Paris
16/04/2010 -
This new direction is quite different from the popular variety style music you started out making…
That’s true, but Une enfant du siècle is still a pop album. The Alizée “brand” is popular and I don’t want to lose that. I found it more interesting to blend the two worlds, without having to change my voice. I wanted to break down that silly idea of the mainstream on one side and the elite trendy stuff on the other. A group like Château Marmont shouldn’t have to remain underground.
Is it a way for you to shine a light on these artists?
I think they should be more visible to the general public. As melodists, they’re not very far from the likes of Mylène Farmer, for example. What makes their work different from mainstream pop is in the production. And that’s a good thing. French pop is having a hard time coming up with fresh sounds, it seems to me. I hope that after this album, other mainstream artists will want to work with them.
I don’t work with my old producers any more [Mylène Farmer and Laurent Boutonnat] because musically that style wasn’t what I wanted to sing, or what I myself was listening to any more. Today, I listen to my latest album on my iPod, in my car. It’s the first time I’ve done that in the ten years of my career.
Your album is released in France… and in Mexico. Why are you so successful there?
That dates back from before my third album. I put a video online in which I did a Madonna song. There was some buzz about it in Mexico, and I was contacted a little later by a local record company who wanted to release my third album in Mexico. I’m touring throughout Mexico at the end of the year. It’s quite a passionate relationship, between me and my Mexican fans.
Jérôme Pichon
Translation : Hugo Wilcken
27/09/2010 -
18/04/2003 -
26/12/2002 -
26/01/2001 -