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CD
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LPM 047CD
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Haiku-chanson with a US touch -- Fredda invents her own musical Land. From chanson's meeting with Japanese poetic forms and the garnishing sound of the American coast emerges a new album by Fredda. Where the sound of the words alone resonates with musical poetry, where words need no real translation, a singer, songwriter, and composer turns Francophone pop into an art form. Fredda's consistent development has awakened a sense of depth and soul. The title, Land, sets both the theme and the musical philosophy of the album. Fredda's fifth album is thereby an open arena for all those willing to occupy it, no matter where they come from. Fredda ignores musical boundaries and creates new connections; topical themes of uprooting and nomadism also play their own role in the lyrics. With Land, Fredda's songwriting has reached maturity and naturalness, but this seeming lightness and naturalness is in fact the result of meticulous work. Having put aside the already-finished album, Fredda decided to record it again -- having suddenly been struck by a very clear vision of how the character and sound of the songs should be. Her partner in recording and arrangement was for the second time round Pascal Parisot. After recording -- with guitarist Stéphane Louvain and the Fredda's live rhythm section Nicolas Desse and Alexandre Viudes -- a last decisive piece of puzzle was missing on the way to the end result of Land: for the mixing Fredda worked at Waterworks Studios in Tuscon, Arizona with producer Jim Waters (Calexico). Land is a sparkling jewel in which each song has its own place on Fredda's musical map: from the harmoniously flowing "Ma Rivière" to the melodic-hypnotic "Maintenant", along to the pearls of pop "Neige Rose" and "Maintenant". Thematically between a duet with Parisot ("Siestes Anciennes") and the perfect ending of "Les Amantes" lies the thematic key to the album: "Sur La Lande". Building on the atmospheric lightness of L'Ancolie (LPM 035CD, 2012) and the infectious energy of Le Chant Des Murmured (2014), Fredda has increasingly established clearer lines and now defines a new musical territory with Land -- a cosmos of chanson, melody, vocals, and sound meeting in artistic harmony unmistakably reflecting Fredda's strong personality.
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LP
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LPM 047LP
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LP version. Haiku-chanson with a US touch -- Fredda invents her own musical Land. From chanson's meeting with Japanese poetic forms and the garnishing sound of the American coast emerges a new album by Fredda. Where the sound of the words alone resonates with musical poetry, where words need no real translation, a singer, songwriter, and composer turns Francophone pop into an art form. Fredda's consistent development has awakened a sense of depth and soul. The title, Land, sets both the theme and the musical philosophy of the album. Fredda's fifth album is thereby an open arena for all those willing to occupy it, no matter where they come from. Fredda ignores musical boundaries and creates new connections; topical themes of uprooting and nomadism also play their own role in the lyrics. With Land, Fredda's songwriting has reached maturity and naturalness, but this seeming lightness and naturalness is in fact the result of meticulous work. Having put aside the already-finished album, Fredda decided to record it again -- having suddenly been struck by a very clear vision of how the character and sound of the songs should be. Her partner in recording and arrangement was for the second time round Pascal Parisot. After recording -- with guitarist Stéphane Louvain and the Fredda's live rhythm section Nicolas Desse and Alexandre Viudes -- a last decisive piece of puzzle was missing on the way to the end result of Land: for the mixing Fredda worked at Waterworks Studios in Tuscon, Arizona with producer Jim Waters (Calexico). Land is a sparkling jewel in which each song has its own place on Fredda's musical map: from the harmoniously flowing "Ma Rivière" to the melodic-hypnotic "Maintenant", along to the pearls of pop "Neige Rose" and "Maintenant". Thematically between a duet with Parisot ("Siestes Anciennes") and the perfect ending of "Les Amantes" lies the thematic key to the album: "Sur La Lande". Building on the atmospheric lightness of L'Ancolie (LPM 035CD, 2012) and the infectious energy of Le Chant Des Murmured (2014), Fredda has increasingly established clearer lines and now defines a new musical territory with Land -- a cosmos of chanson, melody, vocals, and sound meeting in artistic harmony unmistakably reflecting Fredda's strong personality.
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LPM 035CD
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Parisian singer-songwriter Fredda (Frédérique Dastrevigne) is poised to join the circle of French sirens with her new album, L'ancolie. Enchanting with beautiful and unique chansons, this is a celebration of the album as a musical art form, a balance of attention to the very last detail. Fredda's musical career began by singing alongside her partner chanson singer Pascal Parisot. In 2007, her debut album Toutes mes aventures (LPM 014CD) was released on Le Pop Music. Her biggest hit to date, "Barry White," was featured on the U.S. television series "Suits" and numerous international compilations. After her second album, Marshmallow Paradise -- a musical journey through America -- Fredda found a new sound with L'ancolie. She enlisted guitarist Mocke of the Parisian band Holden, after meeting him on a Le Pop tour in 2007. Throughout the album, Mocke's virtuoso solo guitar hovers gently around Fredda's voice. Other contributors include Marianne Dissard (from Tucson, AZ), who wrote the lyrics for "Morin Heights" and "Journal Intime," and songwriter Bastien Lallemant contributed one track as well. Who Fredda listens to and from whom she draws her influence from are unmistakable. Stylistically, she leans on folk singers like Karen Dalton and Vashti Bunyan, but also a great deal on the traditional music of the Appalachian Mountains. A few of the songs on L'ancolie are fed by a tender blues line. Fredda blends these influences into a new form of chanson with a truly classical approach by plucking threads of the French tradition and weaving them into her own contemporary interpretation. Even those who are not intimate with French will be able hear the language's poetic nature in Fredda's music. Subtle arrangements, use of acoustic instruments -- banjo, upright bass, understated percussion alongside her guitar -- and above all, Fredda's way of imbuing a romantic tone. Fittingly, there is no better metaphor than the name of a flower. L'ancolie is a rapturous love letter to the melancholic moments of life.
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