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50 of 54 people found the following review helpful:
5.0 out of 5 stars
More Mature Than Debut... A Very Opinionated Commentary, May 13, 2003
I disagree somewhat with the other reviews here so far. I consider Alizée's new album not only better than her first, but it is my favorite of 2003 so far, with Fleetwood Mac's amazing comeback second best of the year.I was very lucky to find out about her, quite accidentally last year, when I was introduced to her first amazing album. Although her material is really a product of Mylene Farmer and Laurent Boutonnat, it's Alizée's delivery and tremendous voice that makes the music fly. She's a natural, and displays a tremendous amount of charisma. This album is definitely more mature than her first, and I think that Mylene made a terrific conscious effort to ensure that the music grows with her. These songs stick in your head and heart and never, ever let go. Although I cannot understand a word she is singing, the raw emotion that comes through in songs like "A Contre-Courant" and "J'ai Pas Vingt Ans" is so real. I got the French import, and have heard the English version of some of the tracks since then, but, although I find the English translations interesting, and I'm glad a direct translation wasn't done, I do prefer the French versions. And although I don't understand it, French fits her performances so much better. It's a more beautiful language than my native English :) Besides, some of the English lyrics border on the absurd -- not most, but a few. Slang used maybe 20-25 years ago in America, and snickered at now -- I mean "boogy-woogy"??? I recommend passing these English versions across someone well versed in the target culture beforehand next time. Despite this, I'm still glad for a non-direct translation. Now I'm not sure if an American audience exposure was targeted at this time, especially in light of some anti-French sentiments over certain current world events, but ultimately I believe that Alizée could become huge worldwide, including the USA. I have a few reservations, though, about how successful that will be if her mentors continue on the career path they seem to be taking. This is a message to her management team (not that they would ever read this, nor care to): 1) Drop the "French Britney" image, and FAST. Alizée's beauty can stand on its own, without some of the cheesy ways they are presenting her. Yes, I know she's a product of France, and I know the pop music styles in France are still closer to the cheesy 80's of America, but if they want her to become huge worldwide, please realize that people see right through this, at least in my country, and Alizée will just end up as "flavor of the week" if this continues. 2) Take advantage of the charisma factor here. Alizée is that rare performer, who has the potential to connect with her audience at live performances -- IF she is allowed to sing WITHOUT the cheesy (there, I said it again) lip-synch! Now I know she can sing live -- I saw a "Top of the Pops" performance of hers, and she can handle singing live rather well. Let her develop her stage presence, and take advantage of her natural talent, charm, and charisma to connect with her audience. There is a hell of a lot going for her in many ways. Don't stunt the growth of a potential universally huge star. Maybe this will give her enough confidence to start co-writing her own material, unless Mylene and Laurent's intention is to use her as a meal ticket. I'm sure that's not true, since Mylene is a star in her own right. But just in case... Ok, off my arrogant soapbox ;) Back to the review. I HIGHLY recommend this album. It is awesome! I hope to see Alizée's success reach worldwide.
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
Mes Courants Electriques, February 17, 2004
It's certainly not another Gourmandises (because who really needs two CDs that basically copy each other?), but Mes Courants Electriques follows a natural artistic progression. There is more of Alizee's personality in the music on this latest CD, including more guitar. She's taken a step forward from Gourmandises, still appealing to the masses but distinguishing herself from her counterparts like Lorie. She was a standout in the pop scene with Gourmandises, and with Mes Courants Electriques, Alizee has proven her durability and flexibility.She pours emotion into every song, just like on Gourmandises, which continues to allow the non-French speaking fans such as myself to get involved in the music and really understand it without even knowing what she's saying. Her voice is still as pure as when she was first released 4 years ago, and her voice still has the ability to enthrall and sooth you, as well as making you want to get up and dance. The four English translations (I'm Fed Up, Amelie, I'm Not Twenty, and Youpidoo) on other versions of Mes Courants Electriques are good, though not nearly as magnificent as the French versions. Alizee's English is actually quite good, especially compared to other artists whose first language was not English, and I like the effort she has put in. That said, the English versions lack some of the luster of the French songs, and while good, Alizee is somewhat hard to understand. I highly recommend listening to the English translations, despite all this, especially if you have trouble singing along to the French. ;) The French songs positively radiant talent and emotion. I prefer the ballads on Mes Courants Electriques over the ones on Gourmandises; they sound less manufactured and more emotional. The more upbeat songs practically scream for you to get up and dance, or, if you're in the car, to turn the stereo up as loud as you can stand. Jen Ai Marre and Cest Trop Tard are two of my favorites. Alizee has definitely grown on this album, and the wide range of styles, vocal techniques, and songs on Mes Courants Electriques is proof of this. Mes Courants Electriques is a must-have CD, regardless of whether you speak French or not. Well worth the money and the wait for it to arrive. Trust me, you'll be checking your mailbox obsessively until it arrives!
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6 of 6 people found the following review helpful:
4.0 out of 5 stars
Above-average follow-up, December 28, 2003
And here we have the sophomore album by the teenage protégée of French pop myth Mylène Farmer and her producer, Laurent Boutonnat.While 'Gourmandises,' Alizée's first album, could be argued to be little but a product that was as coldly planned and calculated as any of Mylène's own work, 'Mes Courants Electriques' ('My Electric Currents') sees Alizée break free from the Lolita image--to some extent--with more personal themes. Thus, 'Courants' is a more conventional album, touching upon subjects that occupy the teenage mind, as opposed to abstract and/or artistic ideals. But that's not to say that the album is more childish. All the opposite, it actually comes out stronger for it, further developing Alizée as her own persona, her own character. Add in the fact that there's more Alizée than Laurent in the sound--guitars, drums, a flightier atmosphere--and you could even say that it's a more mature work (it's important to note that Laurent has hardly ever strayed from his formula in his twenty-year career). One thing that remains, however, are the double senses of the lyrics, penned by Mylène. On the surface, they may seem frivolous--even puerile; the bouncy "J'en ai marre" ("I'm Fed Up") regards teenage angst, the Boutonnat-esque "A contre-courant" ("Against the Current") conflict in a relationship, and "Hey! Amigo!" simply comes off like a feel-good song due to the general atmosphere. The truth? "J'en ai marre" makes masturbatory references, "A contre-courant" talks about sexual positions, and "Hey! Amigo!" regards a prostitute in Barcelona who saunters about, pleases everyone, and yet wishes for a better life. There are your typical teenage trappings, of course. "Youpidou" is the dud of the album, talking about independence the way one speaks to a three-year-old; there's even a sample of a baby voice in it. "C'est trop tard," ("It's Too Late") about the same subject, doesn't fare much better, if only because its heavy electric guitars feel out of place among the rest of the album. "L'email a des ailes" ("The E-mail Has Wings") is the requisite online song that no modern teenage album can go without, though to its credit, it doesn't mope. And "J'ai pas vingt ans" ("I'm Not Twenty") may just be the most inexpedient single in the history of French pop--not to mention that it feels like a cheap stab at rival Lorie and her song "A 20 Ans," ("At 20"), which talks of how at twenty you're on top of the world (you're not kidding anyone, Lizz). The highlight of the album: perhaps the two songs Alizée probably had the least input in. "Tempête" is a cinematic-sounding piece with strings, synths and marching drums, an ode to Napoleon Bonaparte; Mylène had a desire to express her admiration for the man, and thus decided to have Alizée interpret a song about him. The other is "Cœur déjà pris," ("Heart Already Taken") another Boutonnat string piece, which talks about a lover having found somebody else in his life. This one makes use of piano and reeds to create a subdued atmosphere in which Alizée's voice shines without obstruction. Her mourning is plaintive, almost genuine; when she asks "Est-elle tendre, ses doigts/Sont-ils aimants?" ("Is she tender/Are her fingers loving?"), she puts into words what artists twice her age often struggle an entire career to express. Unfortunately, Mes Courants Electriques is a bit of a misguided product. At face value, it seems childish, but it's much more mature in its honesty than any of your typical teenage albums out there. The problem? It's been marketed as a child album from the beginning, with "J'en ai marre" releasing as the first single and "J'ai pas vingt ans" as the second. It's difficult to be taken seriously when you sing ostensibly about bubble baths and goldfish and appear on television dancing in a pink or baby-blue dress. By the time things get serious with a third single ("A contre-courant"), it's too late; the public already has a fixed opinion. So here's to hoping that the third album--whenever it's to arrive, for Mylène and Laurent also have their own careers to run--is a little more savvy in the marketing angle. No doubt the maturity will be there, and perhaps even a smidgen of artistic integrity from Alizée's own end, as opposed to only Mylène or Laurent's. But targeting the five-year-old demographic--even if superficially--will be out of the question if Alizée has any plans to continue her career for the long term.
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