Jorane - 16mm
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Music CD Cover
Artist: JoraneEdition: Music CD
Format: Import
CD Release Date: 2001-01-25
Music Label: Tacca
Soundtracks:
- Ghost
- By Foot from...
- Pour Gabrielle
- Hello
- Film I
- Film II
- Intro
- Battayum 2
- Film III
- Work #3
- CB/Vox
- Mipmo
- Chouette
- Battayum
- Nouvelle
- My Little Luck
Free Music Notes for 16mm
Free Music Review: Jorane's music is on its own astral plane.
Hit: 5 Stars
When I bought Jorane's first album Vent Fou, I immediately discovered that it worked marvellously well as temp music for films I was cutting. Her songs are like short experimental films in themselves, conjuring such disparate and complex emotions and colours and they seem to pop out of the spectrum of sound. Jorane makes that analogy with her second record -- 16mm being a treasured motion-picture-film format, especially for independent and experimental filmmakers -- and continues on her madcap musical journey with another record that's never going to get played at parties or on the radio, but will thrill the judicious listener with its unstoppable audacity.While Vent Fou reminded me of Sinead O'Connor's The Lion and the Cobra, this record conjured up Lisa Germano with its opening tracks "Ghost" and "By Foot from...", which are much more fragile and tender than anything on Jorane's first record. The two tracks flow into each other so seamlessly that I always think they're one song if I'm not looking. "Pour Gabrielle" shows that Jorane can write a more traditional-sounding (relatively!) French folk tune if she wanted to; the three-part songs "Film I, II and III" are sweeping in their dramatic cello moans and Jorane's gorgeous vocals; and "Chouette" is Zappa-esque in its bouncy, humorous percussion.
Come to think of it, this record sounds a little like Joe Hisaishi -- in French, on LSD. I think my desperate attempts to make comparisons to pre-existing artists is simply a response to Jorane's baffling musical imagination. She is, in a word, unclassifiable. And no doubt I will keep listening -- Jorane is like a mirror into parts of the consciousness you can't access through normal means.
16mm Poster
Jorane's self-produced second disc may take its name from a film format that is modest in size, but the music is definitely closer to 70mm in scope. In 16mm, the Montreal-based singer and cellist has created a much more satisfying disc than Vent Fou, her precocious debut. While she may still attract comparisons to Kate Bush, Tori Amos, and Dead Can Dance's Lisa Gerrard, Jorane confidently stakes out more of her own terrain. On "By Feet from" and "Pour Gabrielle," her plaintive singing and cello playing are effectively juxtaposed with the nimble, subtle rhythms that lie deep in the songs. With its lush, multitracked vocals, the gorgeous three-part "Film" has a depth and richness missing in Enya's lullabies. But 16mm is too compelling to serve as musical wallpaper. The centerpiece is the eight-minute "Work No. 3," a brooding song on which Jorane sings wordless incantations. On "Chouette," she gets more playful, mewling like a cat over a jazz riff by bassist Thomas Babin and clattery percussion by Genevieve Jodoin and Alexis Martin. "Hello" is an offbeat piece of percolating babble that recalls the work of American composer Meredith Monk. The closing songs--the ghostly "Nouvelle" and "My Little Luck"--are equally endearing. On the latter, she croons while plucking out a melody that bears an odd resemblance to Otis Redding's "Sitting on the Dock of the Bay." (That melody recurs in the hidden bonus track, a full-band version of "My Little Luck" that includes a lovely vocal duet by Jorane and Jodoin.) The album benefits greatly from a sense of economy and restraint that was mostly absent on the melodramatic Vent Fou--the music on 16mm is intricately detailed but not overly ornate. On this rich and emotionally affecting disc, Jorane proves to be a performer capable of subtlety as well as intensity. --Jason AndersonIn 16mm, the Montreal-based singer and cellist has created a much more satisfying disc than Vent Fou, her precocious debut. While she may still attract comparisons to Kate Bush, Tori Amos, and Dead Can Dance's Lisa Gerrard, Jorane confidently stakes out more of her own terrain. On 'By Feet From' and 'Pour Gabrielle', her plaintive singing and cello playing are effectively juxtaposed with the nimble, subtle rhythms that lie deep in the songs. With its lush, multitracked vocals, the gorgeous three-part 'Film' has a depth and richness missing in Enya's lullabies. But 16mm is too compelling to serve as musical wallpaper. The centerpiece is the eight-minute 'Work No. 3', a brooding song on which Jorane sings wordless incantations. On 'Chouette', she gets more playful, mewling like a cat over a jazz riff by bassist Thomas Babin and clattery percussion by Genevieve Jodoin and Alexis Martin. 'Hello' is an offbeat piece of percolating babble that recalls the work of American composer Meredith Monk. The closing songs--the ghostly 'Nouvelle' and 'My Little Luck'--are equally endearing. On the latter, she croons while plucking out a melody that bears an odd resemblance to Otis Redding's 'Sitting on the Dock of the Bay', (That melody recurs in the hidden bonus track, a full-band version of 'My Little Luck' that includes a lovely vocal duet by Jorane and Jodoin.) The album benefits greatly from a sense of economy and restraint that was mostly absent on the melodramatic Vent Fou--the music on 16mm is intricately detailed but not overly ornate. On this rich and emotionally affecting disc, Jorane proves to be a performer capable of subtlety as well as intensity. Tacca. 2005.
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