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Alternative & Indie - Released October 6, 2017 | [PIAS] Le Label

Hi-Res Booklet Distinctions 4F de Télérama - Indispensable JAZZ NEWS
"For Lilies I just wanted to retreat to a cave with my Pro-Tools, my computer, and my cheap, 100Euro Shure SM-58 microphone. I could have gone to a big studio, made a big production – but I wanted none of that. I wanted to go back to the seed of creativity, the simplest materials. I was in this room where there was no light, no night or day at all, no heat. Very uncomfortable. But I felt free. I was happy to have this feeling – ‘I don’t need more, I have everything I need here.’” The spirit and the context in which Melanie De Biasio created Lilies are certainly in keeping with this unique artist's life and work... A singer-musician who is always ready to question and challenge herself anew and push the boundary markers which are so often set down between musical genres. Released in 2013, her album No Deal excelled as an atmospheric meeting of jazz, electro and rock. The Belgian who worships Nina Simone and Abbey Lincoln took another departure from the beaten track with what is commonly called vocal jazz, and wandered towards soul, trip hop, blues: into the most impalpable of ethers. In these weightless sequences, Lilies is firmly stamped with the De Biasio hallmark. This is a way of doing away with labels and playing with light and dark, day and night. © MD/Qobuz
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Jazz - Released September 20, 2012 | Igloo

Distinctions 4 étoiles Jazzman
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Alternative & Indie - Released August 23, 2017 | [PIAS] Le Label

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Alternative & Indie - Released June 20, 2017 | [PIAS] Le Label

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Jazz - Released May 20, 2016 | [PIAS] Le Label

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When Melanie De Biasio released No Deal in 2014, it was embraced by jazz critics, DJs, and club audiences simultaneously. Gilles Peterson was so taken with its monochromatic ambient textures, stark arrangements, and clever improvisational intimations that he commissioned an album of remixes. Blackened Cities is not a conventional follow-up, but an adventurous endeavor rife with risk. The release consists of a single 24-minute track that unfolds like a suite. The conservatory-trained Belgian vocalist and flutist and her longtime musical associates -- Pascal Mohy on piano, Pascal Paulus on analog synths and clavinet, and Dré Pallemaerts on drums (with guest double bassist/cellist Sam Gerstmans) -- deliver a full-scale sonic drama that crosses a wide musical expanse and evokes an encyclopedia of stylistic references, yet comes across as a totally original whole. Its title comes from impressions of postindustrial cities De Biasio visited on her international tour: Detroit, Manchester, her native Charleroi; each has a storied past and a devastated façade, yet reflects its own unique beauty and tenacity. Recorded live in the studio, Blackened Cities began as an unfinished three-minute idea brought in by the singer and left open for group interpretation. It starts with a whisper, a single organ-esque chord followed by a cello, before its lone guidepost enters: Pallemaerts' nearly constant, always inventive drumming -- shuffling, syncopating, circling -- is the pulse that signals each wave-like segment. (The spirit of Tony Williams on Miles Davis' In a Silent Way is redolent.) The musical reference points are wildly diverse: Nina Simone (the cover of "I'm Gonna Leave You" on No Deal was a watermark), the piano vamp from the Doors' "Riders on the Storm," Julie Tippetts with Brian Auger, Talk Talk's Laughing Stock, Simin Tander, Annette Peacock, Portishead, The The's "Uncertain Smile," Judy Nylon, and more come and go unhurriedly. The work gradually builds and then builds some more, without ever ratcheting up in intensity. Even at its most improvisational, Blackened Cities retains its moody, spatial, and spectral sense of groove. De Biasio delivers her lyrics in flowing extensions and deconstructions; the instrumental themes emerge from and vanish into them. Her unique phrasing employs the same maxims of silence and space that her musicians do. Even her own flute break uses an economic palette, elastically balancing harmony with breath. But in its creative leap, Blackened Cities retains all of the appealing elements heard on No Deal. As the track eventually washes into silence, it becomes evident that it had to stand as its own release. This aural travelogue's sensual cool, brooding tension, and elegiac tenderness are inseparable from one another. It is complete, but even at this length Blackened Cities ends all too soon. ~ Thom Jurek
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Jazz - Released February 23, 2015 | Play It Again Sam

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The mostly soothing, slightly baleful, ultimately seductive No Deal, the self-produced second album from songwriter, vocalist, and flutist Melanie De Biasio, reached number five on the Ultratop album chart in the artist's native Belgium and gradually charmed DJs and publications in other territories. Released weeks after she performed at BBC DJ Gilles Peterson's Worldwide Awards ceremony and collected a trophy at the European Border Breakers Awards, this is a rare remix album that can be enjoyed from beginning to end, as an alternative version rather than as a clashing assortment of remixes. Arranged by Peterson, who called upon some of his favorite contemporary musicians and producers, No Deal Remixed presents all of the album's songs in new form, identically sequenced, though Cinematic Orchestra's weighty version of "I'm Gonna Leave You" -- different from Clap! Clap!'s lighter, busier work earlier in the program -- functions like a bonus track. Peterson and Simbad's fusion of "With Love" and "Sweet Darling Pain" is central, the most dramatic and radical rework. Its tremulous juke patterns gradually intensify and fill the original's space and pensiveness with nervous anxiety. Another striking remix comes from Eels (Mark Oliver Everett), who possibly took the first line of "I Feel You" -- "I feel you/A deep echo in me" -- as something of a cue. He makes the album opener sound decades old. Through its squally strings, one can envision a rapid playback of scenes from a past romance. Japanese Blue Note act Hex's stuttering/driving revamp of "The Flow" places greater emphasis on De Biasio's flute, while Seven Davis Jr.'s contribution with "No Deal" is a lean house track that treats her voice like a sample source. ~ Andy Kellman
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Jazz - Released December 15, 2014 | Play It Again Sam

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Alternative & Indie - Released April 28, 2014 | Play It Again Sam

4 stars out of 5 -- "While nominally jazz, the whole is on a line between a beats-free Portishead and a subtle union of the voices of June Christy and Mahalia Jackson."