前卫的香颂女伶Brigitte Fontaine在2006年末再次回归舞台，这一次，她带来的是《Libido》。合作者依然是她的丈夫Areski Belkacem ，还有古灵精怪的M等人。
真的没有想到这位老太太还再孜孜不倦的做着自己的音乐，岁月虽然在她的肉体上留下了痕迹，但是你可以通过这种那个专辑感受到Brigitte Fontaine那强大的生命力，依旧是青春、顽皮、性感。久久不化的嗓音、呓语喃喃、铿锵委婉、坚强自信。到了这张专辑，Brigitte Fontaine得音乐显的更佳的平易近人了，令人觉得可亲。专辑中的慢歌绝对首首经典。喜欢Brigitte Fontaine的朋友不要错过，值得收藏。
太好听的一张专辑，如同夏天里的一缕清风，适合用来整理心情。

Of all the strange records this French vanguard pop chanteuse ever recorded, this 1971 collaboration between the teams of Brigitte Fontaine and her songwriting partner Areski and the Art Ensemble of Chicago -- who were beginning to think about returning to the United States after a two-year stay -- is the strangest and easily most satisfying. While Fontaine's records could be beguiling with their innovation, they occasionally faltered by erring on the side of gimmickry and cuteness. Here, the Art Ensemble provide the perfect mysterious and ethereal backdrop for her vocal explorations. Featuring the entire Art Ensemble of that time period and including fellow Chicago AACM member Leo Smith on second trumpet, Fontaine and Areski stretched the very notion of what pop had been and could be. With strangely charted arrangements and mixing (percussion was in the foreground and horns were muted in the background, squeezed until they sounded like snake-charming flutes), the ten tracks here defy any and all conventions and result in the most provocative popular recording of 1971 -- and that's saying something. For their part, the Art Ensemble hadn't played music this straight since before leaving Chicago, with long, drooping ballad lines contrasted with sharp Eastern figures and North African rhythmic figures built in. The finest example of how well this works, and how seductively weird it all is, is on the two-part "Tanka." Here, Malachi Favors' bass and Areski's percussion meet everything from bouzoukis to clarinets to muted trumpets to sopranino saxophones, courtesy of Joseph Jarman, Roscoe Mitchell, Smith, and Lester Bowie, who play in tandem, using striated harmonies and modal intervals in order to stretch the notion of time and space under Fontaine's vocals. The effect is eerie, chilling, and hauntingly beguiling, and sets the tone for an entire album that runs all over the stylistic map while not adhering to anything but its own strange muse. This is remarkable stuff from a very adventurous time when virtually anything was possible.