Daniel Lanois? We think guitars not too clean, soaked in the muddy waters of the Mississippi (or a lake not far from Gatineau, land of origin). We think directing, for Dylan, U2, Gabriel, long list. Who would have said: Lanois, pianist? Nobody. Except Lanois. We knew he was capable of trying anything. Afraid of looking amateurish? On the contrary. What this first album under the BMG label says – and the repatriation of its catalog – is that it doesn’t have to do Lanois again. Opportunity seized, creative mode renewed. Piano? Go for the piano. Not fluid but smart, Lanois compensates: he registers the left hand, then the right. Or the contrary. A chronic contrarian, the Daniel. Thus is born a pianist who is not really a pianist. A little extra programming. Other keyboards. A somewhat artificial album emerges. Not Lanois in direct grip, nor rooted Lanois. Rather Lanois in full experimentation, fine melodist all the same. Not so much what the title player, piano announcement. Spirit of contradiction, go!
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