Customer Reviews

Bye Bye Beaute

5 star:		(7)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Coralie Clement has left the filmy French pop behind on this record. Bye Bye Beaute rocks out, with catchy tunes like "Beau jour pour mourir" and "Kids." Compared to Salle des Pas Perdus, it's as if she took off the groovy white trenchcoat from that disc's cover and revealed a black turtleneck with clunky boots.

I'm a big fan of this new direction. The songs, some of which she wrote, seem better suited to her voice, and she seems to be pushing harder and shaping the syllables more with her singing. The ringing guitars sound like her brother and producer Benjamin Biolay's own records, always a good thing. Some of the slower songs (Beau Fixe, Epilogue) are nice, downtempo, drone-y music, which goes well with her whispery voice.

This is all in all probably a better record than Salle des Pas Perdus; the songs are more varied and overall, there's less cotton candy. The tunes feel more grounded and Coralie seems more emotionally connected to them.

Compared to her previous, Salle Des Pas Perdue, Coralie Clement demonstrates various music styles and a more skillful singing art in Bye Bye Beaute. Her voice is still as soft and clear as before, and this new album, showing more maturity, may bring her audiences a whole different image about her voice because of the way she interprets songs. However, to some extent I am disappointed about such change in her style. I am not saying Bye Bye Beaute is worse than her previous album, but it was the softness and simplicity in Coralie Clement's voice that commanded my attention two years ago, and the lost of simplicity in Bye Bye Beaute indeed leaves some emptiness in my heart.

Highly recommended if you want to hear what's going on in today's French music scene, where a "renaissance" is well underway. Benjamin Biolay, Keren Ann, and Coralie Clément are on the vanguard of this new movement in France, channeling the spirit of `60s-style chansons like Serge Gainsbourg, Françoise Hardy, and Jane Birkin. Coralie Clément does not write her own music, but most of the writing and arranging are graciously handled by her (must-be-a) genius brother, Biolay, who has also worked previously with Keren Ann. "L`enfer," "Kids (jeu du foulard)," and "L`impasse" are standout tracks on this album, but the entire work is both compelling and accessible.

Coralie Clement has put together an album that is simply cool -- cool to cook to, cool to drive to, and cool to exercise to. It is laid back, but has emotion. Her voice is that of a kitten's... at times endearing and at times confidently independent. If you listen, it will grow on you, but if you don't want to focus on the music you don't have to. Instruments are not overpowering, and the album is of good length.

I liked this one best of the 2 she has released, because she is softer here and perhaps more intimate. Her voice is so eloquent and she seems to have matured here. There is definitely a more mature sound and you'll also revel in the jazzy feel it exudes.

I heard a clip from this CD on NPR's The World. I liked it, so I bought the disk. Not only was the rest of the song great, but the whole album was fun to listen to. The lyrics are all in French, but if you have some understanding of the language, they are easy to hear. The liner notes are helpful if needed. I think Coralie Clement has a great voice and I would recommend this CD.

"Bye Bye Beaute" is the second album from French singer Coralie Clement, and is quite a bit more uptempo from her debut release "Salle des pas Perdus". Most of the songs were penned by her brother, Benjamin Biolay (also rather famous in the French music scene), and Coralie sounds thoroughly lovely singing this set of 12 songs.

All of the songs are in French, and if this causes you consternation then you should probably look elsewhere. If that doesn't bother you, the album is quite a treat to listen to. Coralie's vocal work has improved from her debut, and she utilizes her breathy, almost raspy voice to its fullest. On some of the songs she sounds almost syrupy sweet, sometimes like a proven jazz crooner, and almost always bringing to mind the ever dangerous femme fatale. The music itself sounds like it would be perfect for a smokey Parisian lounge, with jazzy riffs, great rhythm and percussion, and strong guitar work.

My personal favorites would have to be the jazzy songs "L'enfer", and the opening track "Indicise", but "Un Beau Jour pour Mourir", "Gloria", the softer title track, and "Et Pourtant" (a duet with her brother, I believe) are all excellent.

If you have any interest in experiencing some French pop music and enjoy lovely and distinctive female vocalists, then chances are you would enjoy Coralie Clement. I picked it up on a whim after hearing a clip of "Indicise" and was more than well rewarded.

Coralie Clément gives us a perfectly rounded pop-rock album while barely raising her voice above a whisper. The bouncey beats and grungy guitar riffs provide a unique contrast to Coralie's soft and breathey, sometimes-intimate-and-sometimes-detached vocals, with flourishes, such as the mariachi trumpets in "Indecise", the flutes in "Gloria" and some electronica influences throughout, providing a bit of freshness to the presentation.

Overall a very fun and catchy album featuring lots of light fluffy singles, as well as a few heavier and mellower songs, which add a bit of meat to the collection.

Coralie Clement is just delicious. I love her. She has a very fresh, sensual and enchanting youthful voice. she wispers the words and makes you dream.

Listening to her sing is almost as good as taking a trip to France, so I will settle for that.