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HI-RES21,49 €
CD14,99 €

Alternativ und Indie - Erschienen am 1. Februar 2019 | Barclay

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HI-RES21,49 €
CD14,99 €

Alternativ und Indie - Erschienen am 9. Oktober 2015 | Barclay

Hi-Res Booklet
The critical and commercial success of Lou Doillon's haunting debut Places -- which included the album's double platinum status in France and Doillon winning the French Grammy for Best Female Artist -- may have taken some by surprise. Lay Low proves that the acclaim for Doillon is no fluke, although her approach to her second album may also come as a surprise. Instead of making a bigger-sounding album, she pares back: a svelte 35 minutes, Lay Low's artfully spare songs let Doillon's voice dominate these songs even more than it did on Places. There's an ageless, almost androgynous depth and richness to her singing that evokes legends such as Odetta and Leonard Cohen, as well as more recent artists like Tindersticks' Stuart Staples and Timber Timbre's Taylor Kirk, who just happens to be Lay Low's co-producer. Together, they take Doillon's music in eclectic yet organic directions, whether it's the dusky, jazzy "Robin Miller," the sultry swagger of the title track, or the ever-so-slightly eerie warmth of "Above My Head," one of the tracks that bears a close kinship with Kirk's Timber Timbre work. Like Kirk, Doillon loves the classics but not too faithfully, and she puts her own stamp on "Let Me Go," a slow-building yet insistent ballad that would do Roy Orbison proud, and "Where to Start," a bit of Patsy Cline-esque heartache that peaks with Doillon crooning "I've got to stop this obsession." More often, though, Lay Low finds her with plenty of distance between her and the objects of her affection. On "Weekender Baby," she measures the time apart from her lover in cups of coffee, shots of whiskey, and telephone rings; on "Worth Saying," she muses, "Should I speak my truth and get you running?" As she explores the difference between being alone and being lonely on Lay Low, she sounds more confident and alluring than ever. © Heather Phares /TiVo
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CD13,99 €

Rock - Erschienen am 3. September 2012 | Universal Music Division Barclay

Booklet
Continuing her family's musical heritage, Lou Doillon, the daughter of '60s chanteuse Jane Birkin and half-sister of French singer/actress Charlotte Gainsbourg, looked to the classic singer/songwriter folk of Karen Dalton and Joni Mitchell as inspiration for her debut album, Places. Produced by '80s new wave veteran Etienne Daho, its 11 English-sung tracks include the single "I.C.U." © Jon O'Brien /TiVo
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Alternativ und Indie - Erschienen am 27. November 2020 | PATCHMYWORK

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HI-RES21,49 €
CD14,99 €

Alternativ und Indie - Erschienen am 9. Oktober 2015 | Barclay

Hi-Res Booklet
The critical and commercial success of Lou Doillon's haunting debut Places -- which included the album's double platinum status in France and Doillon winning the French Grammy for Best Female Artist -- may have taken some by surprise. Lay Low proves that the acclaim for Doillon is no fluke, although her approach to her second album may also come as a surprise. Instead of making a bigger-sounding album, she pares back: a svelte 35 minutes, Lay Low's artfully spare songs let Doillon's voice dominate these songs even more than it did on Places. There's an ageless, almost androgynous depth and richness to her singing that evokes legends such as Odetta and Leonard Cohen, as well as more recent artists like Tindersticks' Stuart Staples and Timber Timbre's Taylor Kirk, who just happens to be Lay Low's co-producer. Together, they take Doillon's music in eclectic yet organic directions, whether it's the dusky, jazzy "Robin Miller," the sultry swagger of the title track, or the ever-so-slightly eerie warmth of "Above My Head," one of the tracks that bears a close kinship with Kirk's Timber Timbre work. Like Kirk, Doillon loves the classics but not too faithfully, and she puts her own stamp on "Let Me Go," a slow-building yet insistent ballad that would do Roy Orbison proud, and "Where to Start," a bit of Patsy Cline-esque heartache that peaks with Doillon crooning "I've got to stop this obsession." More often, though, Lay Low finds her with plenty of distance between her and the objects of her affection. On "Weekender Baby," she measures the time apart from her lover in cups of coffee, shots of whiskey, and telephone rings; on "Worth Saying," she muses, "Should I speak my truth and get you running?" As she explores the difference between being alone and being lonely on Lay Low, she sounds more confident and alluring than ever. © Heather Phares /TiVo
Ab
CD12,49 €

Französischer Chanson - Erschienen am 3. September 2012 | Universal Music Division Barclay

Booklet
Continuing her family's musical heritage, Lou Doillon, the daughter of '60s chanteuse Jane Birkin and half-sister of French singer/actress Charlotte Gainsbourg, looked to the classic singer/songwriter folk of Karen Dalton and Joni Mitchell as inspiration for her debut album, Places. Produced by '80s new wave veteran Etienne Daho, its 11 English-sung tracks include the single "I.C.U." © Jon O'Brien /TiVo
Ab
CD14,99 €

Alternativ und Indie - Erschienen am 9. Oktober 2015 | Barclay

Booklet
The critical and commercial success of Lou Doillon's haunting debut Places -- which included the album's double platinum status in France and Doillon winning the French Grammy for Best Female Artist -- may have taken some by surprise. Lay Low proves that the acclaim for Doillon is no fluke, although her approach to her second album may also come as a surprise. Instead of making a bigger-sounding album, she pares back: a svelte 35 minutes, Lay Low's artfully spare songs let Doillon's voice dominate these songs even more than it did on Places. There's an ageless, almost androgynous depth and richness to her singing that evokes legends such as Odetta and Leonard Cohen, as well as more recent artists like Tindersticks' Stuart Staples and Timber Timbre's Taylor Kirk, who just happens to be Lay Low's co-producer. Together, they take Doillon's music in eclectic yet organic directions, whether it's the dusky, jazzy "Robin Miller," the sultry swagger of the title track, or the ever-so-slightly eerie warmth of "Above My Head," one of the tracks that bears a close kinship with Kirk's Timber Timbre work. Like Kirk, Doillon loves the classics but not too faithfully, and she puts her own stamp on "Let Me Go," a slow-building yet insistent ballad that would do Roy Orbison proud, and "Where to Start," a bit of Patsy Cline-esque heartache that peaks with Doillon crooning "I've got to stop this obsession." More often, though, Lay Low finds her with plenty of distance between her and the objects of her affection. On "Weekender Baby," she measures the time apart from her lover in cups of coffee, shots of whiskey, and telephone rings; on "Worth Saying," she muses, "Should I speak my truth and get you running?" As she explores the difference between being alone and being lonely on Lay Low, she sounds more confident and alluring than ever. © Heather Phares /TiVo
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HI-RES1,59 €
CD0,99 €

Alternativ und Indie - Erschienen am 5. Oktober 2020 | PATCHMYWORK

Hi-Res
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CD14,99 €

Alternativ und Indie - Erschienen am 1. Februar 2019 | Barclay

Ab
CD14,99 €

Alternativ und Indie - Erschienen am 9. Oktober 2015 | Barclay

Booklet
The critical and commercial success of Lou Doillon's haunting debut Places -- which included the album's double platinum status in France and Doillon winning the French Grammy for Best Female Artist -- may have taken some by surprise. Lay Low proves that the acclaim for Doillon is no fluke, although her approach to her second album may also come as a surprise. Instead of making a bigger-sounding album, she pares back: a svelte 35 minutes, Lay Low's artfully spare songs let Doillon's voice dominate these songs even more than it did on Places. There's an ageless, almost androgynous depth and richness to her singing that evokes legends such as Odetta and Leonard Cohen, as well as more recent artists like Tindersticks' Stuart Staples and Timber Timbre's Taylor Kirk, who just happens to be Lay Low's co-producer. Together, they take Doillon's music in eclectic yet organic directions, whether it's the dusky, jazzy "Robin Miller," the sultry swagger of the title track, or the ever-so-slightly eerie warmth of "Above My Head," one of the tracks that bears a close kinship with Kirk's Timber Timbre work. Like Kirk, Doillon loves the classics but not too faithfully, and she puts her own stamp on "Let Me Go," a slow-building yet insistent ballad that would do Roy Orbison proud, and "Where to Start," a bit of Patsy Cline-esque heartache that peaks with Doillon crooning "I've got to stop this obsession." More often, though, Lay Low finds her with plenty of distance between her and the objects of her affection. On "Weekender Baby," she measures the time apart from her lover in cups of coffee, shots of whiskey, and telephone rings; on "Worth Saying," she muses, "Should I speak my truth and get you running?" As she explores the difference between being alone and being lonely on Lay Low, she sounds more confident and alluring than ever. © Heather Phares /TiVo
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HI-RES2,99 €
CD1,99 €

Alternativ und Indie - Erschienen am 7. Dezember 2018 | Universal Music Division Barclay

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CD1,99 €

Alternativ und Indie - Erschienen am 25. Januar 2019 | Universal Music Division Barclay

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CD1,99 €

Alternativ und Indie - Erschienen am 7. Dezember 2018 | Universal Music Division Barclay