One minute and forty-eight seconds to I still hope that somewhere the wait ends, the first of ten songs from Lou-Adriane Cassidy’s second album, titled Lou-Adriane Cassidy says to you: Good evening. Good evening, as it should be, is the title of the last song on the album (which ends with a chuckle at 2 minutes 17 seconds). All in all, stopwatch in hand, we have 23 minutes and 10 seconds. The singer rounds off to twenty, it is easier for the trampling. “The album is finished / Here we are at the exit / Twenty minutes elapsed”, sings Lou-Adriane to a piano-bar tune, accompanied by a beautiful good evening. Several beautiful good nights.
In the languid and a little tired tone of last call of the singer: “It’s not because we’re afraid of the dark / That we’re going to stay here all life / The album is finished / Good evening good evening good evening”. Hear: it’s over, but we can start over. Twenty minutes, good evening, “it’s only goodbye”! “Yes, for an album that speaks openly about sexuality, twenty minutes at a time is honest! She laughs at the end of the line (yes, telephone, old-fashioned).
No, it’s not a real-time album, not a sequence shot. They are indeed songs. “Let’s say we don’t waste time! There is no intro, no solo, no real outro either. I wanted to go back to the basis of the pop song. Verse, chorus, verse, chorus, bridge, verse, chorus, thank you finished. It is meant to be compact, concise, precise, not to say in a hurry. These are fleeting moments that we tried to capture! “
Hello again, pop song
Question of efficiency, mastery of form, emotion surrounded without fuss. But not without art. The thrill of songs, as Stéphane Venne says, who knows a bit about it. Thereby, the snake is watching us is a pop confection à la Fleetwood Mac, where fear, grief, pain, wounds, and even the rope around the neck, follow each other more than pleasantly in the melody good to hum. A minefield where it is good to take each other by the hand. And move on anyway.
It’s an album that talks about emancipation and fusion, dependence and independence, desire and absence of desire.
“It’s very wanted, this contrast. At a time when our emotions are elevated to absolute truths, where our suffering is the only one that matters, this is a softly pop song to say that our suffering does not define us. When I sing: “Mum I have pain every day / Me too my love”, we meet. »And they continue to sing, Paule-Andrée Cassidy like her daughter Lou-Adriane. “Nice resistance,” the song also says.
All the texts were created in the play space that Alexandre Martel and Lou-Adriane gave themselves. A playground for creation. For the previous album, there were many authors and composers, and Lou-Adriane – who we knew from The voice, it should be remembered – was still perceived as an interpreter first. “With Alex [alias Anatole, artiste très complet], the collaboration was really happy and fun. You can’t talk about sex so directly in songs if you don’t have a little fun. We pushed each other to go further, we burst out laughing, and we went further still. Alex is also a detail freak: he plays lots of instruments, he adds sounds, but never for nothing, the same way I really tried to make sense of each line. “
Embolden each other
Surprise each other, embolden each other, compete in daring: when you find someone to answer tit for tat all that, you are in the car. The ultimate of pop becomes possible: surprise the listener, but without it appearing, turn left when everything points to the right, to the point of making the most improbable path natural. “It’s an album that talks about emancipation and fusion, dependence and independence, desire and absence of desire. InAnswer, an almost childish song, I am discouraged for a moment and the next moment I am “a soldier of the night / A magic mountain!” I am everything and its opposite. “
It is allowed and it is necessary in a relationship, we understand. “Alex really understood that. And Stéphane too. “Stéphane Lafleur is the only” intruder “of the album: his song The body in motion arrives in the middle, to put it even more directly and simply: “Him, his economy of words, it’s amazing. When he writes “The time we were good / At the same time”, that sums it all up. “
Funny to think the first album was called It’s the end of the world everyday : this time, in 23 minutes and 10 seconds, that’s enough. How far will Lou-Adriane Cassidy go in the density of human experience? ” Hello, the piece which opens the B side of the 33 rpm, lasts a good 29 seconds. “This is the instrumental moment of the record, a beautiful line of throbbing guitar, which one would think came out of an album of the 1970s.” It could not be longer, nor shorter. When we listen to it, we say to ourselves that yes, that’s not bad, the exact measure of a moment of eternity.