COLLEEN: Les Ondes Silencieuses (The Leaf Label)

COLLEEN
Les Ondes Silencieuses
BAY57
The Leaf Label 2007
09 Tracks. 43mins20secs



Buy it: CD | LP
Colleen | The Leaf Label

The twist on Colleen’s third album title, which translates as ‘The quiet waters’ but can also be interpreted as ‘The silent soundwaves’, reveals a lot about the content of the record. Gone are the complex electronic experimentations of previous records, replaced with simple melodies and crystal-pure acoustic instrumentation. While Paris-based Cecile Schott had already made a substantial step towards real instrumentation on her previous album, The Golden Morning Breaks (2005), there were still traces of the electronic treatments she had applied on previous outputs. For Les Ondes Silencieuses, Schott relies solely on instruments such as viola da gamba, which she already used on The Golden Morning Breaks, spinet, a relative of the harpsichord, both dating from the baroque period, as well as classical guitar, clarinet and crystal glasses.

Schott’s Radio France commission Colleen Et Les Boîtes A Musiques, released last year, already partly hinted at more delicate and introvert forms than previous work. This new album offers a series of wonderfully emotional and contemplative compositions revealing at long last the chore of Schott’s work in its full glory. Right from the opening moment of This Place In Time, the rich tones of the viola da gamba are layered in harmonic formations, ranging from sombre overtones in the lower registers to lighter nuances in the upper octaves. The pace is voluntarily slow, with silences carefully assimilated into the sonic canvas of the piece. This is a process that Schott repeats throughout the record, giving each composition a particular dimension. The melody of the title track is punctuated with pauses which serve to highlight the emotional scope of the piece. Equally, on Echoes And Coral, entirely played on crystal glasses, the chime-like resonance of each glass and the silences between notes is intrinsically part of the music.

Elsewhere, Colleen creates rich soundscapes by simply layering different instances of the same instrument, most prominently on Blue Sands and, to a lesser extent, Le Bateau, where the viola da gamba, in turn plucked, struck with mallets or played with a bow, is given impressive sonic depth. The sharp metallic tones of the spinet rains on Le Labyrinthe like an invigorating spring shower, especially in its second half where the pace becomes more alert, while a melancholic clarinet wraps its warm tones around the almost medieval guitar phrases on the stunning Sun Against My Eyes and Sea Of Tranquillity.

Colleen has consistently taken brave steps since she first appeared, determined to follow her singular path without compromises. Les Ondes Silencieuses is the logical development of her earlier experimentations. Relying solely on acoustic instruments, a process which she has perfected through her live performances, she creates here a magnificent piece of work, all in nuances and gentles tones, which is undoubtedly destined to eclipse her previous work and inform her journey ahead.

COLLEEN ET LES BOITES A MUSIQUE: Colleen Et Les Boîtes A Musique (The Leaf Label)

COLLEEN ET LES BOITES A MUSIQUE
Colleen Et Les Boîtes A Musique
BAY53CD
The Leaf Label 2006
14 Tracks. 38mins55secs



Buy it: CD
Colleen | The Leaf Label

Colleen is a very singular artist with a sharp visionary mind and a deep understanding of a wide range of music genres. Based in Paris, where she has spent most of her life, Cécile Schott as she was born, was classically trained, but she has since embraced modern technology to support her work.

Colleen's work first emerged on a joint compilation from French imprints Active Suspension and Clapping Music, which rapidly lead to her being signed on Leaf. Her first album, Everyone Alive Wants Answers (2003) made good use of electronically treated acoustic elements and samples to create rich evocative soundscapes in which she dressed her compositions. Her second effort, The Golden Morning Breaks saw her abandoning this process to focus solely on acoustic instruments, something she had been using during live performances for some time.

Her latest offering comes in the shape of a wonderfully poetic and ambitious mini album. Originally commissioned by French public service radio station France Culture for their Radiophonic Workshop programme, the work featured here is entirely based on sounds sourced from music boxes, with Colleen adopting, for one release, a collective name. For this project, Schott worked with a wide array of music boxes, not only utilising them as they were intended to, but also playing them with her fingers or with small mallets. The sounds were sampled and reassembled to create a string of exquisite compositions centred around incredibly sophisticated and intricate melodic formations, with only the odd effect affecting the dynamic range of the sound sources. At times deceptively simple, at others finely layered, the fourteen tracks create a wonderfully dreamy soundtrack which ebbs and flows with the assorted rhythmic patterns and melodies that constantly flourish all the way through.

Even more so than on her previous recordings, Colleen favours here utterly intimate and delicate tones and crafts a masterful piece of work with deep emotional roots. Although she works here with very few components here, she creates a series of wonderfully evocative and rich poetic vignettes in what is her most fascinating record yet.