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PALESTINE an original track and 6 interpretations by 6 strong-tempered personalities...
Cornerstone of Yann Tiersen's next album Dust Lane, PALESTINE stands at the crossroads of the artist's multiple talents. It is the expression of an itinerary without fail where the toy piano harmonises altogether with the electronic instruments, Dave Collingwood's implacable drums and Matt Elliott's characteristic voice. An invitation to travel, in an undoubtedly troubled time, but, above all, a humanistic hymn beyond boundaries, reflecting unfailing hope.
Ici,d'ailleurs asked some members of collective This Immortal Coil (of which Yann Tiersen himself) to deliver their own reading of this emblematic track.
Deadverse (Dälek) gives the opening shot with a version worthy of an armoured division ready to blast away all genres and walls; heavy hip hop with industrial rhythms, both insistent and devastating, for modern dancefloors.
Chapelier Fou, with a complex rhythmical cartography - in the vein of his début album to also be released in March - cleverly de-constructs the boundaries of PALESTINE in a sequenced slow motion crumbling, like a deeply moving continuous shot where sound gives life to images.
Matt Elliott brings his project The Third Eye Foundation back to life for a totally unbridled comeback and blows minds away with his unique dark shadowy dub to once more prove the obvious universality of his language.
Yann Tiersen, in trans-genre-hobo way, brings peace to his track by opening its own boundaries to the spectres of serial composers, of German precursors of the digital age as well as the post-Timothy Leary of the years 2000, to deliver a yet unknown face of the artist.
Yann Tiersen is one of the best known French artists of his generation and the most world- renowned for his writing skills.
While his reputation as a musician was first established thanks to his early studio albums, La valse des monstres (Monsters' waltz), Rue des cascades (Cascade street) and Le Phare (The lighthouse), that served as an introduction for the mainstream audience to his music writing wisdom, it was his work on the score for the movie Amélie Poulain (Amelie) that earned him widespread recognition, where, thanks to great neoclassical vision, he would play around with pop and folk sounds, stripped from common cliches.
But Yann Tiersen made his biggest impression on spectators first and foremost through his live performances, playing alone or with his band, by delivering an emotionally charged and freely inspired conception of his music to the audience.
This libertarian attitude greatly influenced the writing of albums to follow, alternating classical film scores (“Good Bye Lenine”, “Tabarly”) with more “pop” music for his studio albums (“L'Absente”, “Les Retrouvailles”) followed by prestigious guest appearances honouring his unique style of composing (Stuart Staples, Jane Birkin, Dominique A, Lisa Germano, Neil Hanon and more).
On the strength of these successful achievements on record and on stage, Yann always strived to create his own trademark sound, never dwelling on the way that the mainstream audience labels him. By experimenting endlessly with various new musical directions and collaborations (Shannon Wright, This Immortal Coil, Orka...) he reminds those who care to listen that his musical boundaries go as far as he choses.
Yann will have been carrying this message to whatever remote area his worldwide tours will have taken him to, playing his own repertoire under an infinitely fresh and renewed musical light, challenging his own codes.
His new album Dust Lane, brilliantly proves the extent of his ambition once again, blasting all ideas of hermetic musical boundaries; borrowing this time from Rock music sounds, and allowing his musical writing skills to blossom into a superb and strong creation, soon to be shared with his followers on stage. |
