Tuesday, February 13th, 2018

Myléne Farmer – Rolling Stone

Three decades on the French charts, first time on the Jukebox…


Alfred Soto: Giddy with ideas — a synth buzz here, trap percussion there — this Canadian singer enjoys performing her angst, her lower register supplying a strong dose of camp. She could be Tove Lo or a character in a Xavier Dolan flick.

Anthony Easton: You can tell that she is famous in France, because the sleaze is in very good taste; you can tell she is Québécois, because those efforts never fully erase all of the grease. Extra point for how much it reminds me of Brigitte Bardot singing about motorcycles. 

Katherine St Asaph: A vision of “dark pop” that just barely grazes what’s charting then veers off in its own, deeply French direction. There’s a lot out there like it.

Edward Okulicz: Farmer’s best songs are epic, sprawling worlds to get lost in that are so deep and complex that even Google Translate won’t help. “Rolling Stone” pairs a trip-hop dark-pop groove with an oddly simple “la la la” chorus, and it’s enticing, but this is territory she covered and conquered last decade. The auteur has become a craftswoman; this is certainly beautifully appointed, but like a gold-plated trinket I’m not sure I know what to do with it.

Will Adams: There’s great atmosphere on the verses alchemized with just a few essential elements: wiry guitar, light percussion, and a temple-throbbing bass. But the chorus loses it, opting for “la la”s and jangly guitars that steer it into confusingly jaunty territory.

Micha Cavaseno: Dreary electro noir-pop that relishes in its apparent worldliness, but instead stabilizes for a flat perpetual glare; both in gesture and in agitation. The kind of record that is too assured it’s communicating wisdom without anything of the sort to offer.

Reader average: [7] (1 vote)

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