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#1
03-10-2010, 08:07 AM
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[2010] Miscellaneous Articles & Interviews
------ Mod Note: ------
There will probably be many magazine aritlces in the coming months, so I'm making this combined thread for any that don't have their own photoshoot content. This first post will contain an updated index. -March 10th: Brain Magazine -March 15th: Clark Magazine -March 17th: GQ Magazine -March 21st: Le Matin and 24 hueres -March 21st: Many Internet Articles -March 29th: Ouest France -March 30th: Gente, Metro, and France-Soir -March 30th: Don't Miss -April 1st: Impre.com -April 3rd: Musik Please, France-Soir, and Premiere.fr ------ Original Post ------ link Interesting interview where a tour is confirmed. Speaking of Rob: "J'espère qu'il sera là pour la tournée mais bon, il fait la tournée de Phoenix…et la tournée de Phoenix c'est un peu 365 jours par an, alors on verra."   
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#2
03-10-2010, 08:34 AM
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Hmm many interesting things to know this month before the album is released.
Thanks Topaz for the update.
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#3
03-10-2010, 02:14 PM
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Brain Girl.
Here's the link to the Brain Magazine interview ("Alizee: A Girl In The Wind") - is this a sign that she's gained a new level of credibility? Definitely seems so. But I haven't read it all, yet.
Funny to me was that in the second line, they mention her being a Dental Star in Peru. Click that, and you see what they mean. Do we have to start a thread about Alizée's teeth now?  March 10, 2010 BRAIN MAGAZINE Interview w/ Alizée Anyway, must run. I'd say I'll come back to translate this later, but I'm confident one of you folks will beat me to it.  ps - I've heard some rumors that the "geeky" aspects of her image (playing videogames, poker, being a mac addict, etc) may be somewhat exaggerated to better appeal to us geeky Americans. But we should take that as a compliment, or at least a very positive sign. 
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#4
03-10-2010, 02:45 PM
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Well one can see the translated version of the interview <a href= "http://translate.google.co.in/translate?js=y&prev=_t&hl=en&ie=UTF-8&layout=1&eotf=1&u=http%3A%2F%2Fbrain-magazine.com%2Findex.php%3Foption%3Dcom_content%26 view%3Darticle%26id%3D3392%3Aalizee-une-fille-dans-le-vent%26catid%3D94%3Aaccueil%26Itemid%3D6&sl=auto&t l=en#submit"> here</a>
P.S. It's 1:15 am here and I'm too tired to post the full English translation here. I'll do that tomorrow if no one posts by then. Last edited by Merci Alizée; 03-10-2010 at 02:48 PM..
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#5
03-11-2010, 12:08 AM
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I suppose they will never get tired of playing with her name.Quote:
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Thanks for the links and all guys. I can't even read it right now. No time at all.
__________________
 Merci Fanny
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#6
03-11-2010, 03:36 AM
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To Recap...
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 Wasabi, you're welcome! I'm still workin on the transulation, cause it's an interesting piece, but the Google translation Merci Alizée posted was still pretty hard to understand. (Just the same, Merci à Merci Alizée!!!) Edit: >>> okay, here it is. <<< __________________________________________________ _____ ALIZÉE – Une Fille Dans Le Vent (A Girl In The Wind) BRAIN MAGAZINE, March 10, 2010. Alizée was No. 1 around the world with a hit which pleased even the old men. In Peru, she was a dentistry star (Click here-funny!) and in Mexico, she could not go anywhere without her bodyguards. And then suddenly the little pop singer raised by Mylène Farmer has decided to make music with the producers from Institubes: Chateau Marmont, Rob, David Rubato, Tahiti Boy Tacteel and Para One. The result is the concept album, A Child of the Century, entirely written by Jean-René Etienne, head of the label. If because of her, the Kevins and Sylvies of France begin to throw their panties before Chateau Marmont, we promise to come every day and place a red rose in front of her house. You've had good reviews on this album? Alizée: Somewhat, yes. Especially from people who hadn't listened to me before. It's also pretty cool that some of the music press, I had perhaps not had before, are now interested in this project. In the past, the people who interviewed me did not care about the album. Here the people really speak to me about my album, and when one is an artist it's good to talk about what we do and what we love. How is that you are now working with the crew at Institubes? Alizée: For most of my singles, I asked musicians to remix the title for clubs to have something more to go out to the fans. On my previous album, I had this song Fifty Sixty, which was my second single. My DA at the time at Sony suggested to me a remix by David Rubato, who was at Institubes. David made a version that was really a song in itself. I loved it, and I thought the video was well done and that it would bring something else to the album. That's how I met Jean-René Etienne of Institubes, and Rebecca who made the video for Fifty Sixty - David Rubato version. At that point, I was beginning to think about my new album and I did not know exactly what to do. Jean-René asked me to meet the producers of his label. So I met the Chateau Marmont, Tacteel and all others at the same appointment. It went really well. From there, it was decided to try to do a concept album. At that point, you knew Institubes? Alizée: By name. But no, I did not know what they were doing. And besides, I did not even want to listen before receiving their proposals for my album because I wanted to give them the chance to do something for me, from what I inspired in them and that the story inspired in them. So then, I heard what Institubes does only after listening to their productions for my album. What were your aims for this album? Alizée: Actually, it was an idea of Jean-René to do this album. I just told them I wanted to do something opposite to what I am. My voice, it is like it is. When I listen to someone singing on the radio, I like to recognize them immediately. I wanted it to be a pop album, I did not want to make a trendy album that nobody buys ... I wanted to continue in my thing, make my album and they would bring their ideas, their vision of music. That's how, little by little, each sent me songs and the album was built. What were your musical references for this album? Alizée: I have a few references that are the opposite of what I have done musically. I've always loved Madonna and Michael, Blondie, Aznavour ... Moroder and Blondie, obviously with the Chateau Marmont, it went well with their style of music. According to Rob, his reference was Jeanette, this is not someone I listen to but I know the reference and it did not bother me. David Rubato, his reference was mostly Gainsbourg and I am mega fan of Gainsbourg. They were all, at once trying to adjust to my style while still doing their things. What are the albums you've listened to most in your life? Alizee: All Michael. Madonna, all her first until Mirwais, after that, less. Today, I like Jay-Z, The Killers. I never had a particular favorite style of music, I always liked lots of different things. This album represents something different from your previous albums? Alizée: It's different because I'm twenty-five now and that I may have a certain maturity that I had not before. My last album, I had produced all alone with my husband (Jérémy Chatelain). Here, I am working with talented people who have their own vision, their own ideas. I feel like I was learning a lot, a bit like ten years ago, when Mylène Farmer was teaching me the trade. Do you feel like you're taking a gamble with this disc? Alizée: Yes. But I think the risk was already there since when I separated from Mylene. In fact I'm pretty calm now, I do not think about it too much. Finally, at the same time, we'll see when the album comes out ... I'm not one to ask myself questions, as long as my project pleases me and I took it from A to Z. We'll see how people receive it. Yes, it is in France ... Alizée: Right. Before, I thought much about it. I said to myself: "France is complicated because you can not stray too far from what you do, people are quickly lost." But here I no longer ask myself the question because this disc is a pop album. Unlike Charlotte Gainsbourg, I haven't made an album dedicated to a certain audience. My album, I want it to be popular, I want to continue to sell records and to do les Enfoirés. There is a dark side to this album ... Alizée: More so than before, yes. It is less colorful. And at the same time, I'm twenty-five, I'm not going to do happy stuff all the time. And it's also good to change. But then that's my personality. I love manga stuff and everything bright and colorful, and that's good, you know. But after a while I like the dark stuff and I love to sing without a smile. And then at the same time this is a concept album, this is not just me talking even if I can find myself in the songs and words. That suits me a bit besides the fact that this is a concept album because I'm a little reserved, a bit unsociable, I do not display my life ... If you had to summarize the conceptual side of the album precisely, what would you say? Alizée: It's a novel. If you take a song from its context and listen to it like that, people can like it because it can stand on its own, but at the same time, it makes you want to listen to the whole album to hear the story. If it does not sell, will it be a real disappointment? Alizée: Ouais quand même ouais. * (Alizée: Yeah just the same yeah. ) It's Chateau Marmont that produced half the album. Why them? Alizée: Yes, they made the most songs, but it's Rob who has made the album. Rob did 3 titles, Marmont 5. Once the tracks were made, it was Rob who sat in the studio to get the sound of the album so that everything is consistent. I received the songs - unfinished - and I had to decide to accept them or not. But I accepted almost all, I had to decline only 2, maybe 3. Then, the lyrics came. And then there are the choices of mixes. I'll list 6 producers of the album, and you're going to describe each in a few words. First Rob? Alizée: Well Rob is the person with whom I spent the most time. I love Rob because I feel that we love the same kind of music. We hear each other really well. It's rare to agree so well with people with whom you work and you see all the time. He was very important on the album. We were often in complete accord – which is not to say that I disagreed with the others. He appeases, he is always cheerful, he quickly puts you at ease. It is difficult to sing in front of people you don't know at first. It's harder to sing in a room where there are 2 people than in front of 3000 people. Rob is very calming, everything flows, everything is really good. I hope he will be there for the tour but hey, he's doing Phoenix's tour ... and that's just 365 days a year, so we'll see. David Rubato? Alizée: It's with credit to him that the story began. David has lots and lots of talent but he does not show many things. I don't know how much music he has in his computer, but he is never sure things are good when all he does is good. On the other hand, he is the biggest perfectionist of all the producers. He listens to every sound, every syllable, every breath. It's super interesting to work with him. Chateau Marmont? Alizée: They all four have different personalities. They complement each other. And they are super good melodists. After all is said and done, they may be known to most as musicians and producers of music but in melodies, they are really strong, in fact it is they who made my first single. I believe they have a great career ahead. I think people will ask them for a lot of titles and not just from the industry side, but also the popular side. I hope so, because they deserve it. Tahiti Boy? Alizée: He's the one I know the least. I worked with him on Grand Central but he was not there when we went into the studio, it's Tacteel who was there, so I have seen him very little. I do not know him well but I did something with him for a Christmas song ("It's Christmas And It Won't Be The Last") with other friends of his, and it was really good. Tacteel? Alizée: I first met him at that first meeting. I had heard a lot about Tacteel with his band at the time (ATK). He, too, as an artist, he will do great things in the future. He really has a lot of talent. Para One? Alizée: Para One came last. He should not have been on the album but he offered me a song that I adored and which really cohered with the album. Such, I have rarely seen. So I spent a whole day with him and it went really well. All these guys are really cool. It's rare that things happen so well and fly so fast. Which of these is the nicest? Alizée: Nicest? It's complicated. I would not say the nicest but the most Zen is Rob. The most handsome? Alizee: The handsomest? Holala! I'm going to say Julian of Marmont. Le plus sale*? The dirtiest? Alizée: Le plus saaaale? (The diirrrtiest?) Ahah! Halala… le plus sale! (Halala ... the dirtiest!) Je peux dire qui mais c'est une joke hein? (I can say who but it is a joke right?) Guillaume des Marmont. (Guillaume from Marmont.) Il va m'en vouloir! (He will be angry!) Would it make you happy that the industry likes your music or do you not care? Alizée: Yes it would please me if they like something popular. Being popular doesn't mean something is not good. I am confident that one can be mainstream and do things of quality. (fin)  *(asterisks just above because I had to leave her original responses.)Last edited by Chuck; 03-11-2010 at 11:13 AM.. Reason: Doublepost, Troublepost.
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#7
03-11-2010, 04:12 PM
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#8
07-17-2010, 04:27 PM
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__________________
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#10
03-11-2010, 05:23 AM
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And dude, just 'cause it's called brain magazine... uh, have you looked at what else is on their site? It's not about being brainy. Still haven't read it all yet, but... Quote:
 I find this a sad commentary on how perhaps Alizée has seen her previous work. I have heard of someone close to or maybe Alizée herself referring her previous stuff as just crappy pop music or something to that effect and indeed a lot of people think of it the same way people talk about Britney Spears. I know a guy who is a musican and he was like, 'oh yeah, crappy stuff like Britney Spears who can't even really sing that well. I'm a musician. I like real music.' I suppose being on her side of the fence she runs into a lot of musicians who have their opinions about what "quality" music is and find the general public (us) to be a bunch of uneducated saps who haven't a clue what good music is. You know, artistic types. Well, and at the same time as I was just kind of joking there, we who are not "artists" (however you care to define that) tend to think they are too much up their ... hoohaas ... about the whole thing. We just care about enjoying what we come across, usually without putting much effort into it. To make a long story short, I thought the first two albums she did were of the highest quality so far, though Psychédélices was certainly professionally produced. Maybe it's just a question of style. However, I get the impression that Alizée may not have or feel much respect for what she's done in the past. If so, I'm afraid she really missed/doesn't understand much of what was so great about it. Just as some people might focus in on solely the idea that she had a lot of children fans and that some of the lyrics were frivolous in nature, I'm afraid Alizée may see it that way as well. I also wonder if another aspect entirely eludes such people, which is that while music is great and we all really are very affected by certain music, the music itself only goes just so far. With Alizée it was everything put together into a great experience, a phenomenon that one can be enthralled by that goes well beyond the simple notes and lyrics. I was really moved by the beautiful notes and meaning of the lyrics in some songs. Somehow it seemed to mean something even if in reality it didn't really mean anything to her. Honestly, that's what's missing now. I don't as much get the feeling that the songs connect up to Alizée (even as a persona) much or that I can relate to them. Maybe that's something that is just out of her control and relates more to the audience than the creator, but that is a difference. And, I think it's a difference that Mylène understood. So, excuse me if I get defensive to criticism of Alizée's earlier work or any suggestion of it. I find it b.s. that they are even talking that way. Good music is that which I like and if there are "industry guys" who are so full of themselves that they think popular music can't be good (presumably because we are all lowly clueless commoners) they can bite me and I'm really sorry that Alizée has had to work amongst such people (or that she has had to face that kind of attitude). Having said that, of course, just because something is popular does not at all make me think it is good and I do understand that sometimes because of marketing and the way attention begets attention things that are mediocre get more popular than better stuff. I've heard good music being played in the halls of the Paris metro.oops. sorry for the long rant
__________________
Merci Fanny
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Hybrid Mode
