These two collaborated before even meeting.
Alain Bashung had associated music by Arman Méliès with a text by Joseph d'Anvers for the time of a song.
So many nights
was born, which adorned the last album released during the singer's lifetime.
A dozen years later, these two forties are reunited with the release of their new respective albums.
Laurel Canyon
and
Doppelgänger
prove to be their authors' best records.
At a time when urban music holds the top of the pavement, the two songwriters continue to bet on melodies and texts, without making any concessions to fashion.
Amplitude and large spaces are the option taken by Méliès on
Laurel Canyon
, which completes a trilogy that began in 2020, when
Doppelgänger
(which more or less means the dark part in German culture) asserts an electronic bias as singular as it is successful in Joseph d'Anvers.
Read also:
Alain Bashung: a singing master for his colleagues
Little broadcast on radio antennas, quite rare on television, these
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