In the house where Emilie grew up, there was a passage that she liked to believe was secret. This passage took Emilie from one land to another, leaving behind the world of an eight-year-old to enter the magical basement where her father, a sound engineer, had set up his studio. There, at an age when most little girls are engrossed in their Barbie dolls, Emilie would listen to visiting musicians usually jazzmen and gaze in wonder at the glowing ballet of LEDs and VU meters. Sometimes, her music-loving parents would take her to jazz clubs where she stayed up long past her bedtime, lulled by lazy solos from sandmen with a difference to finally fall asleep on her mothers knee. Careers have been founded on less.
Fifteen years later, Emilie is now a musician too, not to mention a singer-songwriter and sound engineer. Over the years, she has learnt to orchestrate string sections, delved into the mysteries of the thorniest contemporary musical genres at the IRCAM (Acoustic/Musical Research and Co-ordination Institute) and finally set her heart on pop. Undoubtedly influenced by family tradition, she writes and shapes most of her music at home, grappling alone with guitar, electronic paraphernalia and an instrument vital to the proper expression of all the others: her brimming, limitless imagination.
Now we find ourselves in the year 2006. Emilie has had 3 successful european releases, including the critically acclaimed "March of the Penguins" soundtrack for director Luc Jacquet and her most recent masterwork "V..g..tal". With her sites now set on introducing herself to the US, the forthcoming album "The Flower Book" is a time capsule of her most brilliant work to date. With songs in both french and english and stylistically dancing the line between Pop and Experimental Electronica, "The Flower Book" is nothing less than one of the most refreshing and forward thinking albums to be released in 2006.
ไม่มีความคิดเห็น:
แสดงความคิดเห็น