The best compliment that can be paid to Nouvelle Vague's self-titled debut album: it isn't as arch and smirking as a collection of bossa nova versions of new wave classics by fetchin
g French and Brazilian chanteuses would suggest. Based on the concept alone, Nouvelle Vague seems similar to the work of jokesters like the Mike Flowers Pops or Richard Cheese and Lounge Against the Machine, but though the album is definitely playful, it works on a sincere level enough of the time to be more than just a goof. In fact, Nouvelle Vague's best moments are a tribute to how well written the words and melodies of these songs are; that they can withstand, and even thrive in, such different arrangements is no small feat. Smooth, smoky ballads, such as the opening track, "Love Will Tear Us Apart," provide many of the album's highlights. The Cure's "A Forest" gets a tropical twist, complete with jungle sound effects, while the Sisters of Mercy's "Marian" remains as dark as ever but is now much more delicate -- call it gotha nova. On the other hand, the cover of the Dead Kennedys' "Too Drunk to Fuck" is a giggly, sassy, mischievous standout that bears virtually no resemblance to the original. Likewise, the serpentine version of Killing Joke's "Psyche" is radically different from the original, nor does it quite fit in with the rest of Nouvelle Vague's bright, breezy feeling, but its spooky vibe makes it one of the album's most interesting tracks. Two of the best covers come from a couple of the least well-known bands on the collection: Tuxedomoon's "In a Manner of Speaking" is transformed into a gorgeous, completely convincing torch song, and Josef K's "Sorry for Laughing" closes the album on a sweetly languid note. Not all of Nouvelle Vague is this inspired -- the version of Depeche Mode's "Just Can't Get Enough" is overly fussy, and while the covers of songs like "I Melt With You" and "Making Plans for Nigel" are nice enough, they don't have the spark of the album's best moments. But even at its worst, Nouvelle Vague is still pleasantly witty background music. This unlikely, but mostly happy, marriage of new wave and bossa nova will probably disappoint or displease purists who believe that every version of "Love Will Tear Us Apart" should have the brooding intensity of the original, but everyone else can enjoy the album's playful elegance.
bajar
g French and Brazilian chanteuses would suggest. Based on the concept alone, Nouvelle Vague seems similar to the work of jokesters like the Mike Flowers Pops or Richard Cheese and Lounge Against the Machine, but though the album is definitely playful, it works on a sincere level enough of the time to be more than just a goof. In fact, Nouvelle Vague's best moments are a tribute to how well written the words and melodies of these songs are; that they can withstand, and even thrive in, such different arrangements is no small feat. Smooth, smoky ballads, such as the opening track, "Love Will Tear Us Apart," provide many of the album's highlights. The Cure's "A Forest" gets a tropical twist, complete with jungle sound effects, while the Sisters of Mercy's "Marian" remains as dark as ever but is now much more delicate -- call it gotha nova. On the other hand, the cover of the Dead Kennedys' "Too Drunk to Fuck" is a giggly, sassy, mischievous standout that bears virtually no resemblance to the original. Likewise, the serpentine version of Killing Joke's "Psyche" is radically different from the original, nor does it quite fit in with the rest of Nouvelle Vague's bright, breezy feeling, but its spooky vibe makes it one of the album's most interesting tracks. Two of the best covers come from a couple of the least well-known bands on the collection: Tuxedomoon's "In a Manner of Speaking" is transformed into a gorgeous, completely convincing torch song, and Josef K's "Sorry for Laughing" closes the album on a sweetly languid note. Not all of Nouvelle Vague is this inspired -- the version of Depeche Mode's "Just Can't Get Enough" is overly fussy, and while the covers of songs like "I Melt With You" and "Making Plans for Nigel" are nice enough, they don't have the spark of the album's best moments. But even at its worst, Nouvelle Vague is still pleasantly witty background music. This unlikely, but mostly happy, marriage of new wave and bossa nova will probably disappoint or displease purists who believe that every version of "Love Will Tear Us Apart" should have the brooding intensity of the original, but everyone else can enjoy the album's playful elegance.bajar
Bande à Part
It was something of a small miracle that the first Nouvelle Vague album managed to avoid the seemingly inherent kitsch of covering new wave classics as slinky bossa nova. U
nfortunately, the group doesn't quite pull it off the second time around. Bande a Part has several songs that meet the standard set by Nouvelle Vague: "The Killing Moon," "Dance with Me," and "O Pamela" translate well into bossa nova ballads and manage to keep the songs' and the singers' dignity intact, while the Cramps' "Human Fly" sounds nearly as mischievous — and a lot more elegant — in Nouvelle Vague's hands. There are also a few downright silly moments. The version of "Pride (In the Name of Love)" feels like it's trying to be as serious as the original yet flip at the same time, and ends up failing on both counts, while "Dancing with Myself" sounds more like a reinvention of Lou Bega's "Mambo No. 5" than of Billy Idol's hit. Mostly, however, Bande a Part just sounds like an uninspired rehash of Nouvelle Vague. The covers of "Ever Fallen in Love," "Heart of Glass," and "Shack Up" aren't embarrassing, but they aren't especially interesting, either. Considering Nouvelle Vague's popularity, it's understandable why the people behind the project would want to try to repeat their success, but it's too bad that it wasn't left as a singular, pleasant surprise.
nfortunately, the group doesn't quite pull it off the second time around. Bande a Part has several songs that meet the standard set by Nouvelle Vague: "The Killing Moon," "Dance with Me," and "O Pamela" translate well into bossa nova ballads and manage to keep the songs' and the singers' dignity intact, while the Cramps' "Human Fly" sounds nearly as mischievous — and a lot more elegant — in Nouvelle Vague's hands. There are also a few downright silly moments. The version of "Pride (In the Name of Love)" feels like it's trying to be as serious as the original yet flip at the same time, and ends up failing on both counts, while "Dancing with Myself" sounds more like a reinvention of Lou Bega's "Mambo No. 5" than of Billy Idol's hit. Mostly, however, Bande a Part just sounds like an uninspired rehash of Nouvelle Vague. The covers of "Ever Fallen in Love," "Heart of Glass," and "Shack Up" aren't embarrassing, but they aren't especially interesting, either. Considering Nouvelle Vague's popularity, it's understandable why the people behind the project would want to try to repeat their success, but it's too bad that it wasn't left as a singular, pleasant surprise. NV3
If imitation is the sincerest form of flattery, then Nouvelle Vague must be new wave and bossa nova's biggest admirers — and it hasn't gone unnoticed. On NV3, the group performs some of its suave covers of new wave and post-punk classics with some of the era's stars, and the results embody the best and the worst of the rest of the album. Ian McCulloch fits seamlessly into "All My Colors," a typically pretty, wistful Nouvelle Vague track, while Barry Adamson's sneering cool makes a noir version of Magazine's "Parade" the album's standout. However, the group's version of "Master and Servant" — which features a Jew's harp and Martin Gore's booming baritone on the chorus — feels overdone, and not even Terry Hall's cameo can save "Our Lips Are Sealed"'s transformation into a pastoral reverie from seeming a bit silly. Elsewhere, Nouvelle Vague struggle to balance their fondness for kitsch with deeper emotions, and inspired touches with their usual formula. "Blister in the Sun" is wittily transformed into a ye-ye rave-up and "Road to Nowhere" is turned into an alt-country ramble, but making "God Save the Queen" and "Ça Plane Pour Moi" singsongy and delicate isn't especially clever at this point. Despite the occasional misstep, NV3 still has some gorgeous moments, especially the flamenco-tinged "Not Knowing" and the closing track, "Such a Shame." This is a decidedly mixed bag, but there are enough lovely and playful tracks to keep most Nouvelle Vague fans satisfied. If imitation is the sincerest form of flattery, then Nouvelle Vague must be new wave and bossa nova's biggest admirers — and it hasn't gone unnoticed. On NV3, the group performs some of its suave covers of new wave and post-punk classics with some of the era's stars, and the results embody the best and the worst of the rest of the album. Ian McCulloch fits seamlessly into "All My Colors," a typically pretty, wistful Nouvelle Vague track, while Barry Adamson's sneering cool makes a noir version of Magazine's "Parade" the album's standout. However, the group's version of "Master and Servant" — which features a Jew's harp and Martin Gore's booming baritone on the chorus — feels overdone, and not even Terry Hall's cameo can save "Our Lips Are Sealed"'s transformation into a pastoral reverie from seeming a bit silly. Elsewhere, Nouvelle Vague struggle to balance their fondness for kitsch with deeper emotions, and inspired touches with their usual formula. "Blister in the Sun" is wittily transformed into a ye-ye rave-up and "Road to Nowhere" is turned into an alt-country ramble, but making "God Save the Queen" and "Ça Plane Pour Moi" singsongy and delicate isn't especially clever at this point. Despite the occasional misstep, NV3 still has some gorgeous moments, especially the flamenco-tinged "Not Knowing" and the closing track, "Such a Shame." This is a decidedly mixed bag, but there are enough lovely and playful tracks to keep most Nouvelle Vague fans satisfied.
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