With all due respect to the haters , the critical and popular success of several participants of the famous showcase over the editions – let's think of Charlotte Cardin, of course, as well as Matt Holubowski, even Ludovick Bourgeois – shows that the general public remains keen of musical discoveries and that a simple passage at La Voix can launch, even reinvigorate, a career in an industry that can be as inspiring as it is dying.
The voice sings
Hence the special character of this new compilation of songs from the 2020 vintage where, more than ever, previously unknown singers share the microphone with more experienced artists (Suzie Villeneuve and Clément Jacques, in particular).
What about the work? Basically, we are offered duets featuring past and present hits from the Quebec repertoire.
First surprise: the must-haves like L'escalier de Piché (where we flirt here with soul via Philippe Tremblay and Tom Eliot Girard) and Comme un million de gens de Dubois (transformed into a pop-rock ballad by Allison Daniels and PETiTOM) are exceptions.
The number of “curved balls” thrown is also astonishing. Although A hole in the clouds is a classic, rare are the contemporaries of Rivard who rub shoulders with it … until today via Josiane Comeau and Gabriel Langelier who “crinque” the grandiloquence at eleven.
The adaptation work behind the pieces
The regular (s) of this column know that I'm bored solid when artists offer covers of albums without taking liberties with the original material and obviously the producers of Voice fear my wrath (it's beautiful dream , eh) so much we do not hesitate to “bring us elsewhere”. Obviously, the risks incurred here are still wise, but the intention is there and can be understood.
Thus, fans of La Voix will remain under the spell and other music lovers, they could be (pleasantly) surprised.
Expat Vol. 1
I sincerely doubt that the producers of Expat expected such a bomb by entrusting the mandate of its soundtrack to Alex McMahon. Obviously, the reputation of the gentleman is well established; the guy who has collaborated as much with Bélanger as Moffatt, in addition to having participated in the electro Plaster adventure, but the multi-instrumentalist offers himself here a big soul, funk and world trip very contagious which exceeds the expectations that one can have for a TV series soundtrack! Those nostalgic for his record Let It All Out should especially love it.
MARIE DAVIDSON & THE NAKED EYE
Two years after the publication of Working Class Woman , where the local electro artist went with an introspection as interesting as it was dancing, Marie Davidson – accompanied by her close collaborators Pierre Guérineau and Asaël R. Robitaille – opt here for the point of view “losers” (as she puts it so well by way of introduction) on Renegade Breakdown . The result is a work with hyper relevant remarks and even with more accessible beats than in the past (although still in phase with the discography of the lady). To (re) discover!
Maybe it's the accumulation of album anniversaries (we highlight the 20th of White Pony this year, the 10th of Diamond Eyes as well as the 25th of Adrenaline ), but the ninth LP of the cult band has tunes of “back to basics” and, unfortunately, it smells warm. No offense to the fans – the offering is indeed satisfactory – Ohms remains below expectations for this group which, in fact, has pushed the limits of its genre of predilection since its inception.
Let's face it, Peter Peter could have named this LP “superfecta”, as the main interested party delivers a fourth album just as “winning” as the others. Without abandoning his electro spleenesque pop aspirations (and more and more synthwave breakthroughs), the artist and his collaborators – including director Emmanuel Éthier – surprise by multiplying more organic and warm pieces, even flirting with postpunk. For reference, imagine an unexpected meeting between Daniel Balavoine and Mac DeMarco.