Monday, 24 January 2005

Killer Joe


Lian showed us Killer Joe, a character she has created for the song Goovy. Dozens of little faces with a different expression. Killer Joe  was apparently based on Robert Smith, but I do think it reminds me a lot of Tim Burton’s Mr. Jack. (although I shouldn’t say it too often)
Anyway, she has created a world of her own, complete with house, furniture, piano, telephone and newspaper lying on the floor. That has required weeks and weeks of patience and hard work in order to make each face, each item.
I’m really excited to see the first clip of the video. 


Monday, 17 January 2005

Army of Mixes

I have read that Björk was asking fans and musicians to submit remixes or cover version of Army of Me for a 10th anniversary 2cd release of the song. The money made of the sales would go to charity.
I didn’t give it much thought, because I had no idea how I could remix the song, much less re-arrange it.
But then Simon talked about it as well, and the idea grew in me. Why not? W.h.a. was a goldmine in terms of musical ideas. There was enough to fill a whole opera.
So I spent the whole Sunday writing the arrangement and the programming on the computer, then recording my vocals with my old microphone. I tested the result on Aurélien who passed it. At one o’clock in the morning the song was sent to Björk’s website. Que sera sera!

Listen to

Monday, 10 January 2005

Death / House / Dream

If I could keep notes of all the dreams I’ve made, I could publish a whole book. A friend told me that Kafka wrote down many of his dreams in his journal. I will try to find the book.
I’ve always loved to read journals of letters to know more about somebody.

It took place in a dark big Hollywood mansion, not unlike the one in which Norma Desmond dwells to hide from the present.
It also took place on my birthday, July the 17th. My family was there, as well as some friends. But I had a very uncommon job: I was to make sure that corpses were actual dead people, and do it in a rather horrible way: have the body split open and swim in it. Maybe it is a way to turn into a vegetarian.
So all the guests were in the living room, and I had to go upstairs to check the last corpse. That wasn’t fair, I was telling my mother. It was my birthday and I didn’t have to perform that gruesome task on the very day! Still, I climbed the big marble staircase, and reached a room on the landing. The door was shut, but I could see through it. There was not light on, but moonlight was filling the room so I could make out the shape of the naked body on the table. It was completely white. A bald man in his fifties, with heavy make up. He was turning his head in my direction and showing a rather uneasy smirk. I had to massage the back of that dead person! I visualized myself doing it, but decided to move on instead and not enter the room. There ended the dream.

It’s hard to remember exactly the dream. I usually try to focus on my connection to it, rather than its possible meaning.
The second dream involved my friend Dominique. He was living in his new house on the Côte d’Azur. Now that I think of it, I notice that each time he appears in my dreams, he always has just moved in a newly bought house. This time it was a white two-story house, with a small living room downstairs, and two bedrooms upstairs. The place was nicely furnished, yet with very neutral tones. Mostly white. This house strangely bore similarities to the one where my childhood friend An and his brother Hoà used to live. His mother got cancer and prematurely died when barely aged forty. No one knew about her sickness, except her husband and my parents. We learned the terrible news only one week before it was too late. The husband wanted to spare her the pain and the agony of knowing. The shock took time to register in us and her death haunted us for many years afterward.
She died in her house, one Sunday afternoon of November. Since then, the spirit of this house would regularly appear in my dreams as other people’s house. So that’s the house that Dominique was showing me. We then took his car to go to a friend’s place. The ride reminded me of that scene in To catch a thief where Cary Grant is driving Grace Kelly at high speed in his convertible car along the French riviera. The sky was gorgeous, yellow turning red, with beautifully shaped clouds.
Dinner at Dominique’s friends was terrible. Everyone started blaming me for what was happening to him. I left, and a second later, found myself in his house again. Since no one was there, I decided to borrow a few cds and dvds from his huge library. It was then I discovered one room occupied by two sleeping young men, the very room where An’s mother died.
I walked out to the garden and found out that people had been waiting for me. An execution was taking place. Around twenty young people were to have their throat slit open. I was last on the list. When my turn came, I was given the choice to shorten my wait and be killed before the person before me. I accepted, since I didn’t want the agony to last.
I felt the blade cut my throat and saw the blood dripping. Schubert’s Death and the Maiden second movement was playing on an old gramophone.

Tuesday, 4 January 2005

Bye bye London

Good bye London!
Another chapter of the book is finished. I have nearly two months ahead of me before going to Japan. Will there be enough time to finish the album as well as the website? Not to mention the rehearsals of Salomé

Wednesday, 22 December 2004

And the song goes on

I haven’t heard from Bibbe for the past two weeks. I know she’s back in LA for a few concerts. She said eventually didn’t appear in that zombie movie she was telling me about.

Rémi has played the mixes he did on Love and Long, and Hôm Qua. Just brilliant. I’m happy to see how the songs slowly find their place one by one in the big picture. The long process is such a learning experience for me. Of course I do lose patience, but I’m really glad it’s taking so much time. I’m discovering more and more every day.

Karen has shown me the lyrics she intended for me, currently titled Song for X. If I wasn’t so sure about the draft she previously wrote, the new way she approached the theme suits me better. Certainly more writing sessions will be required, I think we have a good song in our hands! Great, touching, moving and compelling. I don’t know how aware Karen is of her talent as a lyricist.
I’ve brought along the sheet of paper on which she’s scribbled the draft and will start sketching it musically. I already 'hear' the song in my head. Simple arrangement with merely a guitar and a piano backed by some rough beats in 7/8.
That could be a nice last minute addition to Circlesongs.

My father’s website is officially launched. I sent hundreds of e-mails to spread the word. Only the scrapbook section remains to be done, if ever we maneg to finish it. 

Saturday, 18 December 2004

Trust

What always brings me so much joy in any collaboration is when the connection between my partner and me is so fluid that none of us has to say anything because we do not put our ego in the work. That is the case with Maria Cristina. She really trusts me, so I feel free to give the best of me and remain who I am creatively without any compromise.
That is rare.
The Dance of the Seven Veils stunned everyone. The music was a bit loud though… But that section with the heavy drums never fails to startle me!
I felt something opening up in Maria Cristina. Before today, she had no idea what I would be able to do. Of course she had heard the music I composed for W.h.a., but that wasn't a garantee that I would be suitable for Salomé
"When I heard the beginning, I liked the atmosphere and the ritual vibe that came out of it. Then as the music developed, I had this wish to hear some change, something more dramatic... and then it happened right at the moment in the music!!!" she told me with a big smile after the rehearsal.
Now I feel trusted, a feeling which is unbelievably freeing.


[…]


At Julia's...
Even though I was shaking like a dead leaf blown away by the wind, I managed to sing my Handel aria with gusto, threw myself in Schubert’s Erlkönig and ended with a song by Tchaikovsky which earned me praises from Julia. Of course, there's nothing to shout about, I'm not the new Thomas Hampson, but as she’s been the first one to teach me to love my voice, it is gratifying for both teacher and student when I make a big move forward vocally.



Thursday, 17 June 2004

Passing questions


I realized one thing on my first days in Vienna: I had been spoiled in Paris. Thousands of shows and concerts every day. I felt overweight with culture. I don’t give myself enough time to let what I have seen grow in me. The reason one would attend? A great musician, a great director, a great choreographer, a great singer, a great film, a superstar, a pop star, a rock star, a name…It’s a command: we must go. Thirst for culture? Adulation in disguise? Consumerism?
A lack of faith maybe.
A funny thought: even if they do not believe in any religion, people would pay more and more money for an unaware search for the divine, be it at a football game, a concert by the Wiener Philharmoniker, a concert by Madonna, Frodo’s in the Lord of the Ring trilogy, a porn film or a TV show. A moment of bliss, this catharsis which unfortunately they cannot create themselves. Not so funny, this thought.
I’m sitting at my desk, composing music, working on this album, visualizing future concerts and performances: everything has to go through the money filter.
During the interview he gave at the Musikverein, Thomas Hampson strongly insisted on the important role of the audience, on the fact that they shouldn’t remain passive and accept ready made views about how to listen to music. The connection can only be made if they see each performance as a new and unique moment between them and the artist. Just like when you talk to someone.
Then the depressing thought that all of us are completely conditioned by this money system, everything is  only made possible with money. Artistic creation... The relationship built between artists and the audience is of consumption. They might get something out a work of art, they might be inspired or be shown another way of thinking - or living. But that only works when they have paid for it. It’s frightful. Where are we?