THE MORNING LIST
The Music section team offers you a selection of albums, published in May and which have been appreciated and reviewed in our pages. In order of release: the eleventh studio album (excluding unreleased anthologies and rarities) by the Scottish group Belle and Sebastian, in the freshness of their debut at the end of the 1990s; works by composer César Franck (1822-1890) by pianist Tanguy de Williencourt with the Flanders Symphony Orchestra conducted by Kristiina Poska; the exploration of her Haitian roots by singer Leyla McCalla; the masterful new album by Californian rapper Kendrick Lamar; the reunion in band The Smile of Thom Yorke and Jonny Greenwood of Radiohead with drummer Tom Skinner of Sons of Kemet; the return of bassist Avishai Cohen to the form of a trio with piano and drums; the subtle first album by Jeanne Barbieri and Marie Schoenbock, who unite their voices within JeanneMarie.
« A Bit of Previous », de Belle and Sebastian
What a joyful introduction that the song Young and Stupid, with Sarah Martin’s violin, followed byIf They’re Shooting at You, its choirs and discreet winds! The Scottish group Belle and Sebastian reminds us of the seductive freshness of their beginnings, at the end of the 1990s (the albums Tigermilk et If You’re Feeling Sinister, in 1996, the first three EPs, the album The Boy With the Arab Strap, in 1998).
And if two or three of the compositions of this new album, A Bit of Previous, have a slight electro touch, we go rather towards pop, by its share of softness (Deathbed of My Dreams, Sea of Sorrow) or joy. So pop, sometimes rock, as in Talk to Me, Talk to Me, which should be a hit at concerts, and Unnecessary Drama, a bit soulful, with Come On Home, or in psychedelic keys in A World Without You, sung by Sarah Martin. And, always, the charm of the voice of the leader, Stuart Murdoch. Sylvain Siclier
1 CD Matador Records/Beggars (sortie le 6 mai).
“Works with piano”, by César Franck, by Tanguy de Williencourt (piano), Flanders Symphony Orchestra, Kristiina Poska (conductor)
The bicentenary of the birth of César Franck (1822-1890) succeeds the centenary of the death of Camille Saint-Saëns (1835-1921), two comparable musicians on many points, since the revelation as a young prodigy of the keyboard (piano and organ ) until his consecration as head of school and creator with titanic objectives. We therefore think of Saint-Saëns while listening The djinnsthe symphonic poem that opens this Franckist panorama, but even more to Franz Liszt, as much for the genre as for the language.
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