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“Awen” (2012) - Plantec
Here is an album that intends to solve the unlikely equation of music to dance and music to listen to, in other words the squaring of the circle for many. And it must be recognized that it only succeeds at times.
The Plantec trio delivers an opus closely framed by Breton dance, so there are some musically boring tracks outside the context of a fest-noz.
In fact, risk-taking is quite minimal here, with often ordinary guitar parts and an electro quite minimalist (except on track 7).
Remains the bombard and there, it is force to recognize that we take a nice slap in front of the ease and talent of the talabarder (bombard player): exceptional notes, precision and inventiveness and by the way... when does he breathe?
But, probably in order to produce music that can touch as many people as possible, the sound of the bombard is often sub-mixed or even much too smoothed and it loses a little of its absolute lead naturalness that would certainly not have distorted the subject.
Can we really call this opus electro-celtic? Yes and no.
The ingredients and talents are there but the fusion is only apparent, fading behind the imperial but lonely bombard player.
My choice :
- Red An Amzer (bourrée)
- track 6 : the theme is not transcendent but the groove is there; an amazing start at the two thirds of the track, very energetic, which sets fire before the final with a superb number of the bombard, exceptional, holding the whole song (like the album by the way),
- Tryptique (Loudéac) - track 7 : the start is very promising with a fusional sound; a bombard of hell finally well placed in the mix; an excellent electro break, the one we no longer expected, which works perfectly with the bombard!
Electro - Celtic - 1
“Explore” (2006) - Alan Stivell
In addition to Alan Stivell's essential contribution to the transmission of Celtic culture and largely in the creation and popularization of the Celtic musical style, the Breton artist has always been able to innovate, whether through the instruments and the many Celtic harps he has created or by rubbing himself with current music.
This album is the perfect illustration of this. Certainly traditional Celtic instruments are lacking - except for the harp of course and even if it has not been used enough for my taste (see the superb final of the album - end of track 10) because its playing with electro sounds has proved successful every time.
Despite some weaknesses, the vocals are carried by an inimitable Breton phrasing and inspired riffs.
An album quite successful, perhaps a little difficult to access for some with a production that has aged.
A special mention for track 2 which offers the emotion that may be a little missing on this opus.
My choice :
- Miz Tu : Electro start marked on an inspired riff, then the Breton singing comes very quickly; its very clean and smoothed sound; the crystal clear but quite wide harp quickly develops a nice break; the singing is mastered; the return of the riff on the front line is appreciated each time; a very dynamic and successful start.
- Là-bas, là-bas : Superb melody and this time we feel that French lyrics will work... the electro kick could be tiring in the long run but in fact integrates very well; the crystalline harp is perfectly in its place and the fusion with electro which also finds a non-invasive place is successful; French singing is for a rare time successful. Superbly placed breaths. The Breton/French alternations are a real wealth here. Nice French lyrics. A beautiful track brought to more than 6 minutes with mastery.
- Explore : Harp/electro for a successful exploration and a nice mixing work.
- Un Parfait Paradis (Miz Tu 2) : Return of the inspired riff; the juxtaposition of Stivell's superbly Breton phrasing and electro is a success; and then a sudden stop after a "big" electro sound: long silence (dared) then final resumption of a superb solo harp (I may have sometimes get lost but have always found myself and what I have to say lies in the few notes grained on this harp I created)...