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Jean-Yves Jouannais's Tribute to the Record Album "Ersatz"

 
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Lorelle
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PostPosted: Sat 24 May - 06:59 (2008)    Post subject: Jean-Yves Jouannais's Tribute to the Record Album "Ersatz" Reply with quote

Jean-Yves Jouannais author of The Idiocy
often quoted by Julien Doré

to the Record Album Erstaz, in May, 2008
(Foreword extracted from FR "Julien Doré Officiel" --YouTube Channel)


Distance in the depth-of-field of the frame with Duchamp
du champ avec Duchamp*


" Soldiers are the only ones to believe that their songs speak about love." Félicien Marbœuf


We think to know of where Julien Doré comes out. He comes out of the television set. There where he goes, nobody knows it, but we can be sure that all the directions are right. At the time of his youth, that is today, he already masters many things. And we don’t speak about his charm. We grasp it by listening to his songs. He studied the modern and contemporary art. That weighs to him little, but he understood that it was the mainspring of a heck of capacity. He knows in particular that the modernity made delicate, at the risk of the kitsch, the custom of the lyric and all the small family little silly of the feelings. Then he invents screens, baits, which recover all of the irony and the idiocy. It goes from the pin to the splits between Kinks and Alizée, from the invention of all his children to that of all his imaginary childhoods, from a first album which is called Ersatz to the tattoos honouring his guardian divinities Jean d' Ormesson and Marcel Duchamp.

Duchamp-D'Ormesson that just means a maximum distance. That would have been able to being Métallica-Chateaubriand or Vuitton-Leader Price. This very big space, it is only to him who drew the Limits, the title suggestive of his first single. And in there he can make everything, with a peculiarity which we had not seen for a long time. Like release beauty without that that drips, to dare the private without that that smells stuffy, to try the dandyism without flirting with the knackered eccentricity, to sing the seasides without that that stinks the bit of burnt fat.
The Seasides is exactly ballad as precious as impressive which thrills and moves any sensitive soul.

Julien Doré gave himself field not to be hampered by the neighbours. He is in the shadow of nobody. He put himself shielded from any comparisons. It is for that that he reminds people who do not look like him. It is very rare, and more moving still. Fill Whore, for example, is as the concentration in a point of all the love songs. It gives a sort of black, abrup and rough hole, where the melancholy rushes in everything go.

I thought of it by seeing recently a beautiful documentary on Patti Smith. Patti Smith who is maybe one of the only artists to assert frankly nor bend her passion for the beauty and the poetry. To say her admiration for Rimbaud, Baudelaire, and to declare that what she has never stopped doing it is to try to be as high as her models. I am persuaded that there is some Patti Smith in Julien Doré. Not in the inspiration, neither in the kind, nor in the hairstyle, nor in the touch of ukulele, but in this fragile and brave faith in the poetry. He is going to be angry at me to write things so cumbersome. This kind of thing must be liable to a libel suit. On the disk, Arno and Christophe are crossed there. We think of Bashung. Steams of Nick Cave, Black Keys, Herman Düne take us by the feelings. That makes us a bit odd. Especially admiring, because Julien Doré did not build his hut with perpends of quotations and beams stolen on other construction sites. It is absolutely necessary to penetrate into the very beautiful Piano Lys, into hymn in the unconcealed chords and in the enchanting voice, to grasp that in this house, which is indeed his, we want to spend a lot of time.
Something began. It's serious and deep although proud of his youth. We recognize that it is not only a career, but already a work.

Jean-Yves Jouannais

Creative Commons License
Translation / Traduction by Lorelle

*"du champ avec Duchamp" : The original pun expressed in the French title by Contemporary artist and writer Jean-Yves Jouannais (having too directed Art Press as Chief Redactor in the end of the nineties) are connected to the fact that in French Duchamp literally means "of the field" both connected to the French expressions "prendre du champ", or "donner du champ " that want to say " take some distance " or " give some distance" as current cinematographic metaphors coming from the relationship of distance with the subject in the depth-of-field of a frame. What makes untranslatable this title but otherwise as circumlocution.
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PostPosted: Sat 24 May - 06:59 (2008)    Post subject: Publicité

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