ON the program this week, the electropop turn of Maxim Nucci and an underrated album by the Heartbreakers.
Yodelice, What’s The Cure
After having long lent his various talents (guitarist, composer, producer) to artists of the caliber of Johnny Hallyday, Maxim Nucci reactivated his Yodelice project with a superb acoustic album a handful of years ago. Passed unjustly unnoticed, The Circle was, however, a deeply original and personal record, a thousand miles from the highways of musical production. The great strength of the forty-year-old is in fact to absolutely produce the Music he wants, without constraint or obligation. A great luxury in these times. Today, What’s The Cure focuses on another musical style. By experimenting with machines (drum machines, synths…) and also his good old guitar (an L series Stratocaster for connoisseurs), Yodelice definitively moves away from the folk with seventies accents which made his success a long time ago. fifteen years. Along the way, he invented a slightly mutating style between blues and new wave. If the voice sometimes has accents of Dave Gahan (Depeche Mode) or Paul Banks (Interpol), the compositions are indeed the original work of Yodelice. The climates are dark, heavy and oppressive, the voice assertive and the sounds careful. Even before the album was released, Yodelice performed her songs on stage, surprising her audience with these new inflections. A great proof of independence.
Also read
Her new album, her memories with Johnny Hallyday, Jenifer… Yodelice (Maxim Nucci) confides in Le Figaro
Tom Petty & the Heartbreakers, Long After Dark
France missed out on Tom Petty a bit. Celebrated in his native country – the United States – as a top-flight songwriter, the man pursued an admirable career from his first album, in 1976, until his untimely death, in 2017. On this side of the Atlantic, we have never really measured its impact, not far from figures like Springsteen or Neil Young. Perhaps because he has only performed in Paris twice in twenty years. Since his death, we can no longer count the live albums and very careful archives that have emerged. It’s the turn of Long After Dark, reference from 1982, to benefit from deluxe treatment. The album nevertheless has a strange place in the man’s discography. Equidistant between the two classics that are Damn The Torpedoes (1979) et Full Moon Fever (1989), Long After Dark is the group’s latest LP produced by Jimmy Iovine. It marks the arrival of bassist Howie Epstein, who will embellish the titles with superb vocal harmonies. The tracks are strong, some of them have often been played on the radio, but they lack that little extra soul that makes great albums. This new version benefits from a dozen unreleased tracks which raises the rating of this disc.
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