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  #11  
Old 10-30-2008, 10:47 PM
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Quote:
Originally Posted by dreamer View Post
Yes, I feel the same way! Lilly Town is the catchiest song of the album IMHO. It has a very nice xylophone (at least that's what I think it is) playing in the background that could have been a little more accentuated because it is this interplay with the main melody that brings out the magic in the refrain. Like I said, details matter a lot.
The lyrics are brilliant, too--trippy and fun, referencing everything from Paris Hilton and Ghandi to Motown and 'A Streetcar Named Desire'. I've always thought it would make for a great 'breakout' song for her here in North America, in that there's just enough of the familiar in it to hook an audience who might not understand the context (or the language). It could also make for a spectacular video in the hands of the right director.

OK, I'll shut up now.
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  #12  
Old 10-30-2008, 11:06 PM
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She should go back to soloing without a band.....the band somehow drags her down to normal musical artists level. Back in MCE and Gourmandises, the spotlight was really focused on her alone. But now it seems the light has expanded to include the team that put the song together and the band. And not only that. Her songs are missing that blaze and sparkle i hear in her other songs.....till this day i still cant figure out what that sparkle is....an instrument? something about her voice? Or is the secret all in the lyrics itself? I really cant tell, but what i can tell is that Psychédélices is missing it. Well, except one, i noticed that Fifty Sixty has the kind of music i can expect in an album like Gourmandises
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  #13  
Old 10-30-2008, 11:56 PM
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I'm not really sure what "band" you mean, MonteCristo, because every song on Psychédélices has different musicians, and they're not all the same as her touring entourage. Certain names crop up a lot, but that was the same back in the old days, and then Mylene and Laurent shared much of the "team" spotlight too.
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  #14  
Old 10-31-2008, 01:36 AM
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gone with the geostrophic
 
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LT is ok but i always felt it sounded a bit immature, like a kid's song and therefore hard to take her seriously if she released it as a single. i agree with most about nothing standing out, my favorite song on the album is probably lonly liste but it wouldn't work as a single anyways. i always thought 50-60 was the song on the album for mass appeal and consumption but they missed the boat with that one when they decided to go with MJ. MJ was though the song that stands out the most in the album in my opinion.
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  #15  
Old 10-31-2008, 01:38 AM
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PLP could've really pulled em in.
Just saying.
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Old 10-31-2008, 04:43 PM
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FS didn’t get the promotion it deserved, which really hurt. I think it was a great choice for a single. I also think Lilly Town has good single potential for the reasons Ruroshen gave. And I also agree wholeheartedly with Barrett that PLP is a song with great single potential and one of my favorites. MJ, FS, PLP and LT I think have the most mass appeal. Personally, I also really like Idéaliser for the melody and Alizée’s singing, and Psychédélices for the lyrics.

The one thing I miss on the album is that Alizée didn’t sing as much in her lower register. Her voice is so warm and sexy when she sings in that range.
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  #17  
Old 10-31-2008, 06:08 PM
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It's a good album indeed, but it's to happy or major, fast and modern (actually Im not sure what im talking about when it come to musical terms I just say what I think ), it lacks the minor tunes that almost every hit songs kind of have that affects you emotionally (take any great song in history and it's probably played in minor or has that gloomy feeling in it). Also the singing is pretty flat, on the old albums it felt like she was singing and whispering softly to me (I can listen on Hey Amigo forever and her sweet voice takes me to heaven every time). Like L'effet could have been great, but it just don't get me.
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Old 10-31-2008, 10:15 PM
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Quote:
Originally Posted by dreamer View Post
Ok, so I was listening to Psychédélices once again and I don't know why I didn't see/hear this sooner but: This album is so very good.

Some songs have really nice orchestration and subtle little details (and it is details that can make the difference between a good and a great song IMHO) that really make it special. Most of songs are not as "easy on the ears" as those on Gourmandises and Mes Courants Électriques but most of it is also more interesting. Alizée has definitely made big progress as an artist with this album. Which is good since she can't be the cute lolita forever.

So all the people who don't like the new stuff: Give it another listen!
Her old fan base was used to easy listening music together with her beautiful voice and we listened to her songs endlessly, because we got addicted to them. It was too hard to switch to a new style of music that Psychedelices brought with it.
It seems to me there are two kinds of fans now, the old ones that were hypnotized by the original Alizee and the new fans that got to know her from her new Album. It is hard to criticize taste; I'll just stick to my old love for Alizee.
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  #19  
Old 10-31-2008, 10:29 PM
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Quote:
Originally Posted by lefty12357 View Post
The one thing I miss on the album is that Alizée didn’t sing as much in her lower register. Her voice is so warm and sexy when she sings in that range.
that's very true. the thing is i don't think she can sing at that range anymore. i think she could when she was young but after a while she never sang that low live so i don't think it can be done anymore.
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  #20  
Old 10-31-2008, 10:31 PM
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Quote:
Originally Posted by Fralizee View Post
It was too hard to switch to a new style of music that Psychedelices brought with it. It seems to me there are two kinds of fans now, the old ones that were hypnotized by the original Alizee and the new fans that got to know her from her new Album.
I, myself, am a contradiction. I discovered her following the release of Psychédélices, but listened to the songs from all three of her albums in no particular order (on youtube at first). I was mesmerized by the "original" Alizée (as you put it), but also by the "new" Alizée and how deeply she had matured in music and personality. Her beauty attracted me primarily, but it was her evolution that kept me rapt: it showed that she was willing to take risks, pursue different directions, and grow as an artist. I've used the same metaphor a million times, but here it is again: I see her career as a novel with several chapters rather than a series of separate books.
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