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Samson & Delilah
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Samson & Delilah
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Description du produit
V V Brown launched onto the scene in 2009 with her debut album Travelling Like the Light selling over 200,000 copies worldwide (including being certified gold in France) and single Shark on the Water scanning over 500,000 in the USA alone. After this success, V V took a 2 year hiatus from music to establish a clothing line named VVVintage. Now she is returning to music, with a much darker, alternative album Samson & Delilah produced by Dave Okumu (The Invisibles) and Pierre-Marie Maulini (formerly of M83). Influences cited by V V include the likes of The Knife and Little Dragon, with the lead single Samson obtaining critical acclaim from both fans (375k+ views on YouTube) and tastemakers alike, including plays on BBC Radio 1 and BBC 1Xtra
Meilleurs commentaires des clients
Un problème s'est produit lors du filtrage des commentaires. Veuillez réessayer ultérieurement.
A vrai dire même si j'ai pas mal apprécié le 1er disque , je n’imaginai pas cette artiste capable de pondre un tel disque , quelle la claque !
A écouter malgré tout avant achat car ce disque n'a absolument rien de la VV Brown de "Traveling Like The Light" avec son Shark in Water par exemple .
C'est presque comme écouter une artiste différente .
Commentaires client les plus utiles sur Amazon.com
"Samson & Delilah" is highly polarizing art pop. It's part conceptual, based loosely on the Biblical story of Samson & Delilah, and part swirling landscape of operatic/goth/experimental pop. It will either be your thing or very much not be your thing. It's the product four years of creative growth stemming from her ditching her previous label, recording an entire album which she then refused to put out as she felt it just wasn't her, creating her own fashion line, and finally creating her own music label which has let her put out an album that is all hers from conception to production.
For anyone unaware, Samson was essentially a ruler of ancient Israel who was blessed with supernatural strength that was somehow tied to his hair. Also, he loved the ladies and partying it up. Over the course of his life, Samson amassed a large group of political and personal enemies who became intent on his downfall. Enter Delilah. She seduces Samson and after a while, he falls in love with her and lets her in on the secret of where his remarkable strength comes from. Delilah promptly betrays Samson for a large amount of cash money and has Samson's head shaved--thus rendering him weak and able to be captured. Most people familiar with the story stop there, but Samson's saga continues. Though his eyes were gouged out and he becomes sort of spectacle for mocking amusement, eventually his hair grows back out and he commits suicide by literally pulling down the central columns of a building where his captors were partying thus getting revenge and killing tons of people in the process.
Whew. Bible history time is now over. Why does any of that matter? Well in pop culture, Delilah has become synonymous with a sort of cool sexy femme fatale but people often forget about Samson's role in all this. And what's interesting on this album, is that in many ways VV could be singing from the perspective of Samson instead of Delilah which throws a wicked twist on an already charged tale of obsessive lust, betrayal and murderous revenge. Lyrically, this album is simply light years more interesting and layered than her debut though she falls back on tired cliches more often than I'd like.
Musically, this album is something else. Cohesive it is not. Which to be honest is half the fun. Album opener, "Substitute for Love" is one of the strongest tracks on the album and is VV's way of letting the listener know from moment one, that she's doing whatever she wants with this album. Slow and ethereal, it's almost a modern pop take on a requiem. "Samson" contains a similar feel, but this time VV drives the song with a big drum line which makes it more accessible and even danceable. If you like "Samson" then chances are you'll also probably like it's twin "Igneous." Aside from the opener though, there are several other gorgeous ballads like "Knife." Album closer, the six minute long "Beginning" is perhaps the most experimental track on the album. There's not really lyrics as much as sounds. It's meant to intrigue, tease.
While I would respect VV for attempting something this ambitious, I respect her even more that she was in fact able to pull an album like this off. Sure it has it's moments where things just didn't come together, but I kept thinking of how I just haven't heard something quite like this done in this way before. What differentiates this album from others who would fall into the same vague genre--is that VV still retains hints of her background in vintage r&b powerful soul music--which gives her operatic delivery on this album some much needed edge and interest. This album was wholly unexpected, but a very enjoyable surprise for me.
For fans of artists like: Imogen Heap, Lykke Li, Active Child, Marina & the Diamonds, Bjork and even someone like Tarja Turunen. Must have tracks: "Substitute for Love," "Samson," "The Apple", "Faith", "Igneous."
When she started writing music under her given name Vanessa Brown, people were not really paying attention. At least, not when she was writing for herself. Her bombshell beauty overshadowed her creativity, and as a result, she became more synonymous with gimmicks than with her music. She became a high-fashion model, and she was (and still is) damn good at it. But it's not really where she had set her sights. Cue "Travelling Like the Light," her debut record littered with catchy, vintage-inspired R&B songs that, were this it the 1960s, would make Billie Holiday, Diana Ross, and Nancy Sinatra jealous. The one thing that set her apart from her contemporaries was the seeming total control she had over the music. Her bubbly, retro-persona and striking good looks could easily distract the listener into thinking she had nothing to do with the lyrics or production. Quite the contrary, though. This woman is both beauty and brains, evidenced by her knack for pop hooks (and lyrics that won't have your skin crawling).
Her music was best appreciated by critics and advertising executives. That and your local drama club or color guard team. And in a lot of ways, that still hasn't changed. But now VV is back. And she's serious. And she's mad. And she's sad. And she's bursting to the brim with creative juices. Gone are the dreamy, girlie pop tunes from 2009 and here are the new-century, avant-garde pieces of electro-classical persuasion. Naturally, one would question the validity of this project. Would this be in the same vein a Debbie Gibson trying to do new-jack swing and sound like a bad girl? Would this sound like Miley Cyrus cutting her hair and swinging from a wrecking ball. Or is this the VV Brown she always wanted us to notice? Well, it's none of the above, really. Samson & Delilah, technically her third album (although only her second to be released) is a strikingly genuine foray into electronic music that merely winks at its inspirations (Annie Lennox, Kate Bush, Grace Jones, Madonna, Queen) rather than out right steals from them. This is the true progression of an artist, and what it gives me is a glimpse into the way Vanessa Brown works on things. She's not necessarily a singer, a songwriter, a musician, a model, a fashion design, or anything. She's simply an artist who gets herself involved and entangled in a myriad of projects, all of which she is passionate about.
It just so happens that she's quite good at all the things she sets out to do (except perhaps marketing).
After the cancellation of her sophomore debut Politics and Lollipops, I was heartbroken. I knew it was coming. Despite a killer debut single, the pop genius Children (featuring Chiddy), and a few interesting preview clips, the release was being pushed around from left to right until it was eventually just nixed altogether. I wasn't shocked, but I was disappointed. And I think in some ways, VV was as well, although it was ultimately her decision to scrap the project and start from zero. So she disappeared for a well and then randomly threw all her fans a major sucker punch. She dropped a massive land mine with the video for Samson, a muted and violent scene where the titular character is stripped of his power. This is accompanied by a haunting percussive line and distant vocals that bellow rather than croon. VV had traded in her nightingale lullaby voice for something far more menacing and commanding. And this was only the beginning.
Samson and Delilah is a concept album loosely based upon the Bible story of the same name. The lyrics and pacing of the record do not necessarily follow the exact plot, although there are hints and glimpses that serve as a cohesive glue for otherwise disparate pieces of work. Generally speaking, this is an album of betrayal, regret, and pain. The album opens with the stellar Substitute for Love, which pulsates delicately behind a spiritual and operatic performance from Brown. Then the album begins to twist into a downward spiral of electronic beats and hypnotic melodies. Eventually, you'll find yourself falling down the rabbit hole after swallowing the pill that makes you small. Igneous will both makes you feel tiny and gigantic at the same time, and Knife will drop your body temperature about twenty degrees. In between, you'll find the Stars-esque tracks Ghosts and Faith, and my personal favorite, the Grace Jones-inspired The Apple. There are some sidesteps and ideas that don't entirely work for me, but the techniques used throughout the record not only entertain me, but they impress me. Vanessa Brown is an artist deserving of a full listen and, ultimately, our respect.
If you find yourself annoyed by the disingenuous and insincere offerings from Lady GaGa, the cliches of Katy Perry, the tiredness of Britney Spears, and the arrogance of Justin Bieber, maybe listen to something that somebody had carefully crafted. Not something rehashed from a word bank.