Charlotte Gainsbourg
1980년대 세대에게는 샬롯 갱스부르(Charlotte Gainsbourg)는 영화 [L’Effrontée(귀여운 반항아)]에 나온 예쁜 소녀이자, 주책 맞은 아버지(세르주 갱스부르, Serge Gainsbourg) 손에 이끌려 "Lemon Incest(레몬의 근친 상간)", "Charlotte Forever(샬롯 포에버)" 같은 민망한 노래를 부른, 보호받지 못한 미성년 가수로 기억이 될 것이다. 최근 그를 영화배우로 인식하는 이들이라면 [21그램]이나 [수면의 과학] 같은 영화에 나온 지적인 영화배우로 기억할 것이다.
부모인 세르주 갱스부르와 듀엣으로 부른 "Je T'Aime Moi Non Plus"(1969년)는 신음하는 듯한 제인 버킨의 발성과 곡의 야릇한 분위기 때문에 프랑스 이외의 여러 나라에서는, '노래로 만든 포르노'라는 혐의로 발매가 금지되기도 했다.
Lemon Incest
Heaven Can Wail
555
음반리뷰
Lemon Incest (1984 / Phonogram)
<영화 '귀여운 여도적' 등에서 깜찍한 외모와 목소리를 들려주었던 샤를로뜨 갱스부르의 1984년 작품. 발표 당시 프랑스를 비롯해 우리나라에서도 크게 인기를 얻었던 낯익은 멜로디 'Charlotte for Ever'가 담겨 있다. 세르쥬 갱스부르와 제인 버킨이라는 부모의 커다란 그늘과 어린 소녀의 모습에서 벗어나 여인의 이미지를 만드는 데 성공한 음반.>
Discography
'Time of the Assassins'
'Record Store Day - Live'
'Irm (+DVD/+4x10" LP)'
What The Critics Say
A lot happened to Charlotte Gainsbourg between the release of 5:55 and IRM. Along with appearing in I'm Not There as one of Bob Dylan's wives, a 2007 water skiing accident pushed her brain to the side and filled her skull with blood, a condition that should have killed or paralyzed her. After emergency surgery, Gainsbourg was fine physically, but still convinced she could die at any moment, undergoing several MRI scans to prove she was all right. She also took one of her most daring roles as an actress, appearing in Lars Von Trier's uncompromising film Antichrist as a violently deranged, grieving mother who disfigures herself and her husband. This mix of fragility and boldness is also the heart of IRM, Gainsbourg's collaboration with Beck. As with 5:55, which featured Nigel Godrich, Jarvis Cocker, and Air, her choice of collaborators is perfect, but the results couldn't be more different. Where her previous album was ethereal and ephemeral, IRM is exciting and eclectic. Beck and Gainsbourg bring out the best in each other: His songwriting and production are so sympathetic and wide-ranging that he's like a director guiding Gainsbourg to inspired performances. Meanwhile, she brings an emotionality and presence to Beck’s flights of fancy that make them more grounded than they would have been as his own songs. IRM still offers plenty of beautiful French atmosphere, but it’s more mussed than on 5:55: The way the strings turn from romantic to a little sinister on the slinky “Le Chat Du Café Des Artistes” is decidedly jolie laide, while “La Collectioneuse” is as eerie as it is lovely. However, the album delivers much more than looser versions of where Gainsbourg has been before. IRM’s title track is a hallucinatory meditation on Gainsbourg’s post-surgery experiences that incorporates the sound of MRI scans (IRM is the French abbreviation of MRI) with a tribal, distorted beat and detached vocals that are closer to Broadcast than any of her previous music. Elsewhere, she dives into deceptively simple folky pop with “Me and Jane Doe” while “Trick Pony”’s breathy sexuality and strutting beats feel like Beck repaying the favor of sampling Serge Gainsbourg’s “Melody Nelson” on Sea Change’s “Paper Tiger.” The pair gets more daring as IRM unfolds, with Beck casting Gainsbourg as a world-weary siren on “Dandelion”’s bluesy shuffle, and a sneering rebel on the brittle “Greenwich Mean Time,” which makes more noise than all of the songs on 5:55 put together. Gainsbourg’s mental and physical healing process unites the album’s experiments, making them personal. “Heaven Can Wait”’s joyful stomp is self-explanatory, but when she sings “you could learn to crawl where you used to walk” on “Vanities,” or “It doesn’t take a miracle to raise a heart from the dead” on “Time of the Assassins,” it adds even more depth. Playful, heartfelt, and unexpected, IRM gives Gainsbourg’s music a new lease on life. ~ Heather Phares, Rovi
'D'Autres Nouvelles des E'toile, Vol. 2'
![5:55 [Single]](http://o.aolcdn.com/dims-shared/dims4/MUSIC/989265f/1333846737/resize/200x/quality/80/http://o.aolcdn.com/art/amgmusic/album/pop/cov200/drj000/j007/j00703auafm.jpg)
What The Critics Say
Even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released when she was 13), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoît Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's "Wonder Milky Bitch") wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery. on "AF607105" -- the most Air-like song here -- she's a stewardess recounting the most glamorous plane crash ever; she performs an autopsy on a relationship on "The Operation," finally stating that "the heart was rejected by the host." As good as the atmospheric heartache of the first half of 5:55 is, it's on the second half, when Gainsbourg and her crew stretch out a bit, that the album really gets interesting. "Jamais," a slightly tough, witty cautionary tale about literally acting like you're in love, is a standout, while the sexy, obsessive "Beauty Mark" and "Everything I Cannot See" would make her father proud. ~ Heather Phares, All Music Guide
'The Songs That We Sing'
![5:55 [Bonus Tracks]](http://o.aolcdn.com/dims-shared/dims4/MUSIC/0ec19ce/1333846737/resize/200x/quality/80/http://o.aolcdn.com/art/amgmusic/album/pop/cov200/dri600/i630/i63015feyik.jpg)
What The Critics Say
Even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released when she was 13), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoît Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's "Wonder Milky Bitch") wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery. on "AF607105" -- the most Air-like song here -- she's a stewardess recounting the most glamorous plane crash ever; she performs an autopsy on a relationship on "The Operation," finally stating that "the heart was rejected by the host." As good as the atmospheric heartache of the first half of 5:55 is, it's on the second half, when Gainsbourg and her crew stretch out a bit, that the album really gets interesting. "Jamais," a slightly tough, witty cautionary tale about literally acting like you're in love, is a standout, while the sexy, obsessive "Beauty Mark" and "Everything I Cannot See" would make her father proud. [5:55 was released in the U.S. with two bonus tracks, "Set Yourself on Fire" and "Somewhere Between Waking and Sleeping."] ~ Heather Phares, All Music Guide
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