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CD
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IF 1066CD
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Léonie Pernet's second album Le Cirque de Consolation, to be on InFiné and CryBaby, inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music, neo-classical music or the role of voice, whether human or synthetic. Sophomore albums can be a painful process for an artist. The sought-after whirlwind of French pop that exploded onto the scene with her debut Crave, Leonie Pernet returns with her second album, Le Circque de Consolation, a sort of double negative of her first. While the yearning that sat at the center of Crave might not have been resolved, the young multi-instrumentalist and singer has found a new perspective -- a more open and positive outlook on her own life and work. Perhaps telling, then, that the title was the first element of the album to exist: as it is and has always been a journey of personal (and collective) consolation first, a musical confrontation with the self. In line with her new-found "openness", Leonie invites another musician into her creative process for the first time on Le Cirque de Consolation: Jean Sylvain le Gouic, who lent his coproduction and perspective to her, while Leonie still plays almost all instruments herself with an astounding prowess. Leonie's voice oozes with a new-found self-confidence and takes center stage amidst eclectic, distinctively fun and open-minded production. Surrounding her astounding, intoxicating voice are forays into any direction imaginable: from harsh, experimental electronics to the more somber, organic and quiet moments -- and everywhere, there is the vision of Africa, (also Middle East) it's many sonic gifts and cultures. The French novelist and philosopher Édouard Glissant -- whose work and writing had a big influence on Pernet -- coined the term "Creolization". From "Hard Billy", a techno-influenced rebellious anthem, to "Les Chants de Maldoror", a club and dance song propelled forward by feverish derboukas, to the deeply moving "A Rebours" and its Afro-electronic rock. Léonie Pernet inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music ("Intérieur Négro"), neo-classical music ("Le Cirque de consolation", "Dandelion"), or the place of the voice, whether human or synthetic as in the atmospheric "Vowel".
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LP
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IF 1066LP
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LP version. Léonie Pernet's second album Le Cirque de Consolation, to be on InFiné and CryBaby, inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music, neo-classical music or the role of voice, whether human or synthetic. Sophomore albums can be a painful process for an artist. The sought-after whirlwind of French pop that exploded onto the scene with her debut Crave, Leonie Pernet returns with her second album, Le Circque de Consolation, a sort of double negative of her first. While the yearning that sat at the center of Crave might not have been resolved, the young multi-instrumentalist and singer has found a new perspective -- a more open and positive outlook on her own life and work. Perhaps telling, then, that the title was the first element of the album to exist: as it is and has always been a journey of personal (and collective) consolation first, a musical confrontation with the self. In line with her new-found "openness", Leonie invites another musician into her creative process for the first time on Le Cirque de Consolation: Jean Sylvain le Gouic, who lent his coproduction and perspective to her, while Leonie still plays almost all instruments herself with an astounding prowess. Leonie's voice oozes with a new-found self-confidence and takes center stage amidst eclectic, distinctively fun and open-minded production. Surrounding her astounding, intoxicating voice are forays into any direction imaginable: from harsh, experimental electronics to the more somber, organic and quiet moments -- and everywhere, there is the vision of Africa, (also Middle East) it's many sonic gifts and cultures. The French novelist and philosopher Édouard Glissant -- whose work and writing had a big influence on Pernet -- coined the term "Creolization". From "Hard Billy", a techno-influenced rebellious anthem, to "Les Chants de Maldoror", a club and dance song propelled forward by feverish derboukas, to the deeply moving "A Rebours" and its Afro-electronic rock. Léonie Pernet inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music ("Intérieur Négro"), neo-classical music ("Le Cirque de consolation", "Dandelion"), or the place of the voice, whether human or synthetic as in the atmospheric "Vowel".
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