Because music of Emilie Simon, it's still something! A super-efficient hybrid pop and electronic music with rare organic qualities, just over the years and standardized outputs discographic doing, but the work of craftsmanship in all cases.
So Molting, vintage 2014, 3 years after Franky Knight, after the mourning ... a rebirth? Intimately, it is wish him hope fulfilled, musically, it is far from obvious. And it is perhaps not unreasonable considering that the style of Emilie, who played but basically remained the same, is part of his art and that, therefore, move away too would be lost.
That said, who says style does not necessarily mean immobility, that each album Emilie proved by having its own personality, its own sound. Mue is no exception to the rule. Currently, Emilie decided to undress his songs, offering them tidy but free of this instrumental emphasis that had finally invade its production. And that is good news because the voices and melodies of Montpellier, and its propensity to create delicate and refined arrangements, largely sufficient on their own.
Side songs, it gives a selection of very good quality which, once again, a melodic kinship between Emily and Kate Bush stands out as the obvious ... That's a compliment. Already, there is a close range, then there is the icelle job for creating a melodic music but formally still a little foresight. Pop forward, it seems. because Emily, whose academic background is known, likes to pummel the formative elements of his pop, add strings to his tears emotion (Paris I took boonies), percussive African peri-acrobatics and guitars funk (Liar), Orientalist scenes and melodramatic at times (ink), delicate acoustic constructions (The Eye of the Moon) ... etc., because we did not get bored one second on a varied album, melodic, pulling overall softness but leaving some useful crescendos. A real nice collection with a nice resume Wicked Game by Chris Isaak bonus, more delicately controlled his two predecessors, a bit more inspired too, where overall satisfaction.
More than a change of skin, Molting gives the impression of a reset counters, a reboot of the machine. It finally found an unchanged Emilie who just decided, in appearance at least, to simplify everything and in doing so let songs breathe. A great idea for an excellent album!
Emilie Simon - vocals, keyboards, guitar, sound blade
Simon Edwards - bass
Martin Barker, Raphael Seguinier - Battery
Henri-Charles Caget - percussion, harmonium
Nicolas Bauguil - guitars
Tahiti Boy - keyboards
Cyrille Brissot - choirs, additional programming
Catherine Michel - harp
Leon Michels - Optigan
Gary Barnacle - soprano saxophone and tenor, flute
Nick Carter - alto and baritone saxophone, clarinet
Jack Birchwood - trumpet, flugelhorn
Steven Fuller - trombone
Sally Herbert - cords management
Natalia Bonner, Calina de la Mare, Alison Dodd, Richard George, Ian Humphries, Rick Koster, Everton Nelson, Tom Piggot-Smith, Julia Singleton, Lucy Wilkins - violin
Nick Barr, Charlie Cross, Claire Orsier, Bruce White - alto
Ian Burdge, Sophie Harris, Sarah Wilkinson, Chris Worsey - cello
Richard Pryce, Lucy Shaw - bass
