In 2015, Cabrel offered In extremis, a particularly dark and committed album where the living legend, counting the years that remain to him (hence the title), shot red balls on several institutions and themes for what could have been a last legacy before sheathing his guitar a good once and for all.
At dawn returning
While times are even more opaque than five years ago, the gentleman not only returns to the charge, but also – surely despite himself – with a new mission: to improvise balm for music lovers.
SOFT FEATHER, PROUD FEATHER
Yes, the “homecoming” is a galvanized concept, but lends itself well to At dawn returning where Cabrel again approaches matters of the heart (Look like you, a tribute to his father, is to be heard with handkerchiefs, by the way) and his roots well anchored in the south of France.
Thus, the most committed comments found on At dawn returning are surely those of rockstars from the Middle Ages where he celebrates the Occitan language and the troubadours of yesteryear. Genuflection also echoing the title track of his previous album where the singer-songwriter denounced a certain uniformity of French culture to the detriment of regions and their particularities.
Musically, Cabrel remains equal to himself (very, very good).
A “return” as unexpected as it is estimated, therefore.
Surely one of the most hoped-for releases this year, local left-field pop artist Helena Deland finally unveils Someone New, her first LP, and – best of all – the work exceeds the considerable expectations surrounding the project of the singer-songwriter consecrated in 2018 and who has already trod the same stage as Iggy Pop since. On the program: dark pop alternating between ethereal moments of grace and more punchy points. Having spleen has rarely been so interesting. Do not miss !
Émilie Daraîche proves that she is more than “the daughter of” on this surprising namesake album. Let’s say it, bearing the name of Daraîche comes with its share of advantages, of course, but also of prejudices among certain music lovers and the main interested party is detached – consciously or not – from what her clan has brought to the country Québécois to this day with a more pop direction, while avoiding distorting its genre of predilection (its cover of All the boys and girls This is particularly evident in this regard). A successful introduction, in short.
As if 2020 wasn’t already strange enough in itself, here is the cult Quebec rap collective resurfacing, bringing the adage “when times are tough, the tough ones are active” up to date at the same time. As vociferated on the firebrand Assault, “No bullshit” on this old school LP that is neither nostalgic nor lace. A snub, wanted or not, still interesting to the bifurcation more left field and more and more popular within their musical genre in recent years. To (re) discover!
In 2013, Yoann “Woodkid” Lemoine captivated with The Golden Age, a dark and ambitious work that marries pop and classic in a spectacular way (and what about the visual packaging, showing why artists ranging from Taylor Swift to Harry Styles recruit him as director of their music videos). Years later, the jack-of-all-trades got more electro and seemed to come up with their own take on the soundtrack of Blade runner (that’s a compliment, by the way). Quite a trip, what!