Dying is a wild night - CD

Mélissa Laveaux

Dying is a wild night - CD

GrooveAfrica, Arabic, Asia
Sale price12,50 €
Sold out

Release CD SKU: NOF22CD

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C’est une douce révolution. Si Mélissa Laveaux n’a rien escamoté de l’identité très forte dessinée par un premier album acclamé (Camphor And Copper, 2008), elle s’est aujourd’hui réinventée. À la douceur acoustique d’un folk langoureux et chaloupé, la jeune femme préfère à présent l’énergie plus sophistiquée d’une pop percutante et irrésistible. L’écriture est toujours aussi personnelle, la voix toujours aussi sensuelle et juvénile, mais les orchestrations explosent en un feu d’artifice inventif, qui fait la part belle aux rythmiques et à des sonorités plus synthétiques.

C’est la réinvention d’une vie. Née à Montréal en 1985 de parents haïtiens, Mélissa Laveaux grandit à Ottawa (Ontario). Dans la foulée de son premier album, elle s’installe en France, une étape délicate qui nourrit largement les textes de Dying Is A Wild Night. La jeune femme y envisage ces dernières années sous un angle intime, puisant dans des moments difficiles une énergie nouvelle. Emprunté à la poétesse américaine Emily Dickinson, le vers complet est “Dying Is A Wild Night And A New Road”. L’idée est belle et symbolique : rompre les amarres avec son pays était à la fois un déchirement et la promesse d’un nouveau départ.

C’était aussi un noeud de paradoxes : dans un même mouvement, Mélissa s’éloignait et se rapprochait de sa famille. Elle a mieux appréhendé le parcours de ses parents, émigrés haïtiens, tandis que l’éloignement géographique se doublait d’une incompréhension de leur part sur son choix. C’est le thème du single Postman : arrivée à Paris, il a fallu trouver des ressources ailleurs que dans une lettre que le facteur ne déposera jamais.

La beauté et l’énergie de Dying Is A Wild Night tiennent à une tension entre cette écriture très personnelle et un travail profondément collectif. L’enregistrement des maquettes, d’abord, s’est fait avec la batteuse de jazz Anne Paceo, indice déterminant sur des chansons à l’assise rythmique souvent étonnante (Mélissa voue une admiration sans borne au duo Wildbirds & Peacedrums, qui travaille sur les combinaisons percussions/voix).

L’enregistrement de l’album est ensuite une collaboration passionnante avec les Jazz Bastards, trio de musiciens réalisateurs. Vincent Taeger (batteries et percussions), Vincent Taurelle (claviers de Air) et Ludovic Bruni (basse, guitares) ont ainsi remodelé certains titres et apporté beaucoup à la texture sonore et à l’énergie rythmique des chansons. Il y a là une modernité qui évoque volontiers la pop mutante de Santigold et Goldfrapp mais aussi les derniers développements de la carrière de Fiona Apple, exigeants et inventifs derrière leurs atours pop.
Mélissa Laveaux le confie sans difficulté : elle écoute beaucoup plus de musique qu’elle n’en écrit. Cela informe ses chansons de milles nuances et influences parfaitement assimilées.
L’étonnante reprise du Hash Pipe de Weezer s’impose comme la touche rock d’un album à l’éclectisme élégant : soul chantée d’une voix de velours (Dew Breaker), pépites énergétiques et élancées (Pretty Girls, Sweet Wood) ou tubes pop parfaitement balancés entre sonorités organiques et synthétiques (les incroyables Triggers et Generous Bones). Comme un trait d’union avec le premier album de Mélissa, une merveille acoustique au déhanché délicat s’est glissée en fin d’album : chantée en créole, Pie Bwa est une variation autour du Strange Fruit de Billie Holiday, écrite du point de vue de l’arbre, ensanglanté. Une image puissante sur un album audacieux : orchestrations modernes, mélodies imparables et textes personnels traversés d’interrogations sur la foi, Dying Is A Wild Night est de la trempe des grands disques pop, qui touchent à la fois le coeur, la tête et le plexus.

Mélissa Laveaux


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