Talented mercenary troubadour (we saw him as much at the Francouvertes as at the Festival international de la chanson de Granby as The voice, in particular), Alex Burger finally offers a complete album, three years later A’men given, his first maxi. The wait was worth it. Oh yes.
BETWEEN DYLAN AND YOUNG
If his EP was more rock, Sweet Montérégie – the work and the administrative region – cannot be labeled so easily. While the Montérégie is as much the “instagrammable” landscapes of Rougemont as the half-gray, half-smoky-brown industrial district of Saint-Joseph-de-Sorel, Burger’s LP brings together pieces tinged with rock , certainly, but above all folk and country.
OKAY. The comparison to Bob Dylan and Neil Young may seem hackneyed considering these favorite genres, but I would however like to specify that the singer-songwriter echoes them especially by his casualness which turns out to be particularly catchy. Or would it be bluster? To be debated.
LOVE IN A TIME OF PANDEMIC
Over time, Burger has obviously sharpened his quill and it can be heard from Larger than life, first single – first unveiled last November – which opens the ball.
In these pandemic times when we devote ourselves in turn to the culture of yeast then to that of a certain spleen, the refrain of this bittersweet love story – where the singer sighs in particular “coudonc y’a-tu yinque moé who hit a wall? »- particularly grabs, whether it is wanted or not.
Obviously, the year is not only young, but promises to be as unpredictable as 2020. Without being able to accurately predict whether Sweet Montérégie will be found on many lists of the best albums of the year, let us stress all the same that the disc already has the effect of a balm on the heart. An achievement in itself considering the last few months.
To (re) discover, in short.
Surf (Volumes 1 & 2)
I type these words with a touch of shame, because I not only have to confide to you that I am really not a fan of Etienne Daho (and, even worse, I cannot explain why besides that he seems constantly in seduction mode) , but that the latter comes to surprise me with this collection of covers of mainly American classics. His soaring folk-pop adaptations of I’m so Lonesome I Could Cry (by Hank Williams) and Moon river (by Henri Mancini) are particularly worth a listen or two. Well done, then.
Calendes is a trap in itself. If one associates indie rock with zigonnage or a happy accident, the sound of Calendes is based on the fifteen years of experience within the industry of its two leaders. What we are offered, therefore, is studied rock, ignoring frills and where pleasure outweighs any opportunism. At the risk of insulting a bunch of people, imagine a supercharged Karkwa or a more polished Galaxy and you will have a good idea of the direction of this very fun first album.
Late For The Train: Live And In Session 1989-2016
For rockers in need of shows, here for you. On this six-CD box set, five Buzzcocks concerts have been collected since the group’s reformation in 1989 (note that the set is also available on online music platforms). As if that were not enough, we add more than thirty pieces captured on the BBC during the various studio visits of these living legends over the decades. Especially for fans, however, because the project is, unfortunately, a bit of a catch-all in the end.
The pen name of local singer-songwriter and multi-instrumentalist Rachel Leblanc, Vanille is likely to be on everyone’s lips in the coming weeks, as her first full album is surprising. Sun ’96, it is in particular France Gall who sings on Belle & Sebastian, but without singing or wallowing in nostalgia. On the contrary, it’s damn refreshing. To listen to the first time then again and again.