`·.,¸¸,.·´Charlotte in Wonderland`·.,¸¸,.·´

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Wednesday February 21, 2007
09:22 - cloudy Time - 5°c

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This morning, the cold under the window which wishes to be heated, the misty time which has this obscured atmosphere of february and seems to show that the sky seems still deadened. Then, to change this typically Parisian, animated week, tightened and stressed in its mechanized undergrounds, the return to a state of calm, to softness, the appeasing is not long in arising. The coffee with smoking milk, evaporating its soft perfume, the touched crusty one of laminated of the crescent, however common, acclimatizes me in a kind of relieving before the confrontation. But if all that functions so well, it is that there remains a thing essential to mingle with this pleasant preamble. Yes, the small one more which will make it possible to wake up quietly, which is not other than the music, the musical harmony, the small ideal sound softness which will make it possible to make balance my spirit. Neither too noisy, neither too strong, neither too rythmée nor too deafening. And this Morning, it will be…

[...] A five hours fifty-five, awake with open eyes, has drift transistor upon the night, and miles away from Land, five fifty five, five fifty five, A five hours fifty-five, handle meridiem, too late to end it now, too early to start again, five fifty five, five fifty five, soon the morning will arrives, edge I begin another day, whilst this old day is still alive, refusing to Be could away, five fifty five, No sleep tonight, five fifty five, like has beast awaits its faith [...]

… 5: 55, second opus of Charlotte Gainsbourg, has of more than 17 years. Spending the shameless period "gamine" with "gifted Woman". Then of course, I expect the eternal comparison already, "Yes but good, if it were not the girl of Gainsbourg, that would not have gone". That would have been different it is certain, but I jealous step makes it serve of this advantage "celebrity" to manage to carry out an ambition. Nobody obliges others to have to accept of force this more easy condition to arrive to his ends. Personally I always liked this key of intrigue, of mysticity of this "Charlotte", early in composition, it does not certainly have the voice of the large diva, nor the commercial cinematographic career of the stars of the cinema. But its character has remained the same one for all these years. Charlotte knew to assert herself, according to statements' of this cursed criticism in her connection, and that is to show of sincerity and perseverance. Certain anonymities see the celebrity like most perfect of the advantages to make a success of a life, whereas certain children stars have evil to live it, because hardly born they are already the perfect one gains bread of the media. After it y' in A is true which benefits from this advantage to leave all (often anything), but nothing forces you to contribute to this bargaining.

[...] Melancholy, Aviation, Chocolate, Perfume, Cigarettes, frequent flyer, stow away, dislocation, sleeping, jets, wave goodbye, feel homesick, tranquilizers, bill of fare, cry easy, dvt, disapear into thin air [...] We wish you all have very happy pleasant flight, this has journey to the center of the night, and the inflight entertainment' S out of sight, young stag one af 607105 [...]

I did not know that Charlotte was going to leave this album, I were accustomed to following it through the fabric, for the constant emotion which it releases. And then one morning, I hear a harmony, a balancing air, of the agreements of violins mixed with the guitar suave. At the time that did not type me with the ear, my concentration remained fixed on the sound melody. I immediately hung, not imagining even a second that it acted Gainsbourg Miss. This morning I remember just that these 4 minutes of music had transported me. They is only two three days later that I learned it. Whereas the press already started to criticize this new opus, my ears preferred to listen by itself. Yes concerning the music, I prefer to listen to the album rather than me to make it sell or hate by the press. The appointment was taken in Fnac, vis-a-vis a terminal which was already requested; then as for cheese with the cut, I took my ticket to discover what this small end of woman "Made in Gainsbourg/Birkin" revealed in this mysterious opus.

[...] I read has magazine. that said by seventeen. your life was At year end. i' m dead and i' m perfectly content [...] and thesis songs that I sing. C they mean anything. to the people i' m singing them to. people like you. [...] and thesis songs that we sing. C they mean anything. to the people we' Re singing them to. to night they C.

Dark cover, making think of a photocopy black and white. A photograph where the Charlotte hair monopolizes the stereotype, glance downwards. But hardly I have taken CD in my possession which my turn of listening tightens me its helmet. "Welcome to the Fnac, Welcome in Fnac". Position one, first piece, my eyes is closed, I press the too slack helmet and there, without the knowledge one second and to my general surprise I was going to fall in affection very quickly. The decoration is planted quickly, not great variation, not of storm above suspicion, not of techno overwhelming, not of R' B with vowels, not a voice light, timid, soft, air, the whole on melodies enivrantes of softness, timeless, of total quietude,…

Then by throwing a glance behind me, I see that time quickly passed, that I was made take with the play and that the tail with the musical cheese dairy made the small ones. I remember the first morning listening, when I was allured by the sweetened melody, I very quickly included/understood after the fact of having adhered itself as much, because this album was created by the AIR group, that of which I am used for myself regularly to make the atmosphere eternal of the morning drowsing. Thus veiled it why of this sound attraction which very quickly allured my ears. Most astonishing is that I wondered what this group prepared in this moment… and well it worked on the 5:55 of Charlotte. It is one of the reasons for which I have even more regard for Charlotte Gainsbourg: to have collaborated with this impossible to circumvent group of contemporary music. But also because the vocation of AIR is not to make commercial sound, but to make share their emotions with partitions where the instrument regains its art vis-a-vis the computers increasingly more avid making noisy tube.

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01 - « 5:55 »
02 - "AF607105"
03 - "The Operation"
04 - "Such as You Es"
05 - "The Songs That We Sing"
06 - "Beauty Mark"
07 - "Little Monsters"
08 - "Never"
09 - "Night-time Intermission"
10 - "Everything I Cannot See"
11 - "Morning Song"

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TRACK 01 - [5: 55]
(J.Cocker, NR. Godin, J.B Dunckel/N.Godin, J.B Dunckel)
Time: 4:54

Light guitars and melody with resonance suitable for the one of the titles of Gainsbourg, the eternal "I came to say you that I from go away", it undoubtedly acts of a small wink, as an opening, then the low one and the rhythmic light one of the battery, announce the arrival "of it", his voice, Charlotte. The heavy and air violins invade the part. The text is mainly in English language. [...] A five hours fifty-five, awake with open eyes, has drift transistor upon the night, and miles away from Land, five fifty five, five fifty five, A five hours fifty-five, handle meridiem, too late to end it now, too early to start again, five fifty five, five fifty five, soon the morning will arrives, edge I begin another day, whilst this old day is still alive, refusing to Be could away, five fifty five, No sleep tonight, five fifty five, like has beast awaits its faith, ugly young stag with time to kill, the very dead of night, where time and space stand still, five fifty five, five fifty five [...] (J.Cocker, NR. Godin, J.B Dunckel/N.Godin, J.B Dunckel). The Voice of Charlotte is between the whisper and the lament, returning to the title all its authenticity. The end of the piece is of a beauty angelica for the ears, only, in this temporal space, the violins rock the last seconds this first title, from this 5: 55 at the same time enivrant and evaporating, felt like a kind of halt for the rest of the warrior. Splendid

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TRACK 02 - [AF607105]
(J.Cocker/NR. Godin, J.B Dunckel)
Time: 4:32

Small struck, small cymbal, places at the piano, at the same time resonant and true master of ceremonies on the course of this title. Charlotte takes the voice hastily, engaging in the whisper and the moaning. It is magic, that gives a fantastic feeling of count for child. With the back, the melody evolves/moves in this incredibly space state of mind. [...] Melancholy, Aviation, Chocolate, Perfume, Cigarettes, frequent flyer, stow away, dislocation, sleeping, jets, wave goodbye, feel homesick, tranquilizers, bill of fare, cry easy, dvt, disapear into thin air [...] We wish you all have very happy pleasant flight, this has journey to the center of the night, and the inflight entertainment' S out of sight, young stag one af 607105 [...] time difference, you' Re waking, chase the sun into your eyes, sleeping cities, dust hotel rooms, passengers look to the ski, fly over, your lifetime and never touching down [...] After an enumeration words, the sung refrain of Charlotte makes the success of the title. [AF607105]… the number of flight, except that it acts more than one space and timeless excursion, considering the melody very quickly carries its listener in a kind of nostalgia specific to the childish fantastic universe which AIR can manufacture not to say bidouiller. A kind of praise to the dream and the melancholy. This title particularly is successful, for its facility to carry my spirit.

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TRACK 03 - [THE OPERATION]
(J.Cocker/NR. Godin, J.B Dunckel)
Time: 4:01

I would say for this third title [The Opération] written for Charlotte, that the AIR group proves that it with faculty to subject to us a harmony, a decoration, a philosophy, an interpretation of the evils, a rhyme with nostalgia, a pinching in the middle, a giddiness. Pretty sounds to some extent to allow us to plane without having to use narcotic substances beforehand. Opening: small limps at Rythme, rhythmic guitar, the low one gradually follows the blow of large case. The piano way "Tori Amos" seizes the harmony. The Whisper of Charlotte is carried out. [...] I want to explores you. i' m gonna get under your skin. so you edge feel me running through your veins. I want to examines. every inch of your frame. the presses points that causes your joy and bread. our coils goes under the knife. there is No room for doubt. now i' m inside you. my hands edge feel to their way. further inside than I cuts ever been. now I edge really. mess around with your heart. and fill it to the brim with broken dreams. our coils goes under the knife. two lives may Be saved. and yew I sweater this off. i' ll refuses the Nobel prize. instead I will look into your eyes. yew I sweater this off your whole body will Be mines. and i' m prepared to work throughout the night. our coils goes under the knife. nothing is taboo [...]. Charlotte is very at ease in her English elocution, no distinctive French accent. Contrast between the whisper and environment a little rythmée is simply royal… and always also dazing. What a sound Spectacle! I was far from imagining at which point I could have been also admiring.

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TRACK 04 - [SUCH AS YOU ES]
(J.Cocker/NR. Godin, J.B Dunckel)
Time: 3:12

Fourth title, and already the notion of time is lost, the titles are connected quickly, not varying too the rates/rhythms, the sound voyage is carried out in a way more progressive than random. For this fourth title, Charlotte launches out finally in the language of Molière, first title in "Frenchy" signed by AIR words and music. […] When you from go away, That you are not pressed, your body balances yourself, of no importance, such as you are, without saying a word, effort you make fun, of the decoration you are, from time to time, such as you are. You do not know. What one says of you. You of insane especially. Nothing changes there. Such as you are. No one edge tell. what you say gold C next. […] A title only rocked by the piano/violin and the voice Charlotte, not rhythmic, the spirit of the title makes think of a kind of lullaby for child to accompany them with the door by the dreams. The voice of Charlotte is of a softness at a point such as one imagines it with our shoulder fredonnant us the first part in French… then the second in of English. A title as well for the large ones the small ones. A musical counting rhyme directed very well, to make pretty dreams. A pretty ditty for its or its beloved (E).

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TRACK 05 - [THE SONGS THAT WE SING]
(J.Cocker/NR. Godin, J.B Dunckel)
Time: 2:59

ONE is with semi-race, already…. The rate/rhythm announces a ballade, instruments in all kinds and much more than on the preceding titles announce themselves. An old story of violins, a low ambitious deaf person and, Charlotte starts the title, the whisper leaves room to a vocal opening, [...] I saw somebody who .reminded me of you. before you got afraid. I wish that you could' ve stayed that way. I saw has little girl .i stopped and smiled At her .sh E screamed and ran away .it happens to me more and more thesis days. [...] and thesis songs that you sing. C they mean anything .to the people you' Re singing them to .people like you .i saw has photograph .a woman in A bath .of hundred .if dollar bills the cold doesn' T kill her, money will .i read has magazine. that said by seventeen. your life was At year end .i' m dead and i' m perfectly content. [...] and thesis songs that I sing .do they mean anything .to the people i' m singing them to .people like you. [...] and thesis songs that we sing. C they mean anything .to the people we' Re singing them to. tonight they C [...]. With semi-course of the title, Charlotte will slip of the very air murmurs. A title which diffuses a kind of childish joy, the melody lends itself to play with our imagination for very quickly consolidating a fantastic decoration. This album makes me think of a kind of Alice (Charlotte) to the countries of the wonders considering and corrected by AIR. Or Charlotte would hold the principal vocal role. It is true that that can appear a little surprising, but I think that it should be listened to to seize this perception in its entirety. A a little short title, but what could be better, not to remain on its "end".

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TRA CK 06 - [BEAUTY MARK]
(NR. Hannon, J.Cocker NR. Godin, J.B Dunckel/NR. Godin, J.B Dunckel)
Time: 3:09

Lightness and sound joy, a guitar acoustic, space, seize the introduction, Charlotte, arrives some seconds after, whispering the first English words. The decoration of the title wants to be very dark, very calms, very enivrant, a kind of rise to the sky [...] I' ve got has beauty mark. written one my skin. closed to my heart. my favourite share. my beauty mark. I keep it out of sight. safe from the world outside. this old battle scar. this secret leaves. my beauty mark. this little death. this mark of sin. forever printed one my skin. i' ll keep it for you. this hidden place. this private share .this secret door into my heart .i' ll keep it for you. this precious jewel. this darling budgetary this tiny to resevoir of blood. my beauty mark. i' ll keep it for you. [...]. Charlotte skilfully makes a success of this duet with the guitar. A very hypnotic title, in extreme cases of the melancholy, sadness gains the title but does not tarnish it therefore. [Beauty Mark] seems to be more moving by this opus. I am completely allured. I like the moment when the music and the voice enable me to plunge in a momentary nostalgia. For me, it is the sound challenge of an accomplished title.

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TRACK 07 - [LITTLE MONSTERS]
(J.Cocker/NR. Godin, J.B Dunckel)
Time: 3:48

At the bottom, gulls, then the piano mélodieux, intergalactic, invading, the light beat of a rate/rhythm carried by its precedent is devoted to follow it. Charlotte reaches the title very hastily, lightness and ambition sound and resound in the heart of this song. Small Monsters for Little Monsters ravel over three good minutes. [...] In the playground. children sing to their songs and skin to their knees. play, little monsters, play. I remember doing just the same so many years ago. and the things they' D say. I could handle stick and stones. those words still station-wagon my bones drank. little monsters that rule the world. you don' T know what you' Re really saying. stop before someone ends up getting hurt. can' T you see that we' Re only playing. I remember I was just another monster without life. 'til the day you cam. [...] The decoration remains always also fantastic, a kind of remake of the galactic imaginary voyage. On board an electronic vessel. Charlotte amalgamates with the melodies calm and accentuated to make convey the emotions very effectively. This setting with naked imposing would almost make think of a kind of therapy of happiness vis-a-vis the stress of modern times when the emotions like the animals seem to be reproduced on the same list of extermination.

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TRACK 08 - [NEVER]
(J.Cocker/NR. Godin, J.B Dunckel)
Time: 4:39

The title however sounds French to read its title of it, but the song remains primarily English, the small French key of [NEVER] it is undoubtedly for the international seduction. "Never" in question will come to conclude each end from sentence. The rate/rhythm is very slow, ventilated from time to time by galactic fantastic sound evolutions. The melody is an eternal low loop mixing and small batteries. The whole raised by the agreements of the piano. [...] I told you before that this is the end .you' ll never work in this town again. never .you think you know me, that' S your disorder. never fall in coils with has body double .jamais .i stick to the script and I go with the plane. and frankly my dear I never gave has damn. never .never even scratched the surface, though you' Re picking through my bones. it' S the performance of has lifetime. it' S my only starring role. your leading lady needs direction. your leading lady sleeps alone. you got the surface and substance confused. don' T believe what you read in those interviews. never .i edge act like i' m dumb, I edge act like i' m clever. you thought that was me? oh well, I never. Never [...] But the with dimensions magic one of the title rests on its effectiveness to carry its listener in his memories, his reflexions, a kind of music which would make it possible to reflect posément. The universe of the Group AIR, always so present, makes it possible imagination to mix with the harmony suggested. "But I am not insane, you know! "

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TRACK 09 - [NOCTURAL INTERMISSION]
(J.Cocker, C. Gainsbourg/NR. Godin, J.B Dunckel)
Time: 2:46

Small interlude, way Lenny Kravitz for Vanessa Paradise during his time large boots and hippie attitude. Charlotte under the violins and the beat of limps at rate/rhythm, diffuses some words per Ci by there. [...] Night, nighttime intermission, personal enquiry, nocturnal emission, just talking to myself. [...]. I thought of the beginning that it was about the closing of the album. And then reassured that not when [Everything I cannot See] tenth title of the album was on the point of beginning.

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TRACK 10 - [EVERYTHING I CANNOT SEE]
(J.Cocker/NR. Godin, J.B Dunckel)
Time: 5:48

The piano very "Blues Attitude" opens this 10th title, Charlotte begins, by enumerating a flow of words much more important than for the preceding ones. The tonality of the whispers of Charlotte succeeds in being essential. I find particularly beautiful the words of this [EVERYTHING I CANNOT SEE], Déployées under the energy of Charlotte, it is too excellent from a dynamic point of view. Thank you with Mr Cocker, lyric writer for this title [...] I feel you all around me. you are everything I cannot see. have the ocean crawls onto the shoreline. so you lap At the edges of me. and now, have i' m walking .i know that you' Re watching me move. for have much have I need you. I must walk away from you. you' Re my life, you' Re my hope. you' Re the chain, you' Re the rope. you' Re my god, you' Re my hell .you' Re the sky, you' Re myself. you' Re the reason i' m living room. you' Re all that I cuts to discover. you' Re the rain, you' Re the stars. you' Re so near, you' Re so far. you' Re my friend, you' Re my foe. you' Re the miles left to go. [...]. A title which could serve as second engine with the album. Dynamism and madness of phrased without overflowing in the incomprehensible one. I adore, I adore, I adore… And, will love you? :)

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TRACK 11 - [MORNING SONG]
(J.Cocker, C. Gainsbourg/NR. Godin, J.B Dunckel)
Time: 3:08

IEA, IEA, IEA, this blow Ci, it is certain, the analogical calculation of the album life its last moments. Eleventh and last title. A piece which will announce as of the first slow and remote agreements, end of this splendid sound count. Charlotte with the Countries of the wonders arrives at the credits of end. Piano and guitar will come last once, to raise the whispers specific to the Gainsbourg Miss. [...] Last night I saw has ghost. He seemed familiar to me. I welcomed him. with open arms. He said my name. and ugly me down. awoke the dreams still sleeping in my bones. you are my precious ghost. I closed my eyes to see. i' ve touched you ounce again. you spent the night with me. guilty were our pleasures. nameless was our crime. [...] A temporary voyage, final rather sad, but which does not cross the threshold of the overwhelming pressure. Charlotte signs a last title with Air, a last emotion, the last turn of stars, a dream about to finish. A last act, an end which however enables to foresee with a logical continuation. Time will say it to us…

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Paris, Sunday November 12, 2006
17:14 - rainy Weather. 8°c

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It would have been simpler to introduce the presentation of this album by a kind of "Install comfortably, because what follows, is a very good therapy, a kind of remedy for the moroseness or the stress, I am not a doctor, but I stand as prescriber of a sound method which makes it possible to alleviate the most impetuous spirits".

Yes that would have been more speaking, but good, was better to describe it to you through my perceptions rather 'to acknowledge the won bet of Charlotte by creating the event with one 5: 55 superbly succeeded. And then to organize an album with the AIR group was rather risky. Why? You will say to me, because the music of the duet 'AIR is a kind of music indefinable, and therefore AIR belonged to the new current of French artists followers of electronic music, you undoubtedly intended to speak about "French touch" which knew during 1998 a dominating point of the French culture through our borders. After to have conquered the world and fact of many follower, AIR is recognized for its talent as well by the musical ear as by the fantastic decoration as given birth to each one of their album. Today they create the event by mixing the small Charlotte with the "astonishing" universe with their sound art, by devoting a decoration to him to measure.

Charlotte arrives the hand raised to allure me by her sensuality, her small whispers delicately rocked by musical know-how AIR for the music. Jean-Benoit Dunckel and Nicolas Godin, both originating in Versailles (78), knew to give rise to a fusion of sounds and instruments, while playing with the levers of their table of mixing, to offer an at the same time celestial sound product and dreams. As what electronics can have good and is not used for only to manufacture Hardtops way techno music. Yes but AIR likes the instruments, the computer remains an interesting tool, but the true sound of the instruments should not lose of its authenticity. AIR it is for me simply a kind of drug sound, accros by the same process as that which make good for evil, except that there, it is good for good, because like the chemical version, once one tasted there, have cannot more without passing, without any effect harmful for health. Because you will not become therefore deaf, so much the sounds are soft and alleviating.

Charlotte through her melodies, asserts herself as princess. Its attitude of child wife, shameless shy person, Gainsbourg heiress satisfied, the whole stuck to this second album makes it possible to concretize its art with its way. It could have made an easy album, to make good commercial old man, to be surrounded brewers of tickets. But for me, to call upon AIR to make a musical project shows regard, misant on the quality of a melody more worked than on a beat than vulgar could have given birth to. 5: 55 is for me the revelation of the year, the ideal album to alleviate the pressures. A magic Album which very quickly transports its listener in a long and tasty dream. Everyone intended to speak about the Stress, you live it even per hour when I speak to you, that it is cities or fields, it knew to be established in our lives, without obstructing itself for as much, it is obvious that has to choose anybody would not have invited it to divide its daily newspaper have has well enough the taxes and other taxes. It is not friendly with anybody can be with the Devil and still, it supervises as a recluse and attacks the man while making it dependent on its madness. The life moves, us also consequently occasion, but it is far also time when we could appreciate the generosity of times of pause, to take time to look at a landscape to pass more than three hours in front of Internet. With this album you will live the emotion with his right value. 11 titles which make a success of the bet to make you divide a world of positive illusions, this 5: 55, enters the sound therapy of the musics of appeasing of the spirit. After it is you who see.

Good listening
Good division
Good dream.

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║ SuperSpeedPuma from France
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Pr ice: 15.99 € (France) 9.99£ (UK)
http://www.charlottegainsbourg.net
http://www.charlottegainsbourg.fr
© Jarvis Cocker spaniel: PULP
© Neil Hannon: Divine Comedy
© Nigel Godrich: Producer of Radiohead
© AIR: http://www.airfrenchband.fr

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