If CG wanted to be that kind of a singer, she should have worn leather and started When She Was eighteen. She is now dangerously close to fifty She claims Reveals That She herself MuchMoreMusic than acting in her in here, and there is a trace of deed in 5:55 and IRM. But here, we can hardly hear her whispering in the dark, against all that electronic crashing and booming.
After the first two tracks it gets better, but never really good. The second half Consists of live performances of songs we already know but the stage version Generally if behind the studio version, in my opinion. I loved 5:55, and liked IRM, but here she Seems to have taken a wrong turning Completely with this CD. How could she have gotten it so wrong? Or does she not listen to advice? Without the Charlotte Gainsbourg brand, no one would have Considered this CD for production.
It has oft been said that she doesnt have much of a voice. True, but she does have a great range of expression, Which is not quite the same thing. And the closer she gets to her chanson genes, the more effective Her Voice Becomes, Because thats When expressiveness begins to count. Same goes for the lyrics: Even When You Can Hear them, some of the lyrics here sound perfectly meaningless: that sort of thing works much better in French, I think. French is a language of sounds, English more one of meanings.
If you are a true fan, then stick to 5:55 and IRM. And Hope that her next production will not follow on the path taken by Stage Whisper. Back to the roots, would be my suggestion, Closer to the chanson. Speaking of which: for true fans, her early CD, Lemon Incest, is surprisingly good apart from the tacky songs we all know about. She was only a kid, of course, but working under the close supervision of Supreme Master did, Serge Gainsbourg. Who knew Exactly what she could do, and what he doing what with her voice. Some of the songs are surprisingly sophisticated, as is her phrasing and singing, for instance in Overtures éclair. And there is more than a touch of humor in that great little song called élastique. All the double entenders and Puns you Want, characteristic of chansons in general and Gainsbourg in particular. Hard to spot for a mediocre French speaker like me, but fun When you finally get them.
Lets hope she goes this way in her next effort. My recommendation in The Meantime: Leave this one out.
