Tina-Ève
Tina-Ève Provost is yet another talented 'auteure – compositrice – interprète' hailing from Québec (as well as a graduate from the conveyor belt of talent that is l’École Nationale de la Chanson de Granby), who has just released her debut album "Dompter la Bête" ("Taming the Beast"). Eschewing the Country-Folk chemin of many a jeune Québecoise who grace this blog, Tina-Ève instead evokes memories of my lazy summer holidays of days long-past, idly spent listening to 80s and 90s French radio. Now while this might suggest that she subscribes to the idea that 'Moderne c'est déjà vieux', the songs - not to mention a rather compelling voice - offer enough of a modern twist to keep everything resolutely fresh and contemporary.
"Dompter la Bête" explores multiple themes of inner turmoil - the multi-faceted 'beast' of the album's title - with the opening track, "Conne comme une princesse" an incredibly powerful song of deception and hurt. Sex is most definitely a weapon, both as a means to subjugate, but also to deceive. It's the kind of song that demands a strong vocal performance and Tina-Ève most certainly delivers. From the opening bars it's blindingly apparent that she can sing (the phrase 'Quelle voix' was invented specifically for times such as this). The song is a touch melodramatic, but there's some nice reverbed guitar that adds to the air of drama and truthfully you can't take your eyes or ears away from the voice... And it is this voice that holds you mesmerised throughout the entire album, none probably more so than during the disarmingly melancholic "Le vent mauvais" - it's the type of vocal performance that leaves you in awe - currently my favourite on the entire album - it's just a beautiful song, sung, er, quite beautifully...
Feelings of disillusionment are visited in "San Francisco" and "Meeting". In many respects the former is a break-up song, but from the perspective of having become finally worn-down. The lyrics are incredibly powerful (you can download them here from Tina-Ève's website) - yet the mood isn't as sombre as perhaps might be expected, conveying instead one of world-weary resignation. "Meeting" on the other hand is most definitely from the viewpoint of a lover at the end of her tether. Again, lyrics and voice are totally in harmony, conveying not only desperation but also of emptiness, especially when her voice cracks; "...But you're right, Everything is perfect, Everything is perfect... For you..." La vie est peut-être belle, but not for Tina-Ève...
"Pitou piteux", is probably the most straight-forward of the break-up song heres. Again there's an air of resignation, but also a steadfastness and resoluteness. Once again the mood hinges on the inflection in Tina-Ève's voice and again she does't disappoint - yes, this is going to hurt, but it's for the best; "...If we meet, I promise you, I'll comfort you, I'll comfort you..." But for all the bravado, you know this is going to be painful for both parties...
Feelings of disillusionment are visited in "San Francisco" and "Meeting". In many respects the former is a break-up song, but from the perspective of having become finally worn-down. The lyrics are incredibly powerful (you can download them here from Tina-Ève's website) - yet the mood isn't as sombre as perhaps might be expected, conveying instead one of world-weary resignation. "Meeting" on the other hand is most definitely from the viewpoint of a lover at the end of her tether. Again, lyrics and voice are totally in harmony, conveying not only desperation but also of emptiness, especially when her voice cracks; "...But you're right, Everything is perfect, Everything is perfect... For you..." La vie est peut-être belle, but not for Tina-Ève...
"Pitou piteux", is probably the most straight-forward of the break-up song heres. Again there's an air of resignation, but also a steadfastness and resoluteness. Once again the mood hinges on the inflection in Tina-Ève's voice and again she does't disappoint - yes, this is going to hurt, but it's for the best; "...If we meet, I promise you, I'll comfort you, I'll comfort you..." But for all the bravado, you know this is going to be painful for both parties...
Thankfully and to lighten the mood, love rears its head once or twice. On "Fais moi croire" it is the fear of (falling in) love. This is a stunning slow-burner, you can almost sense the sickening feeling as she ties her stomach in knots. There's an uplifting refrain, before the doubts return as the song fades. Production is minimal - instrumentation is generally sparse - this song is all about the emotion in Tina-Ève's voice. Having overcome that fear however, "Dans l'St-Laurent de tes faiblesses" is the album's sole love song. This is all about 'being there', the lyrics are reassuring, there's a softness yet assuredness in the voice, the tempo is up-beat - arguably prime for radio airtime.
"Il pleut" is also at face value an incredibly radio-friendly pop-song. For once Tina-Ève's studio band is to the fore, as the spaces are filled with languid guitars and percussion, all of which actually belies the song's tristesse. On an album full of incredibly moving songs, this is perhaps the most stark performance.
The album is very cleverly constructed and the lyrics certainly deserve attention. For example, "Comment gros tu m'aimes?" would appear to be asking as to how much is love worth; "...How much do you love me, A five star hotel or motel... a 2 CV or BMW...", but as the song progresses so do pangs of self-doubt and a need for reassurance soon emerges - yes it's a song about worth, but it is the un-quantifiable self-esteem being valued as much as the monetary cost of the gifts from the 'cheap dollar shop.'
Finally those inner demons are addressed by the title and closing track. On an album full of stunning vocal performances "Dompter la bête" delivers once more. For all the subtle guitar effects, this is effectively a simple two-piece; keyboards, Tina-Ève's voice and a simple, haunting number...
The album is a bit of a grower - on first listen some of the songs do appear to sail dangerously close to Celine Dion territory (it's the 'melodrama' thing - which may not necessarily be a recommendation), but dig a little deeper you realise that you're actually listening to a stunning example of La Chanson Moderne. It also becomes obvious that there's a passion and a frightening intensity being displayed. I'm drawn to comparisons - for differing reasons - with a young Chimène Badi (think 2004's "Dis-moi que tu m'aimes" - an album worth the admission price alone for the stunning cover of Michel Sardou's "Je viens du sud" ) and Magdalen's frighteningly intense "En vers et contre tout."
Ultimately "Dompter la Bête" is a success because Tina-Ève's vocals are always centre-stage - at times fragile, angelic, crystalline, fierce, deeply resonant, always perfectly attuned to the emotion - and because the album's powerful lyrics demand a voice to match. On that Tina-Ève delivers with some aplomb...
Tina-Ève Website
"Dompter la Bête" (Bandcamp)
"Il pleut" is also at face value an incredibly radio-friendly pop-song. For once Tina-Ève's studio band is to the fore, as the spaces are filled with languid guitars and percussion, all of which actually belies the song's tristesse. On an album full of incredibly moving songs, this is perhaps the most stark performance.
The album is very cleverly constructed and the lyrics certainly deserve attention. For example, "Comment gros tu m'aimes?" would appear to be asking as to how much is love worth; "...How much do you love me, A five star hotel or motel... a 2 CV or BMW...", but as the song progresses so do pangs of self-doubt and a need for reassurance soon emerges - yes it's a song about worth, but it is the un-quantifiable self-esteem being valued as much as the monetary cost of the gifts from the 'cheap dollar shop.'
Finally those inner demons are addressed by the title and closing track. On an album full of stunning vocal performances "Dompter la bête" delivers once more. For all the subtle guitar effects, this is effectively a simple two-piece; keyboards, Tina-Ève's voice and a simple, haunting number...
The album is a bit of a grower - on first listen some of the songs do appear to sail dangerously close to Celine Dion territory (it's the 'melodrama' thing - which may not necessarily be a recommendation), but dig a little deeper you realise that you're actually listening to a stunning example of La Chanson Moderne. It also becomes obvious that there's a passion and a frightening intensity being displayed. I'm drawn to comparisons - for differing reasons - with a young Chimène Badi (think 2004's "Dis-moi que tu m'aimes" - an album worth the admission price alone for the stunning cover of Michel Sardou's "Je viens du sud" ) and Magdalen's frighteningly intense "En vers et contre tout."
Ultimately "Dompter la Bête" is a success because Tina-Ève's vocals are always centre-stage - at times fragile, angelic, crystalline, fierce, deeply resonant, always perfectly attuned to the emotion - and because the album's powerful lyrics demand a voice to match. On that Tina-Ève delivers with some aplomb...
Tina-Ève Website
"Dompter la Bête" (Bandcamp)
Comments
Post a Comment