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#31
01-02-2009, 03:28 AM
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 Merci Fanny 
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#32
01-02-2009, 05:52 AM
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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.
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#33
01-02-2009, 12:47 PM
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Roman, you are my hero
 . I feel like a newbie again, scouring AF and hungrily learning all I can about this mysterious woman . Quote:
Human When We Were Young Somebody Told Me (ignore the lyrics, they're mindless drivel)
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#34
01-03-2009, 01:08 AM
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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.
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#35
01-14-2009, 01:34 AM
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instant-mag 2 traduction par Roman page 21-28 Alizée interview only
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!  ) 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.  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) 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: 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"? [font=Verdana]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? 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?
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Merci Fanny Last edited by Roman; 01-15-2009 at 04:56 AM.. Reason: augmented title
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#36
01-15-2009, 04:55 AM
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instant-mag 2 traduction par Roman page 29-35 Alizée interview only
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
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#37
01-16-2009, 07:33 AM
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instant-mag 2 traduction par Roman page 36 Alizée interview only
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) 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.
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#39
01-20-2009, 09:26 PM
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instant-mag 2 traduction par Roman page 37-40 Alizée interview only
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) 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.
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Merci Fanny
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01-20-2009, 10:57 PM
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 Don't listen to Roman, Lili. He's clearly clinically insane. Do eet. Do eet!! (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. )Quote:
, 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. Quote:
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. Quote:
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Nope, not gonna touch this one. Moving on... Quote:
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