Woodkid
The Golden Age

THE REVIEW

Nothing new on the western front. That high-ranking alternative pop, which we know very well, always manages to produce those two or three little gems that, like it or not, say something to you. The versatile Yoann Lemoine fits perfectly into this lineup, as a director, producer, graphic designer, and now also musician — why not? Of course, it's his debut, an experiment, many things still need to fall into place. But the path is right, the future bright, and the guy in question is a volcano of incandescent ideas. 

I want to be precise, to quote his words from a recent interview, a perfect picture of his work:

"I didn't even know how to make an album. I knew I wanted to make pop music, but not with the conventional pop instruments. Since I was a child, I listened to soundtracks and cinematic music, this album is a sort of homage to that specific music. It was an experimental experience. It may sound controlled and calculated, but it's experimental."

Exactly. An alt-pop with a rhythm section supported by two percussionists (note, not drummers), brass, strings, rich and pompous arrangements (at times baroque). It will seem as if you have an orchestra of 48 elements in your room. A cinematic grandeur capable of making any human listener feel small ("Stabat Mater" above all). In certain cases, it's true, it can come across as overwhelming, out of place, overly garnished. But for a guy who pulls off stuff like this at his debut, who tells you those things written in italics, who emits a strong yet intoxicating scent of humility-based cologne, you forgive this and more. Even cloying episodes, yes, but with great class. "I Love You" (the title, for God's sake, doesn't do justice to the track) is what I'm talking about. A musically deft organ, lyrics at risk of diabetes, and so much pathos. At the end, the orchestra kicks in and tears are shed. Much more sustained is "Run Boy Run," a frenzied race of a boy transposed into music (a musical synesthesia found throughout the album, particularly in "The Great Escape," very interesting). To complete the sacred trinity of single hits that draw applause we have "Iron," perhaps the most significant piece, the most "woodkid," in which all the fundamental ingredients of "yoannlemoinian" musical poetry are perfectly blended. A special mention goes to "Boat Song." The best on the album, all along the line. It is a splendid and poignant ballad entirely built on a perfect piano-voice synergy. The brass, more composed, polite, refined, and appropriate than ever, complete it.

The icing on the cake was his concert in Rome, a few months ago. Seeing him on stage, visibly moved, during his third or fourth performance, completely overwhelmed by the applause and love of the crowd, while conducting a full-blown show filled with music, lights, graphics, theater and "holy shit" (in the series: when learning new languages, first the swear words and then the rest) leaves you with a lot. Besides leaving you speechless.

A total artist at the service of a total art. Keep it up!