Keren Ann更换了制作人，终于脱离了Biolay的“魔掌”，呵呵，风格更加鲜明

Keren Ann在2007年的新作，这名法国乐坛最受瞩目的民谣才女将于今年4月发行的新专辑，也是她包括《Lady&Bird》在内的第六张录音室专辑。 依然延续了上一张Not Going Anywhere的风格，同样的安静，迷茫，抚慰心灵。

Like Coralie Clément, Keren Ann may not have the widest range, but she makes the most of it. Her vocals are light, delicate, and pretty, as if she has found a way to combine talking, whispering, and singing into one fluid approach (and as if she has listened to a few Astrud Gilberto albums in her time). La Biographie de Luka Philipsen was the French singer/songwriter's debut and many of the songs were co-written with longtime associate Benjamin Biolay (Clément's older brother). Biolay also produced, played several instruments (guitar, trumpet, and trombone), and provided the orchestral arrangements. The pleasing results are somewhat like a modern-day Serge Gainsbourg-Françoise Hardy collaboration. They even duet on one song, "Decrocher les Etoiles." Consequently, Biolay has often been compared to Gainsbourg, and Keren Ann has often been compared to Hardy, but Keren Ann -- like Biolay -- is a multi-instrumentalist, as well, and plays guitar and clarinet on the album. In addition, she has written songs for other artists, most notably Henri Salvador. The Brazilian-sounding "Jardin d'Hiver," which appears on La Biographie (and was co-written by Biolay), first showed up on Salvador's Chambre Avec Vue. It became a big hit for the 83-year-old French jazz musician and would garner awards (like the prestigious Victoires de la Musique) and considerable acclaim for Keren Ann and Biolay.

KerenAnn何许人也？她是法国乐坛最受瞩目的民谣才女，她出生在以色列，从小学吉他时就开始扒Joni Mitchell的曲子，11岁举家迁往巴黎后竟然得到了JoniMitchell的赏识而结识了著名制作人Benjamin Biolay，后者的古典音乐背景为她的作品带来更丰富的编配层次。2000年KerenAnn的首张专辑《LaBiographie De Luka Philipsen》融入了俄国文学、犹太民谣和法国诗歌，并以Trip-Hop、民谣及法国流行乐的融合形式现身，一举在欧洲赢得巨大成功。一曲《Jardind’Hiver》更是惊动了80高龄的法国Bossa Nova鼻祖HenriSalvador，后者在自己的经典复出专辑《Chambre Avec Vue》中收录了包括《Jardind’Hiver》在内的5首由BenjaminBiolay和KerenAnn创作的曲子。


KerenAnn是个用法语歌唱生活的女孩，她的民谣实在“清新”，和古老的传说联系在一起，和远去的岁月里绵绵的小故事牵手，直接承载于简陋的乐器声中。然而，从第二张专辑《La Disparition》开始，KerenAnn在民谣中加入了更多爵士和布鲁斯的元素，据说是因为听了不少ChetBaker和TomWaits的原因。所以清新本身，也是很不同的，16岁，30岁，50岁，80岁，就各有不同的聆听质感，如果你是一个可爱的民谣音乐家，那就看你碰上什么了，总之，不论你怎么拨弄音符、也不论你如何制造声响，你总会营造出“清新”的。KerenAnn的首张英文专辑《Not Going Anywhere》就是这样，那和语言的变化无关，就好像瀑布会变成溪流或地下水，可水仍是水。民谣之路也是，似乎只有一条，从清新到清新。


《Not Going Anywhere》的吟唱更偏向于布鲁斯，也更低调。略带颓废的清淡语调一直贯穿于小夜曲一般的主题曲中，贯穿于《End Of May》梦幻般的和声中，也贯穿于惟一一首节奏强烈的《Sail or And Widow》之中。甚至连像圣诞童谣一样的《Right Now And Right Here》、唯美极致的香颂《By The Cathedral》和带有一丝拉丁吉他色彩的《Spanish Song Bird》，也无一不笼罩在一层感伤的淡淡雾气中。而早先的Trip-Hop节拍表象已然隐匿，转化成为Beth Gibbons似的内在阴郁。除了爵士和布鲁斯的元素，KerenAnn还从ChamberPop以及法国流行乐、Bossanova甚至古典音乐中汲取了更多营养，你能感受到JaneBirkin、Francoise Hardy轻柔细腻的法式流行情歌；JoniMitchell、SuzanneVega甜美的北美纽约民谣；Club8或者Belle&Sebastian简单清秀的原声器乐以及NickDrake式讨巧的忧伤。


有人说KerenAnn的东西适合作为全世界任何一家咖啡馆的背景音乐，显然这很合理，但如此华美却又极简矜持的作品更适合于私人聆听。KerenAnn美妙的轻声细语犹如易碎的水晶玻璃，又仿若湿润夏季里轻凉的山泉。她的纯洁是长刺前的玫瑰，无法在世间长久的生存。

Keren Ann Zeidel known professionally as Keren Ann, is an Israeli-born singer, songwriter, composer, producer, and engineer based largely in Paris, Tel Aviv, and New York City. She plays guitar, piano, and clarinet. She also engineers and writes choir and musical arrangements.

Keren Ann Zeidel known professionally as Keren Ann, is an Israeli-born singer, songwriter, composer, producer, and engineer based largely in Paris, Tel Aviv, and New York City. She plays guitar, piano, and clarinet. She also engineers and writes choir and musical arrangements.