Yann Tiersen - Dust Lane 
Yann Tiersen The debate is still as funny. There are those who love it (mostly those adooooooré the soundtrack of Amelie Poulain) and found his music fascinating. There are those who hate and who find it more pompous find it bad. The truth somewhere in between. Truth I do not pretend to have, being very little interest in the work of man. Taking it as it is a kind of digestion and pop on her own with a fringe of experimental music, Yann Tiersen composed some good records, records that listen. Disks still own on them, where ever experiment seems to go too far and where some welcome digressions are quickly scuttled by a line of singing pop emetic, or even playful toy pianos. Music far from fundamental, and goes especially any intellectualization, but still manages to live by itself, through beautiful pieces. These parts are also the only ones that survive to time, because when Tiersen collects and tracks superimposed influences and instruments, its synthetic production puking seems so bland and mostly irritating. Yann Tiersen should be content with simplicity, and not wanting to be an experimental composer for those who do not listen to experimental music. To each his audience in a way. Yet Lane aroused the curiosity Dust, first with the maximum Palestine as a tidal wave of sound, or Yann Tiersen seemed able to find musicians and modern variety: Mad Hatter, Matt Elliott who exhumed Third Eye Foundation, oktopus Dalek (which seems to finally find a new playground with the production of most pop music). Palestine is clearly the best part of this album. A simple and well written piece, which advances by chanting these few letters and a hit by the roundness and warmth of these songs well written. Then the title track recalls the same atmosphere and gradually rising in power (to finish fairly cacophonous Moreover, stretching between samplers and vocal hubbub bunk, where there are cymbals in this hodge podge of music) in vein still very distinguished. Dust Lane could fly, if it a disc of folk. Dust Lane could fly if the whole disc was not cannibalized by influences not assumed (Dark Stuff gives the feeling that Matt Elliott lives in the piece, confirmation?) And indigestible. However, in the pieces, passages are fly, because of their simplicity and their ability to move the grain, so putassière without overflowing. Each song has its moment of glory, but Yann Tiersen want to overdo it. Dust Lane is full to bursting, yet in its short three quarters of an hour sometimes undrinkable. Dust Lane is the disk that articulates the problem of Tiersen's music. Pompous, with the effect too, but could yet be so pretty if she go to the essentials. Flip you on the max of Palestine, which is clearly worthwhile. (Mute)
Yann Tiersen The debate is still as funny. There are those who love it (mostly those adooooooré the soundtrack of Amelie Poulain) and found his music fascinating. There are those who hate and who find it more pompous find it bad. The truth somewhere in between. Truth I do not pretend to have, being very little interest in the work of man. Taking it as it is a kind of digestion and pop on her own with a fringe of experimental music, Yann Tiersen composed some good records, records that listen. Disks still own on them, where ever experiment seems to go too far and where some welcome digressions are quickly scuttled by a line of singing pop emetic, or even playful toy pianos. Music far from fundamental, and goes especially any intellectualization, but still manages to live by itself, through beautiful pieces. These parts are also the only ones that survive to time, because when Tiersen collects and tracks superimposed influences and instruments, its synthetic production puking seems so bland and mostly irritating. Yann Tiersen should be content with simplicity, and not wanting to be an experimental composer for those who do not listen to experimental music. To each his audience in a way. Yet Lane aroused the curiosity Dust, first with the maximum Palestine as a tidal wave of sound, or Yann Tiersen seemed able to find musicians and modern variety: Mad Hatter, Matt Elliott who exhumed Third Eye Foundation, oktopus Dalek (which seems to finally find a new playground with the production of most pop music). Palestine is clearly the best part of this album. A simple and well written piece, which advances by chanting these few letters and a hit by the roundness and warmth of these songs well written. Then the title track recalls the same atmosphere and gradually rising in power (to finish fairly cacophonous Moreover, stretching between samplers and vocal hubbub bunk, where there are cymbals in this hodge podge of music) in vein still very distinguished. Dust Lane could fly, if it a disc of folk. Dust Lane could fly if the whole disc was not cannibalized by influences not assumed (Dark Stuff gives the feeling that Matt Elliott lives in the piece, confirmation?) And indigestible. However, in the pieces, passages are fly, because of their simplicity and their ability to move the grain, so putassière without overflowing. Each song has its moment of glory, but Yann Tiersen want to overdo it. Dust Lane is full to bursting, yet in its short three quarters of an hour sometimes undrinkable. Dust Lane is the disk that articulates the problem of Tiersen's music. Pompous, with the effect too, but could yet be so pretty if she go to the essentials. Flip you on the max of Palestine, which is clearly worthwhile. (Mute) 
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