Chainsaw for your return video, can you tell us more about the video that accompanies "Fifty Sixty"?

I've dreamed for a long time of a video in black and white with very colorful graphics, that's one thing done! I've had the chance to meet artists who knew how to decline the world of fashion and add something to this song, by an animation at the same time trendy and accessible.

page 25 is another photo

note: text in orange designates notably tenuous translation

The guitare of the Londoner Steve Crittall on "Fifty Sixty" is reminiscent of Chris Stein of Blondie, and the scenery of this song plunges us into the Warhol years in evoking Nico, Lou Reed, or The Velvet [Underground]. Is this a period that interests you? (note: my uncle seems to be rather perceptive. He got me a memoire book by Danny Goldberg, long time rock fan and music industry exec., who in the recent chapter I'm reading, as I recall, mentions having known Lou Reed of the Velvet Underground and generally being all involved in that whole scene. He has been all over the music business, from covering Woodstock as a rock reporter to working with Led Zepplin and whatever else you can imagine including having worked with Madonna by the way. His book is called Bumping into Geniuses. Seems like Alizée has met a few.)

I like the pop when it rocks. I admire Andy Warhol at lot, even if I do not pretend to know all of his works. I recognize myself in that which his painting sets free. In addition, I had the chance to the stylist Maripol who was my adviser on "Moi... Lolita", "J'en ai marre" and worked on my concerts. I knew her through Mylène who frequently called on her services. (i.e.: notably on the videos "California", "Souviens-toi du jour" (Remember the day)). I learned more about her and quickly came to know that she was the stylist of Madonna in the 80s. On the internet, one can easily find an interview where she asks her some questions in her New York shop. (note: http://www.youtube.com/watch?v=Gp3pi-AWMTU&NR=1 Does that remind you of anything? More interesting Maripol info: http://www.madonnatribe.com/idol/maripol.htm) In other videos, one can see her with Blondie. Maripol gave me some jewelry worn by Madonna and she represents the link with this artist whom I admire. I am proud to know this woman who has experienced such incredible things and who has retained a great simplicity.

Maripol was one of the icons of the eighties hype with Madonna, Kevin Donovan, Kenny Scharf, Julian Schnabel, Jean-Michel Basquiat, Edo Bertoglio and Andy Warhol. Another coincidence, she is also... the sister of Jean Fauque!

When I learned of their parental link, I could not believe the world was so small! I understood "Fifty Sixty" differently. The song was written when I knew that they were brother and sister. One evening, we were dining together at the house, Maripol, Jean, Jérémy and me, and she recounted for us some anecdotes of the era. At that moment, I really realized it was about my song. The life of these men and women, it was "Fifty Sixty". Jean was inspired by everything that he had lived and that Maripol had told him about this New York wildlife. I was pleased to have recorded a song which, unwittingly, I had known she who inspired it. Again this morning, I received a message from Maripol who asked me if I thought about her with the release of "Fifty Sixty".
(unfortunately, I wouldn't expect that many people in Alizée's age group have any idea about all this stuff. It's all beyond me. I've learned more about it in the last year because of Alizée than I knew before that. Alizée is turning out to be an interesting source of cultural information, but does it resonate with anyone who would be her audience? Maybe they learn too and that brings her more substance. But, I can see why she would expect new fans and lament the idea that the public will brook no significant change in this industry.)

Live, you sing the musical bridge of "Fifty Sixty" through a megaphone. This was the case in the studio?

Yes, I recorded it with a megaphone. Nothing has been tampered with on my voice. Jérémy and Sylvain were very inspired in the production and gave coherence to this album's sound.


Jérémy joined with the services of Norscq for the programming. How did you meet this figure of the electro underground from the 80s?

Norscq was part of the greater family of the Studio Juno. He knew Sylvain Carpentier well and it is thus that had the chance to work with him. When I heard my parts before and after his intervention, the difference was so obvious that I understood everything that he could bring to my universe.

Have you been listening since the records of The Grief or his own Lavatronic? (note: http://the.grief.free.fr/ http://www.norscq.org/ Wow. Alizée likes some off the wall stuff apparently.)

Yes, of course. I am happy that he agreed to participate on this album. Everyone we thought of was delighted to construct it with us from the beginning, we were convinced that they never would be. Norscq, Daniel Darc, Bertrand Burgalat, Jean Fauque ... I believed them to be well above average and I thought that they would not waste their talent with a little girl like me. (note: Well, Alizée, was so delightful and loved by so many.) I had been reassured of meeting caring and talented people. Sometimes, artists refuse something on pre-judgement. Because one did this, one can not do that... (note: I think she's saying that an artist that has done one kind of work sometimes feels like they can't change and do something else. So, maybe they wouldn't work with her because she and they had done different kind of work.)

Today, do you find it unfair that some think that Psychédélices is powered by a huge machinery, while it is much more independent then some disks released on obscur labels and passing as rebellious?

People don't have time to learn about the history that surrounds this album, I can not wish it of them. I wish only that the public understand that this disk is honest, and that it was created naturally and with sincerity. Certainly, it's a luxury to be able to produces one's album independently, but the real reward is to have been able to meet people one admires. I am the living proof that one can meet the artists that hear you. (note: I thought she was going to say: meet the artists one hears, but this translation is correct. So, she's saying that if one creates music it will allow one to meet other musical artists?)

"Fifty Sixty" evokes the connection with image. The snapshots of your previous albums were made by the likes of Laurent Boutonnat, Philippe Bouley and Robin. Which session are you most proud of?

Probably the last, for the cover of Psychédélices, conducted with Nathalie Canguilhem. I had trouble finding a photographer who would translate the album well. I am a girl who breathes the joy of living, even if Daniel Darc writes me some rather somber songs. Melancholy, it's not in my nature. I was shown what Nathalie did for the magazine Wad, and I was lured by the pop-ness, flashy and very American treatment of the image. She has a lot of ideas and I would like to continue to work with her, why not for a video. She succeeded in fashioning the image of so many opposing artists (i.e.: Seyfu, Asyl, IAM, Keziah Jones, Étienne Daho...), notably with her contribution to the video "The Songs That We Sing" of Charlotte Gainsbourg and some months later that of Mokobé! I love these [all-rounders] who know how to do everything and adapt to everything. It was one of the best of my photographic experiences.

Are you a great admirer of Scorsese for having titled a song "Mon taxi driver"?

No, this music was composed one night, well in advance of the text being written. It became obvious for Jean to propose that text. "Mon taxi driver" is the song that most approaches what I did with Laurent Boutonnat, in terms of sensuality and evanescence... (note: I'll say! Interesting that she says Laurent though they were talking about lyrics. What do you think she meant?

[FONT=Verdana]The two songs written by Daniel Darc, "Jamais plus" and "Lonely list", reveal a darker side of your personality...

I went to one of his concerts at the Plan (note: http://www.leplan.com/) and I always thought that Crèvecœur is one of the finest albums in recent years. (note: see, this is what Alizée likes; so there you go.) I knew it's author Frédéric Lo, who had to speak to him about me. He agreed to write me the first song, "Jamais plus". I found it great to summon thanks to him the spirit of the 80s today! I dared not ask of him a second, and Fred and Daniel thought of another title themselves that I ended up recording and that became "Lonley list", with a very German sound. Incidentally, I rerecorded the whole song at the Studio Plus XXX because we had an issue with the hard drive, and it had disappeared from our session. (note: *sigh* to be a musical engineer... for Alizée.)

Ok, someone go listen to Crèvecœur and say something about it.
And post the Nathalie Canguilhem photos that Alizée is talking about. Was that the first photoshoot?

[Roman]

Is it usually easy for you to let bygones be bygones?

When it's necessary to turn the page, I know how to turn it. On the other hand, I'm not a person who holds grudges. If I have had problems with this or that person, I quickly forget and I easily tell myself that there is a statute of limitations. Even if sometimes, that plays out badly for me. (♪Même si on s'est joué des mauvais tours,
Jamais j'oublierais comme tu m'as aimé.♪) (It's odd how I can understand something, but not think of a good phrase for it in English, even though I'd probably use the phrase I eventually find if the thought originated with me; like when RMJ asked me for the word that meant the bottom part of a tree left over after it's cut down and I couldn't think of what he was talking about, yet I certainly know what a stump is. So, it's not even as easy as understanding something to translate it. (Though sometimes I think I understand it and then figure out I was wrong at first.) It speaks something interesting to how language works in the mind. One must learn the language "as is" to know it, not by translating. That is, one must learn the feeling of using the phrase "passer l'éponge" rather than trying to memorize the translation of "let bygones be bygones" or "wipe the slate clean", which is the dictionary translation.)

The smile and the sadness pell-mell. There's the theme of the song "Psychédélices", an electronic ballad that is not without a reminder of Björk from the Matmos period. Are you therefore between delights and delirium?

Jean wrote the most poetic song of the album. I admit that I have my access to melancholy, but I'm not like that! It is the eternal question of paradox. I do not escape the rule. I have come to tears of laughter and juggling roles. The cover of my album is indicative of these two Alizées: the young woman sitting sagely who assumes her new responsibilities. The second still a child, who does not hesitate to chomp into a huge cream cake. (note: ça me fait rire or LOL)

"Pschédélices" or "Idéaliser" make, however, allusion to rude awakenings and a few disillusions...

The nostalgia of these titles also comes much from the strings, which make up part of our Juno "family". (i.e.: some members of the Ensemble Nord Sud (North-South ensemble), under the unusual direction of trombonist Daniel Zimmermann).

While we're talking about your two sides, it seems that the order of the songs were chosen in mirror (i.e.: the two songs of Oxmo Puccino in the middle of the album, surrounded by the two titles from Jean Fauque, then the two texts from Daniel Darc). How have you organized the track list?

We did not do it on purpose. Everyone made his list... Jérémy, Sylvain, Jean, the record company and me. For my part, I have simply imposed the desire that "L'effet" close the album.

pages 30-35 are not of this interview

[Roman]

Where you surprise the most is with "Décollage", an urban title tinted by R'n'B. Alizée would be the new Gwen Stefani?

I don't think so, no [laughs]! But, I love what she's done. I wanted a different song and with a modern feel. Kore is a long time friend, and he was best placed to do this song. In addition, I had Oxmo Puccino at my side in studio to help me lay out the flow. If he had not been there, I couldn't have done it. We were so happy with the song that Oxmo wrote for me another at the last minute. "Par Les Paupières" was not planned and was written in a few hours. Oxmo came in the afternoon. At 7pm, I recorded my voice. And at midnight, it was finished. The next day, "Par Les Paupières" was in mixing and a week later, the album was in mastering! (note: holy *! I'd like to know what date that was.)


Do you dream of an interview where one would talk to you neither about Mylène Farmer nor about "Moi... Lolita"?

No, because I renounce nothing. However, I dream of an interview where one does not talk to me about Julien Doré [laughs]! That's for sure! Bringing up Mylène is not a problem, quite to the contrary. I have been well served by what she has done for me, by the manner in which she works her career and by the methods that she applied to managing mine. One can not expect more, but I often think about her when someone makes me a proposal. I think: if I was still with her, what would I do? I weight for and against, and I reflect on this with experience. It is thanks to her, if I am here, it is she who taught me everything and if I had not met her, I never would have been able to make this album under these conditions.

To paraphrase one of your songs, what did the young Alizée dream of at Fesch "junior high"? (note: some history of Fesch http://195.221.140.203/colleges/col_..._f/visite.html (http://195.221.140.203/colleges/col_fesch/visite_f/visite.html))

I dreamed to make my life in a world of art: dance, performance or fashion... But all that seemed to me inaccessible. I had decided to graduate from secondary school and get a degree to become a choreographer. I started dance at 4 years of age and soon, I could no longer do without it. Up to the time I recorded my first album, I went three or four times a week to my dance school. I really loved that! At 13, I began to sing, since my school was transformed into a performing arts school. We played musical comedies, learned to dance and sing at the same time, which was not easy and required training regularly. We had presentations every six months, and I have very good memories of that period.

[Rev]

Thanks Roman for the continuing translation. :)

[Roman]

orange is particularly dubious translation

Were you around at the time of the dance models like Pina Bausch, for example, or more classic stars?

I really liked Marie-Claude Pietragalla, but the one I have always admired and met subsequently, is Rheda. My dance teacher, Monique, drew much inspiration from him. We watched many videos of what he did at the time. (note: http://coppelia-lemondedeladanse.sky...t/867634/rheda (http://coppelia-lemondedeladanse.skynetblogs.be/post/867634/rheda))

What memories do you keep of your childhood on Corsica?

I loved growing up on Corsica. To live in a small city, it's not the same as living in Paris.(note: that's for sure. I'm sure those two places are quite different, though Ajaccio does not seem that "small" either, though I wonder how much it has changed in the last 20 years. Paris sure as heck is different from where I live!) One is protected, always surrounded by family which is very important in our home. I had the chance to go to a school where I had a view of the sea five minutes walking distance from home. (note: So did I for a couple years. I wish Paris was on the south coast so she could still walk down to the beach. The Paris Plages of summer is not quite the same. :-P (though she was probably in Corsica for much of that time in '08 ) I need to return there often, at least one a month to keep an equilibrium and my feet on the ground... and take advantage of the sun! (note: yeah, here it is nice in January. It was shining bright, sunny, warm with no clouds today. She's just a small town girl, living in a hectic world. She took the midnight plane going baaack there. He's just a city boy, born and raised south of Paris, he took the midnight métro going aaanywhere. – ok, sorry, I guess that wasn't really necessary. I'd be groaning if I was you.)


When you heard "Moi... Lolita" for the first time? Did Mylène do a vocal demo?

It was during the course of March 2000, while I was in studio with Laurent Boutonnat. There was no vocal demo. It was the piano that made the melody. (note: ok, and after that Mylène sang it for you, right? Dude, how cool would that be to get a recording of Mylène singing it to instruct Alizée on how it should go?)

How many times did you record Gourmandises?

I met Mylène and Laurent in March, we quickly recorded "Moi... Lolita" since we had sent it to radio in April. I started to record my first album in August, after the commercial release of "Moi... Lolita" and it was released in November. (note: now, ok, M&L might have already had a lot of stuff ready to go including all the music from Laurent even, and that's only 9 songs that weren't already done, but still, that's what I'm talking about getting stuff done! Strike while the iron is hot! Take advantage of buzz and hype when it's there.) In studio, everything was very strict. I kept to this method because that's how I was taught to make disks. I only knew one way to record and sing. For Psychédélices, when I was asked to do something, I did it without problem. I had a certain way to divvy up work and my comrades were surprised at this rigor. It's simple though: I don't know how else to work! I don't know free style in studio [laughs]!

Your first studio experience was at the voice trials for your appearance at "Graines de star"? (seeds of stardom)

Yes, that's right. I remember it like it was yesterday. (note: for some reason reading that just makes me feel good. Maybe it's yet another one of those things that integrates her into one person contrary to my experience of her because she's only occassionally in the public view and I only found her in 2006.)

Have you had more affection for certain of your less known titles than your singles, like "Veni Vidi Vici" or "Lui ou Toi"?

I like all of my songs since the beginning of my career. But certain resemble me more than others... (note: which she is not going to delineate.)

Your second album has been criticized. Mes courants électriques, of being les inspired. The success "Tempête" was set amongst other songs perhaps too childish like "Youpidou". What do you think about this album in hindsight?

It's an album in line with the first. I was still very young and still in adolescence. Between 15 and 18 years, one does not grow up much and it's for this reason that this second album wasn't so different from the first. (note: Well, I was not around at that time following Alizée and in fact, the time between the release of Moi... Lolita and J'en ai marre was longer than I have been a fan yet; so, maybe it would have been different for me waiting all that time and watching her grow up as much as she did, but in the view that I have had while becoming a fan, I haven't thought that much about her age and I had both albums at the same time and so there is little of this idea of transition that such critics seem to have wanted to see. And maybe in light of that view, I have no criticism of the sort mentioned and I really have loved both albums and early on perhaps MCE more because it had more songs that really moved me, such as JEAM, JPVA, AMD, EADA, HA. Between the album itself and the remixes, I see it as at least the equal of Gourmandises and both should really be considered one thing and one time which was... unrateable, just truely a great thing for the fans.)

A few months after the end of your tour, you appeared in duet with Natasha St. Pier with a new hair-do. Were you surprised at the inordinate reaction of your fans to this new look? (note: sorry Alizée, but we got over it and came to like it better. This is often the case with women actually. If we are used to an attractive woman with a certain hair cut and she changes it, we react strongly if we don't really like it right away, which being a change we often don't. Say what you want, but many guys are strongly affected by a woman's hair...)

I was no longer in promo and I had the desire to change the hair a little bit! What would they have said if I had arrived blonde or red [laughs]!(note: No! Don't do it Alizée! Don't even joke around. :-P Well, I hope she does not think that people might stop paying attention or her fans not care just because she's not "in promo". Having said that, it's her hair and she can change whenever she feels like it, though I do get the point that keeping a certain look to associate with the album while in so called active promo does make sense. (but I liked the curls while it lasted I tell you) The other thing is, well, really now, if part of your product is you yourself, as is the case here, to some degree you are really always in promo – has been every day since Moi... Lolita hit the airwaves. That is, if there are fans, they care about everything and are always paying attention. Alizée fans had survived years of her ignoring that fact, but that doesn't really make it less true. I think the loss of fans and closing of fan web sites this winter proved that well enough, as well, even after being out of promo or any intentional public view for years she still had people hoping to see her every day and analysing every photo that happened to come along every few months. It's just the reality of being a star (or not being one).)

It is hard to believe that you can today sing live, songs like "Mon Maquis", "C'est trop tard", or "Toc de Mac"...

I still don't know which old songs I will keep in my show, but they will be reorchestrated. They should be in accord with the sound of Psychédélices to construct a coherent show. (note: well, if you can do it well, then I'd still like to hear L'Alizé, one of my favorites. But, to tell the truth, it is really the music and how the song was originally that made it a favorite. It would still have a certain appeal to hear her sing it, but especially not knowing the language it would have less coherence to hear it very different, like she did in Russia or something. The other thing is, I have this feeling like the concert should be tweaked to make those old songs fit in better without changing them so much. What bands change their classic favorites so as to lose all the original feel of them? I think Alizée might have mistook a bit of artistic integrity as being more important than just giving people what they want. It's a little late now though, for me. Now she has confused me and I don't know what would be better, though something reminicient of those songs if they are being performed would be desireable. She did a pretty good job in Mexico with it even though the songs no longer capture any of the original feel they had. People fall in love with a song and that's what they want, the feeling they get from the song. And, Alizée herself has been tied so much into it that it's been quite difficult to separate it all out. That inimitable bass at the beginning of L'Alizé and it's wistful soul – lost when it's changed all up, the sex appeal of J'en ai marre turned to a goof with the "Island Jam" restyle even if the song was still fun to see her perform, much of the fun and excitement of J'ai pas vingt ans was kept as I dimly remember. It was quite energetic in concert. (she could have slipped C'est trop tard right in there I think, and exhaust the audience, eh Ben? :-P) I guess I'll have to say, go ahead and tweak with them, just do as good a job as possible. Those were great songs that deserve respect which certainly feels lacking from everyone except the actual fans. I need an extra copy of every one of Alizée's singles and the two albums for Laurent to sign – track him down and make him do an autograph signing. (ok, enough of all that, have fun with your music and your concert Alizée)

Do you take pleasure in watching the video of your old concert?

As a general rule, I do not watch myself. I do not watch my televised appearances, I rarely read my interviews. If it's necessary to watch myself in order to progress, I submit to it, but without pleasure. I am happy to have done that first tour, at the Olympia and Zénith... I had the chance to be able to make a concert in the fashion of Mylène Farmer, with a shoe of ten meters in hight as decor, and I am proud to have made that so young, for in France, it is not given to all artists. To see what I wish to give today, and how to experience Psychédélices on stage, one must come see me on tour and at the Grand Rex! (*cry*, we tried, Alizée. We tried. I hope it happens with this next try and now forget all that other stuff I said, we will gladly go see it however she wants to express it if we can.)

pages 39,40 are photos

That's it for that interview folks.

[Ruroshen]

She's just a small town girl, living in a hectic world. She took the midnight plane going baaack there. He's just a city boy, born and raised south of Paris, he took the midnight métro going aaanywhere. – ok, sorry, I guess that wasn't really necessary. I'd be groaning if I was you.)

Hey man, don't stop believin'. Hold on to that feelin'! :p


I was no longer in promo and I had the desire to change the hair a little bit! What would they have said if I had arrived blonde or red [laughs]!
Qu'est-ce que c'est? Did somebody say redheaded Alizée? Om nom nom nom :wub:

Don't listen to Roman, Lili. He's clearly clinically insane. Do eet. Do eet!! :p

(Sorry, always have had a thing for redheads. This can't help but strike me as two great tastes that taste great together, and all that. OK, I'll stop now. :p)

Well, I hope she does not think that people might stop paying attention or her fans not care just because she's not "in promo". Having said that, it's her hair and she can change whenever she feels like it, though I do get the point that keeping a certain look to associate with the album while in so called active promo does make sense. (but I liked the curls while it lasted I tell you) The other thing is, well, really now, if part of your product is you yourself, as is the case here, to some degree you are really always in promo – has been every day since Moi... Lolita hit the airwaves. That is, if there are fans, they care about everything and are always paying attention. Alizée fans had survived years of her ignoring that fact, but that doesn't really make it less true. I think the loss of fans and closing of fan web sites this winter proved that well enough, as well, even after being out of promo or any intentional public view for years she still had people hoping to see her every day and analysing every photo that happened to come along every few months. It's just the reality of being a star (or not being one).)

I think at issue here is that, when she's not "in promo", she (rightfully, imho) feels like she shouldn't have to be "on", and should be allowed to do (wear, say, pierce, tattoo, marry :p, etc.) whatever she wants, however she wants to do it. It's not so much that she thinks we're not paying attention; it's that maybe, from her point of view, we shouldn't be.

I was thinking about this just the other day, actually: how would you like to be defined by your job, 24/7/365? To have to wear your work uniform everywhere, all the time, even on your day off? To be held to the same level of professional conduct as you would be at work, always? That's kind of what I imagine celebrity to be like, and you can keep it, if you ask me. Obvious benefits aside, it sounds like it'd get really old before too long.

Weird tangent there, sorry.

The other thing is, I have this feeling like the concert should be tweaked to make those old songs fit in better without changing them so much. What bands change their classic favorites so as to lose all the original feel of them? I think Alizée might have mistook a bit of artistic integrity as being more important than just giving people what they want.

I'm honestly of two minds on this. On the one hand, I love much of what they've done as far as the reorchestrations go. I really like the sampling of Madonna's Music and the greater emphasis on a rocking guitar in Moi...Lolita, and the funky bassline in the new JPVA kicks some rather serious ass...but I'm an extremely new fan who hasn't lived with and loved these songs for nigh on a decade. They didn't sustain me through four years of radio silence. To me, they're just another set of official remixes, y'know?

So while on the one hand I believe they simply rock, on the other I can understand why some older fans think it's a travesty. I do agree that perhaps more of a balance could have been struck--the reprise of JEAM for the encore, for example, perhaps could have been performed in the classic style? I dunno, just thinking out loud...

I really do want to see what she'd do with an updated C'est Trop Tard, though. I cast my vote for a full-on, Queen-style stadium rock extravaganza, but that's just me. :p

Do you take pleasure in watching the video of your old concert?

As a general rule, I do not watch myself. I do not watch my televised appearances, I rarely read my interviews. If it's necessary to watch myself in order to progress, I submit to it, but without pleasure.

Well, damn...there goes any hope of her listening to our commentary track I guess, huh? :p

To see what I wish to give today, and[FONT=Verdana] how to experience Psychédélices on stage, one must come see me on tour and at the Grand Rex!

...

Nope, not gonna touch this one. Moving on...

That's it for that interview folks.

Awesome, Roman. This was great to read. Thank you so much for all your hard work!

[Roman]

...
I think at issue here is that, when she's not "in promo", she (rightfully, imho) feels like she shouldn't have to be "on", and should be allowed to do (wear, say, pierce, tattoo, marry :p, etc.) whatever she wants, however she wants to do it. It's not so much that she thinks we're not paying attention; it's that maybe, from her point of view, we shouldn't be.
Well, of course. It was her "reason", but... yeah, I'd like to sprout wings and fly sometimes, but that ain't gonna happen either.

I was thinking about this just the other day, actually: how would you like to be defined by your job, 24/7/365? To have to wear your work uniform everywhere, all the time, even on your day off? To be held to the same level of professional conduct as you would be at work, always? That's kind of what I imagine celebrity to be like, and you can keep it, if you ask me. Obvious benefits aside, it sounds like it'd get really old before too long. And she has left it as much as she possibly could, quite a lot actually without telling people to just please go away (except opportunistic journalistic photographers aka paparrazi, been pretty clear with them).

But of course it's not a matter of argument any more than I can say I wish I could just sit here at home typing this and all kinds of great job offers just come to me. It's a matter of that it doesn't work that way (in either case) (until some genius finds another way). And every time a new fan comes along, he must learn and become a smartass like myself.

...
I cast my vote for a full-on, Queen-style stadium rock extravaganza, but that's just me. :p Hey, if all her stuff is new anyway, then just let it rock!



Awesome, Roman. This was great to read. Thank you so much for all your hard work!you're welcome

[Rev]

(Sorry, always have had a thing for redheads. This can't help but strike me as two great tastes that taste great together, and all that. OK, I'll stop now. :p)

Me too - but natural redheads. I'm not sure I would like to see Alizée as a redhead.

I think at issue here is that, when she's not "in promo", she (rightfully, imho) feels like she shouldn't have to be "on", and should be allowed to do (wear, say, pierce, tattoo, marry :p, etc.) whatever she wants, however she wants to do it. It's not so much that she thinks we're not paying attention; it's that maybe, from her point of view, we shouldn't be.

I was thinking about this just the other day, actually: how would you like to be defined by your job, 24/7/365? To have to wear your work uniform everywhere, all the time, even on your day off? To be held to the same level of professional conduct as you would be at work, always? That's kind of what I imagine celebrity to be like, and you can keep it, if you ask me. Obvious benefits aside, it sounds like it'd get really old before too long.


Depending on what we do, many if not most of us are measured this way (at least some of the time). However, it depends on the job on the intensity of this.

A performer has chosen a career where drawing the attention of the public is key to their success. It is important to them that thousands if not millions of people know who they are. Although I acknowledge that everyone needs privacy sometimes, if you spend a lot of your time saying "See me, Love me." it is unreasonable to think you can just throw a switch and expect people to just go away for a little while.

Anothr example is a politician. They have chosen a public life. They can still have privacy at home, but forget it in public. I was in a fast food place and a US Senator walked in for lunch. Discussions obviously followed. Although people were respectful and (for the most part) when he sat down to eat they let him eat in peace, he understood that, by walking into the restaurant in the first place, that he was now in public, and so was willing and ready to interact.


I'm honestly of two minds on this. On the one hand, I love much of what they've done as far as the reorchestrations go. I really like the sampling of Madonna's Music and the greater emphasis on a rocking guitar in Moi...Lolita, and the funky bassline in the new JPVA kicks some rather serious ass...but I'm an extremely new fan who hasn't lived with and loved these songs for nigh on a decade. They didn't sustain me through four years of radio silence. To me, they're just another set of official remixes, y'know?

So while on the one hand I believe they simply rock, on the other I can understand why some older fans think it's a travesty. I do agree that perhaps more of a balance could have been struck--the reprise of JEAM for the encore, for example, perhaps could have been performed in the classic style? I dunno, just thinking out loud...


I was drawn to her for both who she is as well as the music. She is still who she is (for the most part - as commented on in other threads), however her music has changed. I like much of the older music better, in part because I prefer a more electronic sound and in part becaue I am usually drawn more to the music than the lyrics (Actually I am drawn to the overall feel of the song). The older works were more musically fosused while the newer works are (in general) more focused on the lyrics (in my opinion) and not quite as strong musically.

Reaching back to an old album for an example, Bob Dylan's "Blood on the Tracks" album has many great songs (for example - Shelter from the Storm), and I enjoyed listening to them. However, I didn't listen to any of them 100 or more times.

Awesome, Roman. This was great to read. Thank you so much for all your hard work!

Ditto. :) :) :)

[Roman]

Me too - but natural redheads. I'm not sure I would like to see Alizée as a redhead.

Depending on what we do, many if not most of us are measured this way (at least some of the time). However, it depends on the job on the intensity of this.

A performer has chosen a career where drawing the attention of the public is key to their success. It is important to them that thousands if not millions of people know who they are. Although I acknowledge that everyone needs privacy sometimes, if you spend a lot of your time saying "See me, Love me." it is unreasonable to think you can just throw a switch and expect people to just go away for a little while.

Anothr example is a politician. They have chosen a public life. They can still have privacy at home, but forget it in public. I was in a fast food place and a US Senator walked in for lunch. Discussions obviously followed. Although people were respectful and (for the most part) when he sat down to eat they let him eat in peace, he understood that, by walking into the restaurant in the first place, that he was now in public, and so was willing and ready to interact.




I was drawn to her for both who she is as well as the music. She is still who she is (for the most part - as commented on in other threads), however her music has changed. I like much of the older music better, in part because I prefer a more electronic sound and in part becaue I am usually drawn more to the music than the lyrics (Actually I am drawn to the overall feel of the song). The older works were more musically fosused while the newer works are (in general) more focused on the lyrics (in my opinion) and not quite as strong musically.

Reaching back to an old album for an example, Bob Dylan's "Blood on the Tracks" album has many great songs (for example - Shelter from the Storm), and I enjoyed listening to them. However, I didn't listen to any of them 100 or more times.

Ditto. :) :) :)
Thanks Rev. Another very well said post.
And of course just to say it again and agree, we must on our side, for sanity and our own good I suppose, learn that in this ever more connected and privacy lacking world, we who want to constantly have as much access as possible must eventually decide to either turn away from certain things and over look it or otherwise let stuff go. Though there are times when it's a judgement call I suppose.

[Ben]

Ok, someone go listen to Crèvecœur and say something about it.
Thanks again Roman! Sorry, I haven't had time to read it all yet, but noticed this while skimming through. My French teacher in Paris introduced us to this album when she used the song Mes Amis Tour A Tour (which musically quotes You Really Got Me by The Kinks) in one of her lessons. I have the disc in my collection and really like it. :)

[Rev]

Thanks Rev. Another very well said post.
And of course just to say it again and agree, we must on our side, for sanity and our own good I suppose, learn that in this ever more connected and privacy lacking world, we who want to constantly have as much access as possible must eventually decide to either turn away from certain things and over look it or otherwise let stuff go. Though there are times when it's a judgement call I suppose.

I can't hold my breath as long as a dolphin can, but I am very much looking forward to when she next comes up for air. :)

[Roman]

I can't hold my breath as long as a dolphin can, but I am very much looking forward to when she next comes up for air. :)
Well, I meant that even if we recognize that people are constantly interested in everything she does, we can ourselves choose to recognize that if we can see her do things beyond what she intentionally puts in front of the camera, we need to have some respect in our judgement for the fact that no one is perfect and she isn't going to be "on guard" all the time as no one can be even if inclined and thus for her benefit as well as our own benefit in enjoying her as a person and recognizing her as a real person we must shade our perceptions a bit and overlook certain things to allow private things to be private while at the same time we would not let just anything go, as when we discover some celebrity being arrested for being drunk and disorderly for example.

But as for holding our breath like a dolphin, yes, she must ask herself what the benefits of being famous are and not be surprised if we can't do that. That's why I find it a bit sad to see her say things like that she admires how Madonna was able to keep the respect (and attention I would say) of her fans even when she made certain mistakes, and then I think about that in my perception Alizée may have lost some of her influence simply by not giving more attention to her fans and not excercising what was seemingly in her power to influence. Sure, ultimately she must create music and performances that people like or nothing else is going to work, but there is more to it than that and I must believe that she knows that, yet for whatever reason has not acted on that to as much of a degree as perhaps she could have in order to hold some of the kind of influence she admires in someone like Madonna. So, I feel like she just gave up and maybe cut herself short of what she could have been and that's not good to see. At the same time, I must admit that I have stated and still think it's true that it is better than seeing her become miserable and find that she's not happy with her pursuit anyway. One just wishes she had the energy and stamina to push hard without becoming unbalanced and miserable, as one wishes such a thing for oneself and thus projects such wishes on the ones we admire.
(uh, sorry if all that was unnecessary.)

[mal]

ok need a hand here.

will someone list all the artists and the songs she mentioned here?

Id like to try some new music but some of the stuff i cant tell if its an artist or a song. the 80's and the 60's stuff I know. Just the newer stuff. Time to update my brain.

any help would be greatly appreciated.

[wildfire]

Excellent translation, TY!! I feel like I sat down to have a cup of coffee with her!:D

[Roman]

I didn't see this interview out here already so, here is my translation. You will notice some of my own comments in there, unlabeled except by parentheses. I hope you can figure it out. (Is there any kind of text editor I can use that will actually keep formatting when I copy and paste here without all kinds of extra junk that just messes things up?):

Sylvain
Carpentier

THE THIRD MAN OF PSYCHÉDÉLICES
(after Jean Fauque and Jérémy Châtelain of course)


Friend of the couple and inseparable from Jérémy in the studio, meeting with the co-producer of the bulk of Psychédélices.

Were you a musician before becoming a sound engineer or is all the time spent in studios that lead you to take up guitar?
I have been making music since my younger years and I started classical guitar at a school of music at eight years old. Like many, I made up a part of various groups in junior high and high school (approximate for collège and lycée). We touched a bit on everything: the blues, pop, rock… I felt more attracted to rock and I took up arms with the electric guitar. When it was necessary to chose what to study, I was rather inclined toward a scientific field of study and liked jobs in the sound field. I started with a classic curriculum at the university which I quickly abandoned to join SAE of Aubervilliers ( http://www.sae-france.fr/sae_contact.php ), which made available an education in the sound trades. In a year and a half, I obtained by diploma in the specialty of Audio Engineer, and I started internships in the Parisian studios. I served a brief stint at the Acousti studios, and a longer one at Twin Studios, over by the Porte de la Muette, where I observed how to comport myself during a session.

Do you consider your first steps as a professional to have been at the studio Plus XXX?
Yes, I have crossed paths with some international big shots (pointure is the word used which just means person who excels in a discipline) and I made the acquaintance of two people who have been particularly influential in the development of my path. I first met Téo Miller, a director who came to do mixing for a Georges Brassens cover album, Les Oiseaux de passage (something like, the birds who pass by or that one sees on the way) and who was really formed (educated) at an English school of sound. The British do not hesitate to invest themselves, to get their hands dirty, to test any idea that seems good, without precedent. I became his assistant and worked with Damien Saez, who had invested the studio towards work on the models which would become God Blesse (a play on words since blesse with an e at the end is a conjugation of the word blesser which means to injure). Since then, I have often worked jointly with Saez. And with Téo, we got back together along with a group of girls, Subway, for their album Rien ne se voit (nothing is obvious(?)) in 2003. As for my second important encounter, it is with another director (or might mean producer in this context), Mitch Olivier, who has recorded much hip-hop and also directed/produced many of the albums of big names in French music like Renaud and Rita Mitsouko.

It’s in working with Mitch Olivier that you met Jérémy Châtelain, no?
No, I knew Jérémy before Mitch produced his second album. Actually, I met him by way of a friend who was the assistant of his artistic director at Mercury. The recording of his first album was made a bit too quickly for his liking and he had wanted to remake the vocal takes for the release of a new single (i.e.: “J’aimerai” (I will love (?))). I think he liked my involvement, the manner with which I had conducted the session and the ideas that I had imagined for giving a little boost to the song. Following this session, we never split up.

Did you have time on Variétés françaises to work together?
No, I had followed his project since his maquettes (perhaps one could call this: mock-ups before setting out to produce the final version), but I didn’t produce that album and therefore, I was not involved in the artistic choices. It’s during this period that we met Jean Fauque. We passed an unforgettable moment that peeled us an incredible banana [smiles]! (French expression) Our first real project en duo is Alizée’s album.

Was it a given that you should be part of the recording of Psychédélices?
When we put up our studio, I don’t think Jérémy imagined that we would produce Alizée’s album together. We tested our set-up and set out vigorously (?) to produce a few pieces. Of this initial material, we haven’t saved anything, neither for Jérémy nor for Alizée. When Jérém’ started to write for her, the idea germinated to integrate me into the team.

How would you define your duality of producers?
We have learned to be more efficient. Today, we know exactly who does what. Jérémy is more centered on the rhythms, me on the guitars. He has references in hip-hop and variété française (French variety, a common classification of various French music), while my references are more rock, generally speaking. He influences me, I influence him and we progress together. (sounds like a really great way to work) For Psychédélices, he must have had six or seven pieces that he had piano maquettes of, with only a few programs (not sure what that means). He had me listen to them and we went to work immediately. At the beginning, we thought to only produce half of the album. After the withdrawal of certain other participants (Indochine? I’m always looking for what happened there, and who else?), we got back together with joy to produce more songs than initially expected. We first tackled “ Mon amour insulaire “, a very rockish song (dang! I want to hear it!) that we ultimately did not complete. We were fumbling about still as to the color of the album at that time, and resisting the mixing process (the song was hard to put together in mixing), this song was a bit below the others. (So, their first song didn’t work out, but they eventually got it together.)

How did Alizée intervene into the midst of your duo?
She and Jérémy talked a lot amongst themselves. That helps, to be a couple! She never hesitated to tell us with her words what she wished to hear on this or that song, or what color she imagined. Regularly, we would have her hear our work. The objective was to mix together the synthetic with the organic, to obtain an eighties sound, into the new-wave movement while adding to it a touch of modernity. In the course of time, we also came to have the desire of a more urban side, which is felt perhaps less since the idea came to us later. (That’s where Oxmo Puccino, for example, came in – right at the end of the album.)

Did you use vintage instruments to recreate an 80s atmosphere?
We worked with our own material and the back line of the Juno studio, but also some time mixing at the studio Relief where we added rhythm boxes (synthetic drum machine) and synths very much in the eighties style for a final result all the more homogeneous. I passed an enormous amount of time in studio with Jérém’, without ever taking account of the hours, but I must admit all the same to have passed some excellent moments at studio Relief. We got together for three weeks in the Swiss country-side, in total independence, very far from Paris, very far from everyone, to discover the codes and customs of our Swiss friends. [laughs]! We slept in the studio and really broke out of our normal selves. (?) Some great encounters were made there, notably the team of the producer Nellson with whom we worked on “Par Les Paupières”, but also Rukisa who became the personal assistant of Alizée, and a talented producer of music videos who may very well work with her in the near future…

The recording, did it go without a hitch?
I have no memory of having struggled with any parts. In general with Jérémy, one listens to a piece a lot before starting and once the work commences, one lets oneself be guided by the spirit of the piece and that which inspires us. We are still young producers. The freshness of youth and naïveté to believe that when one heads off in a direction it will necessarily be good remains with us [laughs]! For my part, I played the guitar on the majority of the songs. And it was a first, even if I had already recorded some guitars with indy (independent) groups.
When I recorded the self-productions of my friends in Normandie, for example, I always had a little featuring [laughs]! Not necessarily on the guitar, however!

Have you had the pleasure of recording Alizée’s voice?
It is a pleasure to record it. Like many, she had a little apprehension at the moment of final takes for the voice recordings, but once in the pool (approximate figurative translation) she was very professional.

Did you sense any kind of pressure on Jérémy’s shoulders?
During the recording, we didn’t feel any pressure. We launched ourselves into this adventure without thinking about the extent of the work or the fact that it was an important album for Alizée. If Jérém’ was feeling stress, he never made me feel it, even when we had some doubts. The pressure was the desire that the album please and that it fit the style of the period (as was discussed, this should mean an 80s style I suppose).

What have you learned from the encounters from this album?
With each new encounter, one learns from the person one has before one, from their influences, or their manner of work. For a lover of sound like me, this recording experience was a good school. In this case, I have had the delight to meet Bertrand Burgalat who, in addition to being a super musician, is an adorable man. As for Nellson, who was more a part of the desires of Jérém’ for his total US hip-hop culture, to see him work enriched my experience. I was also glad to come across the guitarist Steve Critall who recommended Téo Miller and Norscq to me, who I knew a bit by chance and who knew how to fiddle with the sounds like we would never have been able to do ourselves. Finally, even if Jérémy and I have learned music theory and play guitar and piano, Daniel Zimmerman brought us his experience of the conservatory and the comfort of seeing scores for sets of strings written.

The «programmations» of "Psychédélices" evoke certain albums of Björk. You met her when you were an assistant at the Plus XXX studios…
Well, more like crossed paths, to tell the truth. She spent some hours checking a video for the album Vespertine. She is an artist whom I respect, often at the forefront in terms of audio textures.

Of which song are you most proud?
I am very attached to “Par Les Paupières”. This one was made the quickest and last. Therefore, it’s the one I heard the least number of times and that which I re-listen to the most. Three of us had a hand in doing the mixing and I really like what came out of this song.

How are the rehearsals of Alizée’s coming concerts going, which you debuted the 21st of last April? (21st of April 2008? I don’t know what he’s talking about.)
The group which will accompany Alizée is a mixture of new faces and of people we know well! Thomas Saez will be on bass. He participated on Alizée’s album and has followed Jérémy since Jérémy’s first tour. On the drums, one of [his?] friends was chosen, Jérôme. On guitar, there will be Pascal Rode, who recorded the two songs from Fred Lo and Daniel Darc. As for me, I will play some guitar and a bit of keyboard. There will also be a DJ on the turn-tables to launch sequences. We started with the freshest tracks of Psychédélices. The challenge now is to make the songs of her first albums work. One starts gently in order to then attack next a period where one will need to be more creative! (Start with the easy stuff?)

This will be your first tour?
Yes. I did do some concerts before really starting to work at Plus XXX as an assistant, but never went on a tour of this magnitude.

Do you have other production projects with Jérémy?
We have some projects together, but I would prefer not to talk about them since nothing has been release about them yet. However, we also continue to work each in his own place. This enables us to meet with new ideas, new inclinations and more motivation!

[Ben]

Nice interview, thanks Roman!

[Rev]

Yes. Thanks very much. It really helps to understand the dynamic under which the album was put together.

[wildfire]

"Of which song are you most proud?
I am very attached to “Par Les Paupières”. This one was made the quickest and last. Therefore, it’s the one I heard the least number of times and that which I re-listen to the most. Three of us had a hand in doing the mixing and I really like what came out of this song."

interesting how this song stands out for many.... even those who produced it.... I wonder which is Alizée's favorite....