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EMMANUELLE PARRENIN,
Targala une maison qui n’en est pas une
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sortie le 18 mars 2022 chez Johnkôôl Records
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ENGLISH / FRANÇAIS
Shelter. In the last few weeks, privatised by Raging Vlad, shelter is an as prudent as it is reassuring thing. But in ‘Targala’, Emmanuelle Parrenin shelters us elsewhere. And, joyful paradox, in open air. The musician has been free since 1978 and her cult album ‘Maison Rose’, adored by listeners then and diggers now. Parrenin is free to let the psyche penetrate the ether of her compositions/improvisations, to let her voice float in the open seas of her invented landscapes. With ‘Targala’, the small musical real estate company is cleaning up its facades. It is a %22house that is not a house%22. The walls move forward, thought irrigates each room. This new album has a triple price. Now you know that one can be rare without forgetting the course of time, that a One-Woman-Band is not just a cheesy version of a One-Man-Band and that you will have missed Emmanuelle Parrenin, probably without knowing it. ‘Targala’ delivers its legends and epics with the necessary freshness, with the useful slowness. The detours made in the company of Quentin Rollet, lover of Rectangle and Bisou, are a perfect example. Everything before, everything floats, everything fits together. And it all works together to hit the cerebellum with an infinite and terribly lucid tenderness. A strong beauty.
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ENGLISH / FRANÇAIS
Shelter. In the last few weeks, privatised by Raging Vlad, shelter is an as prudent as it is reassuring thing. But in ‘Targala’, Emmanuelle Parrenin shelters us elsewhere. And, joyful paradox, in open air. The musician has been free since 1978 and her cult album ‘Maison Rose’, adored by listeners then and diggers now. Parrenin is free to let the psyche penetrate the ether of her compositions/improvisations, to let her voice float in the open seas of her invented landscapes. With ‘Targala’, the small musical real estate company is cleaning up its facades. It is a %22house that is not a house%22. The walls move forward, thought irrigates each room. This new album has a triple price. Now you know that one can be rare without forgetting the course of time, that a One-Woman-Band is not just a cheesy version of a One-Man-Band and that you will have missed Emmanuelle Parrenin, probably without knowing it. ‘Targala’ delivers its legends and epics with the necessary freshness, with the useful slowness. The detours made in the company of Quentin Rollet, lover of Rectangle and Bisou, are a perfect example. Everything before, everything floats, everything fits together. And it all works together to hit the cerebellum with an infinite and terribly lucid tenderness. A strong beauty.
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ENGLISH
Shelter. In the last few weeks, privatised by Raging Vlad, shelter is an as prudent as it is reassuring thing. But in ‘Targala’, Emmanuelle Parrenin shelters us elsewhere. And, joyful paradox, in open air. The musician has been free since 1978 and her cult album ‘Maison Rose’, adored by listeners then and diggers now. Parrenin is free to let the psyche penetrate the ether of her compositions/improvisations, to let her voice float in the open seas of her invented landscapes. With ‘Targala’, the small musical real estate company is cleaning up its facades. It is a « house that is not a house ». The walls move forward, thought irrigates each room. This new album has a triple price. Now you know that one can be rare without forgetting the course of time, that a One-Woman-Band is not just a cheesy version of a One-Man-Band and that you will have missed Emmanuelle Parrenin, probably without knowing it. ‘Targala’ delivers its legends and epics with the necessary freshness, with the useful slowness. The detours made in the company of Quentin Rollet, lover of Rectangle and Bisou, are a perfect example. Everything before, everything floats, everything fits together. And it all works together to hit the cerebellum with an infinite and terribly lucid tenderness. A strong beauty.
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À l’abri. Au fil des dernières semaines, privatisées par Vlad la Rage, c’est aussi prudent que rassérénant, un abri. Mais dans Targala, Emmanuelle Parrenin nous abrite encore ailleurs. Et, joyeux paradoxe, à l’air libre. Libre, la musicienne l’est depuis 1978 et le culte Maison Rose, prisé des auditeurs d’alors et des diggers d’aujourd’hui. Libre de laisser pénétrer le psyché dans l’éther de ses compositions et improvisations, de laisser flotter sa voix au large de ses paysages inventés. Avec Targala, la petite entreprise immobilo-musicale ravale ses façades. C’est une « maison qui n’en est pas une ». Les murs avancent avec vous, la pensée irrigue chacune des pièces. Ces retrouvailles ont un triple prix. Elles montrent qu’on peut être rare sans oublier le cours du temps, qu’un One-Woman-Band n’est pas qu’une version meuf du One-Man-Band et qu’Emmanuelle Parrenin, sans doute sans le savoir, nous aura beaucoup manqué. Targala livre ses légendes et ses épopées avec la fraîcheur nécessaire, avec la lenteur utile. Les détours faits en compagnie de Quentin Rollet, amateur de Rectangle et de Bisou, en sont un exemple parfait. Tout avance, tout flotte, tout concorde. Et concourt à percuter le cervelet avec une tendresse infinie et terriblement lucide. Magnifique disque.
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Johnkôôl Records : site web
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