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ALIZÉE – A GIRL IN THE WIND
Wednesday, March 10, 2010

Alizée was No. 1 around the world with a tube which pleased even the old men. In Peru, she is a star in Mexico and dental, it does not move without his bodyguards. And then the little singer variety raised by Mylène Farmer has decided to make music with producers Institubes: Chateau Marmont, Rob, David Rubato, Tahiti Boy Tacteel and Para One. Resulting concept album, A Child of the Century, entirely written by Jean-René Etienne, head of the label. If through her, Kevin and Sylvie of France began to throw their panties on the passage of Chateau Marmont, we promised to come and make every day a red rose in front of his house.

You have good returns on this album?
Alizée: Somewhat, yes. Especially from people who do not listen to me before. It’s also pretty cool that some music press, I had perhaps not before, interested in the project. It happened that people m’interviewent and they do not care about the album. Here the people really speak to me in my album, and when an artist is good to talk about what we do and what we love.

How are you back in contact with the crew Institubes?
Alizée: For most of my singles, I asked the musicians to remix the title for clubs to have something more to go out to the fans. On my previous album, I had this song Fifty Sixty, which was my second single. My DA at the time Sony offered me a remix of David Rubato was at Institubes. David made a remix version that was really a song in itself. I loved, and I thought it was well done in that clip that would bring something to the album. That’s how I met Jean-René Institubes, and Rebecca who made the video version of Fifty Sixty David Rubato. At this point, I was beginning to think my new album and I do not know exactly what to do. Jean-Rene asked me to meet the producers of his label. So I met the Chateau Marmont, Tacteel and all others at the same appointment. It went really well. From there, it was therefore thought to concept album.

At this point, you knew Institubes?
Alizée: By name. But no, I did not know what they were doing. And besides, I did not even want to listen before receiving their proposals for my album because I wanted to give them the chance to do something for me, from what I inspired them and that the story inspired them. Suddenly, I heard what was Institubes only after listening to their productions for my album.

What was your desires from this album?
Alizée: Actually, it was an idea of Jean-René to this album. I’ve just told them I wanted to do something opposite to what I am. My voice, it is like it is. When I hear someone singing on the radio, I recognize immediately. I wanted it to be a pop album, I did not make an album that nobody buys trendy … I wanted to continue my thing, make my album and they bring their ideas, their vision of music. That’s how, little by little, each sent me songs and the album was built.

What were your musical references for this album?
Alizée: I have a few references to the opposite of what I did musically. I’ve always loved Madonna and Michael, Blondie, Aznavour … Moroder and Blondie, obviously with the Chateau Marmont, it stuck well to their style of music. After Rob, his reference was Jeanette, this is not someone I listen but I know the reference and did not bother me. David Rubato, his reference was rather Gainsbourg and I am mega fan of Gainsbourg. They were still trying to adjust to me while doing their thing.

What are the albums you’ve listened to most in your life?
Alizee All Michael. Madonna, all the first to Mirwais, after less. Today, I like Jay-Z, The Killers. I never had a particular style of music, I always liked lots of different things.

This album represents something different from your previous albums?
Alizée: It’s different because I have twenty-five years and that I may have a certain maturity that I had not before. My last album, I had produced all alone with my husband (Jeremy Chatelain, former member of the Star Ac ‘editor’s note). Here, I work with talented people who have their own vision, their own ideas. I feel like I learn a lot, a bit like ten years ago, when Mylène Farmer had learned the trade.

You have the impression of having a gamble with this disc?
Alizée: Yes. But I think the risk was already there when I am separated from Mylene. In fact I’m pretty calm, I do not think too much. Finally, at the same time, we’ll see when the album comes out … I’m not one to ask me questions, as long as my project and I like that I took from A to Z. We’ll see how people receive it.

Yes, it is in France …
Alizée: Right. Before, I thought much about it. I said: “France is complicated because you can not stray too far from what we do, people are quickly lost.” But then I ask myself the question over too because this disc is a pop album. J”ai not like Charlotte Gainsbourg, an album dedicated to a certain audience. My album, I want it to be popular, I want to continue to sell records and make the bastards.

There is a dark side to this album …
Alizée: More so than before. It is less colorful. And at the same time, I have twenty-five, I’m not all the time do things gays. That is also changing. And then it’s my personality. I love manga stuff and everything is bright and colorful, but it’s good, you know. After a while I like the dark stuff and I love to sing without a smile. And then at the same time is a concept album, this is not just me talking even if I can find myself through songs and words. That suits me just a little further that this is a concept album because I’m pretty reserved, so wild, I do not spread my life …

If you had to summarize the conceptual side of the album precisely, what would you say?
Alizée: It’s a novel. If you leave a song from its context and be listened to like that, people can love because she can stand on its own but at the same time, it makes you want to listen more to hear the history.

If it does not sell, it will be a real disappointment?
Alizée: Yeah yeah anyway.

It’s Chateau Marmont that produced half the album. Why them?
Alizée: Yes, they made most songs, but Rob has made the album. Rob has 3 titles, Marmont 5. Once the tracks were made, it’s Rob who landed in the studio to the sound of the album so that everything is consistent. I received the title – not finished – and I accepted them or not. But I have almost all agreed, I had to decline 2, maybe 3. Hence, the words came. And then what are the choices of mixes.

I’ll t’énumérer 6 producers of the album, and you’re going to describe in few words. First Rob?
Alizée: So Rob is the person with whom I spent the most time. I love Rob because I feel that we love the same kind of music. We get really good. It’s rare to agree as well with people with whom you work and you see all the time. It was very important on the album. It was often agree – this does not mean that I disagreed with others. It soothes a little, he is always cheerful, he quickly put at ease. It is difficult to sing in front of people is not known at first. It’s harder to sing in a room where there are 2 people to 3000 people. Rob is damn comfortable, everything flows, everything is damn good. I hope he will be there for the tour but hey, he toured the Phoenix and the tour … Phoenix is just 365 days a year, so we’ll see.

David Rubato?
Alizée: It’s a little thanks to him if the story began. David has lots and lots of talent but he does not show enough difference. I know how much music he has in his computer, but he is never sure things are well when all he does is good. For cons, the person most perfectionist of all producers. He listens to every sound, every syllable, every breath. It’s super interesting to work with him.

Chateau Marmont?
Alizée: They all four have a different personality. They complement each other. And they are super good melodists. Afterwards, they may be known to most as musicians and producers of music but in melodies, they are really strong, it is indeed they who have made my first single. I believe they have a great career ahead. I think we’ll ask them a lot of titles and not just from people connected, but also the popular side. Finally I hope so, because they deserve it.

Tahiti Boy?
Alizée: That one I know least. I worked with him on Grand Central but it was not there when we did the studio is Tacteel who was there, so I have very rarely seen. I do not know him well but I did something with him for a Christmas song with other friends to him, and it was really good.

Tacteel?
Alizée: I crossed the first time to our first rendezvous. I had heard as Tacteel with his band at the time (ATK editor’s note). He, too, as an artist, he has great things to do in the future. It was really great talent.

Para One?
Alizée: Para One came last. It should not be on the album but he offered me a song that I adored and who really stuck to the album. Such, I have rarely seen. But I spent a whole day with him when it went really well. Procuteurs All these are really cool. It’s rare that it happens as well and it goes so fast.

Which of these is the nicest?
Alizée: Nicest? It’s complicated. I would not say the nicest but the Zen is Rob.

The most beautiful?
Alizee: The best? Holala! I’ll tell Julian of Marmont.

The dirtiest?
Alizee: The most saaaale? Aha! Halala … the dirtiest! I can say that but it is a joke right? Of William Marmont. He will be angry!

That would make you happy that connected like your music or you do not care?
Alizée: Yes it would please me they like something popular. This is not popular is because it is not good. I am confident we can be mainstream and do things of quality.

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