TERADÉLIE

Teradélie is a very singular artist, who seems nonetheless obsessed by the "Za" syllable, the only common denominator to all her albums. Developing her creativity in ever-moving landscapes and breaking the established rules, her music cannot be referred to with a simple tag. Hence, come hell or high water, she treads on grounds rarely visited in the french musical landscape, and her last album to date is no exception to her eclectic vision of music.

As the title of the album suggests though, the stress was put on traditional music. We are indeed overwhelmed by acoustic guitars throughout this new record. Moreover, while on the tropical "In A Way", a mesmerizing flute brings a ray of light, the Saharan "Exilia" is scented with arabic elements. Elsewhere, a flavour of traditional American music perfumes the garden. The slide guitar of Jipes and the melodica of Teradélie paint both the invigorating "The Last Deal and the sublime oneiric balad "Lulla" with "country" colours. Further on, on the catchy "Lili", composed in cooperation with the briliant songwriter and long-time friend Eric Grünenwald, the swing of Daniel Collet's "walking bass" blends with the rock'n'roll of the guitar of another guest, In-Mobile, and the doo wop of backing vocals. Last but not least, "Je Tire Ma Révérence" enthrals us with its relaxing and intriguing folk. Besides all those "roots" elements, it's a world full of fantasy that holds us in its arms. Like in the title of one of the last albums of the late Alain Bashung, this fantasy can be military on the otherwise enchanting "Astrées". It can take a carefree turn on the catchy "Le Paradigme", or become rather bitter on the whacky "7 H 08″, symptom of an uneasiness in a more than ever demanding business world, making it close to the kafkaian world depicted in Terry Gilliam's cult movie "Brazil". Some winks to Led Zeppelin can also be identified here and there ("Highway" with its alternating acoustic and electric sections recalls strongly "Babe I'm Gonna Leave You", while the ghost of Robert Plant flies over the high-pitch of "The Last Deal"). And to ensure indeed the link with Teradelie's voice, we are pleased to note that her versatility is still there. At times stuck in the frail playground of Stina Nordenstam ("Lulla"), the voice can take the smooth accents of Marlene Dietrich ("Lili"). At other times, we will be reminded of Anne Clark's narrated poetry style ("Je Tire Ma Révérence"), while our ears can also either be filled with the rage of Nina Hagen and the fantasy of Kate Bush in turns ("7 H 08″), or enchanted by the lyricism of Lisa Gerrard ("Astrées"). The physical copy of the album comes with a marvellous cover of the orchestrated version of Peter Gabriel's "San Jacinto" as a bonus track. The creative inhabitant of Lille managed to bring to the fore the main theme of this song (the living conditions of Native Americans) by accompanying the lead vocals with onomatopoeias mimicking Indian chant. This is for sure a great moving moment.

Teradélie hits hard again with "ZaRoots". A gifted multi-instrumentistalist (in addition to programming drums, she plays tuba, as well as cello, melodica and keyboards), the enthusiastic artist keeps on carrying us to a world that is colourful and intimate in turns and where the unpredictable is king.

With a versatile and diverse chant (sung words or just vocalized chant), at times reduced to sung poetry ('Peut-'tre demain' and 'Surexposition'), and a dark and reflective musical environment, 'BlacKolZa' can be easily compared to landmark female-fronted works of the 1980′s such as Kate Bush's 'The Dreaming', Dalbello's 'Whomanfoursays' or Laurie Anderson's 'Mister Heartbreak'. The profusion of electronic sounds brings even closer the comparison to the eighties vibes.

But comparisons aside, the musical universe of the talented Terad'lie is really unique and hard to define as it covers several genres. It can be trip-hop, infused with ska in 'Il y eut un temps' (with some Buckethead-like fiery guitar in conclusion). Trip-hop again, but more delicate, in 'I believe', with suave voice akin to Annie Lennox, and in the dual 'Duo ex machina' where serene atmosphere alternates with frenzy drums and scintillating keyboards. Then once again, trip-hop, this time more experimental, in the very personal cover of Genesis' 'Say it's alright Joe' where occasional ska elements alternate with ethereal vocals. But you will ask, where is the diversity if you only mention trip-hop? Well, you will better understand with further explorating the musical genres covered in the remaining songs. The instrumental 'Delirium tr's mince' presents with spastic synth-pop where synths and drums answer to each other and a hallucinated flute puts a break to the synth-drum jousts. On 'Atomic', ours ears are delivered elegant soul with contrasting soft/energetic voice and unexpected introduction of cello and percussions. We also sail on ever-changing seas on 'Carry on' (with vocal effects close to Toyah Wilcox) where cinematic music meets gothic folk, progressive rock and ska. 'Surexposition' might be an invitation to dance with its IDM dancing beats, yet interspersed with samples of sequential electronic music and various electronic tinkerings. On 'Suffira', we will remember the overture to Gathering's 'Strange Machines' but then we will delight with a languid rock ballad sung with passion in duet with Vanii Aupositeur. Our heart will beat to the tribal ambient atmosphere of 'Peut-'tre demain' with its Native American theme in the chorus, and of 'BlacKolZa' with its orchestral ending, a song that could be the soundtrack to ecology-driven SF movie Avatar.

Now, I certainly convinced you that the album is very rich in musical ideas. And all those ideas are majestically brought together, There are no signs of weaker moments that could be the result of lesser experience of a particular musical genre. Thanks to its diversity (vocally and musically speaking) and contrasting atmospheres, this is the kind of music you crave more once the album has come to end.