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Alternatif et Indé - Paru le 29 janvier 2021 | Sweet Police

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Alternatif et Indé - Paru le 1 mai 2020 | Sweet Police

Publié en 2020, Cover Two constitue le second recueil de reprises de l'autrice-compositrice-interprète américaine Joan Wasser, alias Joan As Police Woman. Au fil de dix plages, la musicienne y offre des relectures bien personnelles d'incontournables comme le "Kiss" de Prince, le "Out Of Time" de Blur ou le "Life's What You Make It" mais aussi de choix moins évidents comme le mélancolique "On the Beach" de Neil Young, le "I Keep Forgetting" de Michael McDonald, le "Running" de Gil Scott-Heron ou encore le "Spread" d'Outkast interprété en compagnie de Meshell Ndegeocello. © TiVo

Alternatif et Indé - Paru le 24 mai 2019 | Play It Again Sam

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31 morceaux sélectionnés par la principale intéressée (Joan As Police Woman alias Joan Wasser) et son manager Tom Rose, ainsi qu’un CD bonus live : la maison de disques Pias a vu les choses en grand pour célébrer les 15 années de productivité de celle qui fit ses armes chez Antony and the Johnsons et Jeff Buckley. Le premier volet respecte un ordre chronologique scrupuleux puisqu’il débute par 7 morceaux tirés de son premier opus, Real Life (2006). Dès ses premiers pas, le style de la chanteuse-auteure-compositrice était en place, avec ce mélange d’émotion à fleur de peau et de douce énergie, parfaitement synthétisé dans une chanson comme Christobel. Suivent 5 titres provenant de To Survive (2008), à commencer par Honor Wishes, une chanson célébrant le mariage de l’étrange et de la sensualité, dans laquelle un piano à la fois jazzy, boiteux et timide se mêle aux chœurs célestes du grand David Sylvian. Cet instrument est également présent parmi la fanfare de To America (featuring Rufus Wainwright).  Dans le second volet de cette anthologie, cette chronologie parfaite est quelque peu bousculée par l’intervention d’une reprise de Prince (Kiss), ainsi que d’un inédit intitulé What a World : Joan y fait le constat d’un monde douloureux où la joie est malgré tout inexplicablement présente. Non loin de ce genre de petites surprises, on trouvera bien entendu les grands moments de sa période 2010’s, dans laquelle cette violoniste de formation s’adonne un peu plus à l’expérimentation musicale (The Magic, Holy City). Ce qui se dégage de cette splendide collection de chansons, c’est avant tout le talent de Joan Wasser dans l’art du songwriting, un savoir-faire impeccable où la ligne claire mélodique n’exclut pas l’audace orchestrale. Inventivité, beauté, lisibilité et simplicité : ces 31 chansons illustrent avec évidence cette idée (utopique ou non) de l’artiste américaine à propos de son deuxième album : « Je suis convaincue qu’en créant de la beauté en soi et autour de soi, on se donne la chance de vivre dans un monde meilleur. » © Nicolas Magenham/Qobuz
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Alternatif et Indé - Paru le 9 février 2018 | Play It Again Sam

Succédant au projet collaboratif de 2016 Let It Be You avec Benjamin Lazar Davis, Damned Devotion, cinquième opus studio de l'auteure-compositrice-interprète américaine Joan Wasser, alias Joan As Police Woman, voit le jour en 2018. Porté par le single « Warning Bell », l'album voit la chanteuse revenir à une formule plus intimiste, réminiscente de ses débuts après deux efforts placés sous le signe de l'expérimentation. © TiVo
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Alternatif et Indé - Paru le 24 janvier 2011 | Play It Again Sam

Joan Wasser – alias Joan As Police Woman – transmet dans son troisième album gorgé de soul mais aussi de son plus rock, cette soif de vivre, dénuée de tout complexe. Creusant plus profond que jamais, The Deep Field commence par ces mots : « Je veux que tu tombes amoureux de moi ». C’est fait !
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Alternatif et Indé - Paru le 12 juin 2006 | Play It Again Sam

Joan Wasser spent most of the '90s and 2000s playing with everyone from the Dambuilders to Antony and the Johnsons to Jeff Buckley (with whom she was involved when he died), but of all the projects she's been involved in, Joan as Police Woman is the the finest. Real Life seems like an immediately brilliant debut, but, as is usually the case, years of experience went into it. You can hear it in Wasser's voice, womanly and raspy; in the way she and the rest of the band fuse soul, post-punk, and '70s-style singer/songwriter pop into something familiar, unique, and seemingly effortless; and in the remarkable vulnerability and strength on display throughout. Wasser took "beauty is the new punk rock" as the manifesto for Joan as Police Woman, and while it's certainly catchy and describes the group's music, there's more to it than that: in Joan as Police Woman's world, it's more challenging, more unexpected, to honor hope and beauty instead of just tearing things down. Real Life's music and words are filled with plenty of spine-tingling beauty, as well as honesty, from how the simmering strings slowly overtake the lilting piano melody on the title track, to the way Wasser offers up her heart on "Anyone": "Try me please/I'm a better dancer than it seems." Even in the supposedly confessional realm of singer/songwriters, it's rare to hear this kind of genuine, nuanced emotion; it's even rarer to have it surrounded by music that's beautifully structured and elegantly played. There is no contrived edginess in Joan as Police Woman's work -- in fact, Real Life's warmth and accessibility might be the most (pleasantly) surprising thing about it. Most of the album is rapturously quiet, drawing listeners into powerful yet gentle songs like "The Ride" and "Feed the Light," which breezes in and out on delicate piano and strings that feel like sunbeams. The band raises the volume for a few gently powerful moments like the smoldering "I Defy," a duet between Wasser and Antony Hegarty that is equal parts drama and intimacy, and the brilliantly guitar- and yearning-driven "Christobel." While most of Real Life shines with hard-won optimism and hope, Joan as Police Woman deals with more difficult emotions just as eloquently. "Eternal Flame" sets a tale of having the strength to walk away from a potentially disastrous relationship, no matter how appealing it seems, to luminous guitars and backing vocals, while "We Don't Own It"'s subtly profound acceptance of the ends of things ("it's in the mystery") makes it the perfect final song. Real Life is an almost eerily flawless album, but as intense as it is, it's also incredibly comforting. This album is necessary. © Heather Phares /TiVo
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Alternatif et Indé - Paru le 10 mars 2014 | Play It Again Sam

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Paru en 2014, The Classic est le quatrième album de Joan Wasser, alias Joan as Police Woman, succédant à The Deep Field, sorti en 2011. Enregistré live en studio pour recréer l'atmosphère des classiques de la soul, l'album voit Wasser puiser ses influences du côté des divas du genre comme Aretha Franklin, Tammy Terrell ou Marvin Gaye et contient le single "Holy City". © Olivier Duboc /TiVo
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Pop - Paru le 9 juin 2008 | Play It Again Sam

Il semble que Joan Wasser ait mis toute sa rage et frustration de ne pas avoir pu s’exprimer à sa pleine mesure au cours de ses nombreuses années de carrière sur son premier album. Sur le second, les vibrations sont nettement plus apaisées, et les thèmes davantage personnels, traitant de la solitude, l’amour ou encore l’espoir, comme le démontre instantanément la lecture des dix titres. L’exemple parfait en est « Honor Wishes » en compagnie de David Sylvian, véritable mise à l’épreuve amoureuse musicale. « To Be Loved » et « To Be Lonely » complètent ce triptyque sentimental, faisant la part belle à l’amour retrouvé et la difficile et sinueuse route accomplie pour y arriver, tout en espérant que le sentiment demeure à tout jamais. Les harmonies sont également bien plus remplies de sensualité, comme sur « Holiday » ou « Hard White Wall » et sa guitare entêtante. Wasser réussit même l’exploit de célébrer le bonheur sur « Start of My Heart » sans tomber dans la caricature ou la facilité. La charge politique « Furious » aurait dû sortir du lot de par sa thématique mais sa colère est bien tempérée par la production limite trop propre. Pratiquement le véritable premier album de la chanteuse au final car détachée de la nécessité de sortir enfin une première œuvre personnelle. Elle a compris que pour passer à autre chose, elle devait accepter toutes les facettes de l’existence, comme autant de couleurs textuelles retrouvées ici. © ©Copyright Music Story DaBee 2018
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Alternatif et Indé - Paru le 12 juin 2006 | Play It Again Sam

Joan Wasser spent most of the '90s and 2000s playing with everyone from the Dambuilders to Antony and the Johnsons to Jeff Buckley (with whom she was involved when he died), but of all the projects she's been involved in, Joan as Police Woman is the the finest. Real Life seems like an immediately brilliant debut, but, as is usually the case, years of experience went into it. You can hear it in Wasser's voice, womanly and raspy; in the way she and the rest of the band fuse soul, post-punk, and '70s-style singer/songwriter pop into something familiar, unique, and seemingly effortless; and in the remarkable vulnerability and strength on display throughout. Wasser took "beauty is the new punk rock" as the manifesto for Joan as Police Woman, and while it's certainly catchy and describes the group's music, there's more to it than that: in Joan as Police Woman's world, it's more challenging, more unexpected, to honor hope and beauty instead of just tearing things down. Real Life's music and words are filled with plenty of spine-tingling beauty, as well as honesty, from how the simmering strings slowly overtake the lilting piano melody on the title track, to the way Wasser offers up her heart on "Anyone": "Try me please/I'm a better dancer than it seems." Even in the supposedly confessional realm of singer/songwriters, it's rare to hear this kind of genuine, nuanced emotion; it's even rarer to have it surrounded by music that's beautifully structured and elegantly played. There is no contrived edginess in Joan as Police Woman's work -- in fact, Real Life's warmth and accessibility might be the most (pleasantly) surprising thing about it. Most of the album is rapturously quiet, drawing listeners into powerful yet gentle songs like "The Ride" and "Feed the Light," which breezes in and out on delicate piano and strings that feel like sunbeams. The band raises the volume for a few gently powerful moments like the smoldering "I Defy," a duet between Wasser and Antony Hegarty that is equal parts drama and intimacy, and the brilliantly guitar- and yearning-driven "Christobel." While most of Real Life shines with hard-won optimism and hope, Joan as Police Woman deals with more difficult emotions just as eloquently. "Eternal Flame" sets a tale of having the strength to walk away from a potentially disastrous relationship, no matter how appealing it seems, to luminous guitars and backing vocals, while "We Don't Own It"'s subtly profound acceptance of the ends of things ("it's in the mystery") makes it the perfect final song. Real Life is an almost eerily flawless album, but as intense as it is, it's also incredibly comforting. This album is necessary. © Heather Phares /TiVo
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Alternatif et Indé - Paru le 10 mars 2014 | Play It Again Sam

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Paru en 2014, The Classic est le quatrième album de Joan Wasser, alias Joan as Police Woman, succédant à The Deep Field, sorti en 2011. Enregistré live en studio pour recréer l'atmosphère des classiques de la soul, l'album voit Wasser puiser ses influences du côté des divas du genre comme Aretha Franklin, Tammy Terrell ou Marvin Gaye et contient le single "Holy City". © Olivier Duboc /TiVo
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Alternatif et Indé - À paraître le 5 novembre 2021 | [PIAS]

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Alternatif et Indé - Paru le 14 février 2020 | Sweet Police

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Pop - Paru le 12 juin 2006 | Reveal Records

Joan Wasser spent most of the '90s and 2000s playing with everyone from the Dambuilders to Antony and the Johnsons to Jeff Buckley (with whom she was involved when he died), but of all the projects she's been involved in, Joan as Police Woman is the the finest. Real Life seems like an immediately brilliant debut, but, as is usually the case, years of experience went into it. You can hear it in Wasser's voice, womanly and raspy; in the way she and the rest of the band fuse soul, post-punk, and '70s-style singer/songwriter pop into something familiar, unique, and seemingly effortless; and in the remarkable vulnerability and strength on display throughout. Wasser took "beauty is the new punk rock" as the manifesto for Joan as Police Woman, and while it's certainly catchy and describes the group's music, there's more to it than that: in Joan as Police Woman's world, it's more challenging, more unexpected, to honor hope and beauty instead of just tearing things down. Real Life's music and words are filled with plenty of spine-tingling beauty, as well as honesty, from how the simmering strings slowly overtake the lilting piano melody on the title track, to the way Wasser offers up her heart on "Anyone": "Try me please/I'm a better dancer than it seems." Even in the supposedly confessional realm of singer/songwriters, it's rare to hear this kind of genuine, nuanced emotion; it's even rarer to have it surrounded by music that's beautifully structured and elegantly played. There is no contrived edginess in Joan as Police Woman's work -- in fact, Real Life's warmth and accessibility might be the most (pleasantly) surprising thing about it. Most of the album is rapturously quiet, drawing listeners into powerful yet gentle songs like "The Ride" and "Feed the Light," which breezes in and out on delicate piano and strings that feel like sunbeams. The band raises the volume for a few gently powerful moments like the smoldering "I Defy," a duet between Wasser and Antony Hegarty that is equal parts drama and intimacy, and the brilliantly guitar- and yearning-driven "Christobel." While most of Real Life shines with hard-won optimism and hope, Joan as Police Woman deals with more difficult emotions just as eloquently. "Eternal Flame" sets a tale of having the strength to walk away from a potentially disastrous relationship, no matter how appealing it seems, to luminous guitars and backing vocals, while "We Don't Own It"'s subtly profound acceptance of the ends of things ("it's in the mystery") makes it the perfect final song. Real Life is an almost eerily flawless album, but as intense as it is, it's also incredibly comforting. This album is necessary. © Heather Phares /TiVo
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Pop - Paru le 11 juin 2006 | Reveal Records

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Alternatif et Indé - Paru le 21 octobre 2016 | Reveal Records

On Let It Be You, Joan as Police Woman's Joan Wasser and Brooklyn musician Benjamin Lazar Davis -- who has worked with artists including Okkervil River, Cuddle Magic, Kimbra, and Luke Temple -- explore and update their love of African music. Separately, Wasser worked on Damon Albarn's Africa Express project in Ethiopia, while Davis traveled to West Africa as part of his studies of the region's traditional music at the New England Conservatory. Together, they draw on Central African Pygmy music's lively ostinatos -- musical motifs that repeat throughout a work -- incorporating them into breezy electro-pop with an insistent sensuality. The former single "Broke Me in Two" is still one of the finest examples of their approach, with a tart, overdriven keyboard melody providing the backbone for Wasser's flowing vocals. Elsewhere, it's easy to imagine the title track's chiming motif played on a thumb piano instead of a synth. While Let It Be You has more than a little of the easy soulfulness of Joan as Police Woman's albums, especially on luminous tracks such as "Satellite" and "Violent Dove," it sounds less studied. The crisp arrangements provide just the right contrast to Wasser's ecstatic upper range and smoky lower tones, both of which are showcased beautifully on "Magic Lamp." Along with her seemingly effortless charisma, Wasser's unique expressions of love and lust are just as vivid here as they are on her previous work: On "Easy Money," she purrs "You got me jumpin' to your high hat … Man, you got me rapturous" over synths that evoke '70s funk and '90s West Coast rap. When a vocalist as talented as Wasser is involved in a project, it's tempting to want her to sing on every track, but Davis holds his own on "Overloaded"'s surprisingly polished pop and "Motorway"'s mellow groove. From start to finish, Let It Be You is a collection of appealingly loose, lush songs full of creativity. © Heather Phares /TiVo
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Alternatif et Indé - Paru le 24 janvier 2011 | Play It Again Sam

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Alternatif et Indé - Paru le 13 juillet 2021 | [PIAS]

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Alternatif et Indé - Paru le 15 janvier 2006 | Play It Again Sam

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Rock - Paru le 27 juin 2017 | Joan As Police Woman

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Alternatif et Indé - Paru le 5 janvier 2018 | Play It Again Sam