Colleen Et Les Boîtes À Musique

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Album Information

Total Tracks: 14   Total Length: 38:55

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Andy Battaglia

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Andy Battaglia writes about music and culture of various other kinds from a home base in New York. His work has appeared in the Wall Street Journal, the Wire, t...more »

04.22.11
The mesmerizing sounds of music boxes revealed
2006 | Label: The Leaf Label / state51

The only instrument more inherently mesmerizing than a music box is the gamelan, and that makes songs using music boxes made to mimic gamelans highly mesmerizing indeed. Gamelan simulations play out on two of the tracks on this EP of music box recordings that the fascinating French electronic artist Colleen made for French radio, but they're just two variations among many. Colleen had already used music boxes on her more spellbinding sample-based albums, but this one trades in music box sounds exclusively (except for some acoustic guitar on the gorgeous closer “I'll Read You a Story”). The chimes mostly go unadulterated in pleasant and dreamy snippets; otherwise, barely sourceable tracks like “The Sad Panther” trail off into effects-intensive electronic smears, while “A Bear Is Trapped” hints at an abstracted atonal version of “Pop Goes the Weasel.” Whether straight or bent, all of Colleen et les Boˆtes a Musique wavers between beautiful and eerie, earthy and celestial.

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Colleen et les Boîtes à Musique is a generous EP (nearly 40 minutes) containing 13 pieces Cécile Schott (aka Colleen) was commissioned to create for a special broadcast by the French government’s Radiophonic Workshop, with the addition of “I’ll Read You a Story,” reprised from her 2005 album The Golden Morning Breaks. As the title implies (translation: Colleen and the music boxes), every one of these pieces apart from the languorous “Story” (which also features classical guitar) was made exclusively using music boxes, and it is likely as thorough an exploration of the possibilities of that instrument as has ever been conducted. Although the sonic palette is necessarily rather limited (Schott does expand it somewhat via electronic recording techniques), the range of moods and qualities she manages to evoke with it is impressively broad, encompassing the bleary, distended melancholy of “The Sad Panther,” the jokey, scrappy “Charles’s Birthday Card” and “A Bear Is Trapped” (shambolic reworkings of, respectively, “Rockabye Baby” and “Pop Goes the Weasel”), and the pure susurrating sweetness of the two-part “What Is a Componium?” (incidentally, it’s a music box that allows you to create your own tunes using punch cards). As a whole, the record is both a marvelously inventive compositional project and a delightful, delicate, and enchanting collection of music, certainly among the loveliest offerings in Colleen’s impressive oeuvre. – K. Ross Hoffman

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