Nouvelle Vague (Peacefrog) 9+
To its limited audience, what made post-punk special was its refusal to lazily rely on clichés. As a result, the tendency to eschew obvious rhythms and catchy melodies in search of creating something new meant that a larger audience missed out on the fact that they did come up with some killer tunes. It’s depressing that the late 70s/early 80s is largely known for disposable one-hit wonders like Kajagoogoo, when there was so much more. So it’s inevitable that the only way to draw attention to these missing treasures outside of getting them commissioned on the soundtrack for a blockbuster film is to revert back to cliché. In this case, French multi-instrumentalists and producers Marc Collin and Olivier Libaux stripped thirteen songs of everything but their basic chords, and reinterpreted them with cocktail jazz/bossa nova arrangements, sung by eight female vocalists (six French, one Brazilian, one American). But these are far from clumsy, gimmicky musak exercises in nostalgia. These are Gilberto caliber -- sensitive, subtle interpretations, worthy of João Gilberto, the godfather of bossa nova, with modern production values comparable to Suba’s inspired work with Bebel Gilberto, and fine vocal performances on par with Astrid Giberto. Collin has a long, impressive pedigree, from the Francophone trip-hop/soundtrack work with his first band Ollano to adventurous work under many nom de plumes for the experimental Output label. Those nervous about the potential desecration of favorites like Tuxedomoon, P.i.L., Killing Joke and Joy Division need not worry, their babies are in good hands.
Nouvelle Vague, which translates to “new wave” in French and “bossa nova” in Portuguese, does touch on a couple more populist new wave tunes, with Depeche Mode’s “Just Can’t Get Enough” and Modern English’s “I Melt With You.” In both cases, the rearrangements are surprisingly fresh, breathing new life into the songs, the former laid on a propulsive rhumba rhythm, the latter sung like an impassioned version of Hope Sandoval (Mazzy Star), wringing out more emotion that the original. Despite the sweet female crooning, it’s not all safe for supperclubs and upscale martini bars. The Dead Kennedys’ “Too Drunk To Fuck” could be a disaster with the coy, French lilt and squeals, but it works. The Clash’s “Guns Of Brixton” is slowed down to make it more menacing. Yet despite its edginess, it’s one of the few to fail to do justice to the original. Joy Division’s “Love Will Tear Us Apart” is almost too obvious a choice, and the Swans already did a bang-up job in covering it 15 years ago. But again despite all odds, it’s irresistibly gorgeous. Everyone will have different favorites. Standouts include “This Is Not A Love Song” (P.i.L.), “Making Plans For Nigel” (XTC), “A Forest” (The Cure), “Teenage Kicks” (Undertones) and “Friday Night Saturday Morning” (The Specials).
Taking grey, post-industrial Britain to a tropical beach is an inspired move, with obviously huge populist potential. It may not be groundbreaking, but it’s a godsend for those who can hear some favorite post-punk songs sung in sufficiently late-night sultry style so as to not frighten their dates. And the quality and detail of this music helps sustain many repeat listens. Inevitably it’ll be cashed in by dozens of lesser talents. And what if we do start hearing Gang Of Four songs in the grocery stores and dentist offices? The world certainly wouldn’t be the worse for it.
