Archive for the ‘Gabrielle Papillon’ Tag

Gabrielle Papillon- Keep The Fire review   Leave a comment

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Gabrielle Papillon Keep The Fire The state51 Conspiracy

When Keep The Fire was released several months ago, I listened to it several times—enjoyed it completely—and then set it aside as it didn’t fit my definition of ‘roots’ as featured here at Fervor Coulee. However, I came back to it over the Christmas break, and was again taken under its spell. Little about this album whispers ‘this is roots music,’ but that’s okay. I still feel I should take a few minutes and share my thoughts: maybe someone will read and be inspired to explore.

Kate Bush is too easy, but that is who Papillon brings to mind with her swooping, orchestral pop music, especially on tracks like “Hold On, I Will.” Tamara Lindeman’s (The Weather Station) latest would similarly serve as a starting point, but it is likely best to just listen to the darned album. The closest Papillon comes to folk music would be on songs like “The Damage” (on which she reveals a bit of Joni Mitchell in her voice) and “No Paradise.” “Keep The Fire” is a standout song, memorable and well-produced: the song just leaps out of the speakers. Several other tracks have more than a bit of an EDM vibe (a little like the Dan Tyminski album mentioned here) that is vaguely appealing, but doesn’t do a lot for this codger.

Follow the links if you haven’t previously heard Keep The Fire. There is a good chance that if you are looking for the ‘rootsiest of the roots’, it won’t appeal to you. But, there is just a good a chance that you may surprise yourself and find yourself purchasing the album. It is very impressive—raucous in places, meditative elsewhere, superbly assembled. And “Heart Beat” features a bit of that classic “Walk on the Wild Side” bass groove, something that will attract me every time.

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Posted 2018 January 4 by Donald Teplyske in Uncategorized

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Gabrielle Papillon- The Tempest of Old review   Leave a comment

gabrielle papillonGabrielle Papillon

The Tempest of Old

http://www.GabriellePapillon.com

The Tempest of Old, Halifax-based Gabrielle Papillon’s fifth album, is not an album I would typically address here at Fervor Coulee.

Reasons:

-As stated within the one-sheet, the disc is “big, orchestral, and defiant,” and is much too poppy (read: elaborate, smooth, layered, produced) for me to consider within even my liberal definition of ‘roots’ music.

-Instead of fiddle, it features violin.

-In addition to the core band, it is populated by more than a dozen instrumental and vocal guests.

-While Papillon would comfortably fit on most modern folk festival stages, she would do so alongside the likes of Loreena McKinnitt, Dan Mangan, Daniel Lanois, and Joel Plaskett…none of whom I would consider booking for my folk festival.

-There is a hipster vibe around the album that, after spending an afternoon on and around Edmonton’s Whyte Avenue, I just don’t need.

-I can’t sing-along with any of the songs.

Still, each time I place this recording in the player, I am again enchanted.

Reasons:

-Gabrielle Papillon! What a name!

-It features banjo on six tracks, always a positive. Not bluegrass banjo, but still, banjo.

-It features a song with Kentucky in its title.

-Her voice, which simmers along minor chords.

-Lyrics that seldom follows a narrative, yet somehow create a ‘story’ more than a collection of interconnected images.

Papillon, who has called herself a Haligonian for a few years since moving from Montreal and before that Winnipeg, is a striking singer. She reminds me of no one else, approaching her vocals as an instrument as flexible, as adaptable and susceptible to mood, as guitar. The bitterness and challenge of “Brother, Throw Down” is very different from the loneliness and isolation of “Kentucky In the Dark” or the spirited bombast of “Got You Well.”

Think Robert Plant’s transformative progression through Raising Sand and Band of Joy, and you begin to sense from where Papillon approaches her music.

Like Plant, Papillon appears to trust in her producer, in this case Daniel Ledwell, as he guides her songs toward some unrecognized point on the horizon. It works, but there is much more to it. A producer can only mold, maneuver, and propose so much. The artist is responsible for the songs, for the arc, and for the larger vision. Papillon quite confidently possesses and reveals these elements.

The album’s second track, “With Your Help,” may be The Tempest of Old’s finest: punctuated by Corinna Rose’s (whose own music I was quite pleased to discover through this recording) banjo notes, Michael Belyea’s percussion, and some combination of Lidwell’s pedal steel and Nicolas Maclean’s guitar chords, a vibrant canvas of sound is created, all supporting Papillon’s vibrant, strong voice.

The Tempest of Old is a fine album that doesn’t fit preconceived notions and expectations.

I don’t listen to CBC Radio 2 and Radio 3 because too little of the music featured there makes a connection with my life, my experiences, as a 50+ curmudgeon: I don’t know what ‘adult alternative’ means. Since I also don’t understand what indie pop, indie-folk, or folk pop mean, I suppose I could nominate this one for all those categories.

Instead, I’m just going to recommend it as an album you may just be happy to discover.

Thanks for visiting Fervor Coulee. I am currently doing a lot of listening as part of my responsibilities as a Polaris Music Prize juror, and consequently not as much writing. Well, that is the best excuse I can come up with anyways. Apologies if you feel I’ve ignored an album you’ve sent me.

Donald