Emmy The Great
Langue disponible : anglaisEmmy the Great's reflective, delicately inventive indie folk-pop songs alternate between the sweet and bittersweet. While her 2009 debut album, First Love, favored a blend of earthy acoustic and electric guitar textures, she updated her sound with her third full-length, 2016's Second Love, which added spacious electronics. Emma-Lee Moss was born in Hong Kong and later moved with her family to England, where she became a fixture of London's burgeoning anti-folk scene. The young singer/songwriter collaborated with Lightspeed Champion, Fyfe Dangerfield, and Jeremy Warmsley, and her audience grew as she shared the stage with the likes of Martha Wainwright and Kimya Dawson. Her debut single as Emmy the Great, "Secret Circus," appeared in 2006, with the My Bad EP following in 2007. Meanwhile, she collaborated closely with Euan Hinshelwood and expanded her reach by touring the festival circuit, bringing her articulate folk tunes to audiences at the Green Man Festival, Latitude Festival, and Glastonbury. She issued her first album, First Love, the Close Harbour label in 2009. In 2011, fueled by the unfortunate last-minute breakup with her fiancée, Moss wrote and recorded her second album, Virtue, with Hinshelwood once again playing a role in the album's creation. Produced by Gareth Jones, Virtue expanded her work both sonically and thematically, while her partnership with Ash frontman Tim Wheeler resulted in the festive This Is Christmas album the same year. Along with writing songs for the 2013 romantic comedy film Austenland, she spent the next few years touring and traveling the world, which inspired her next release, the 2015 EP S, her first for Bella Union. That year, she also wrote the closing song for the Mystery Show podcast, among other side work. In 2016, Bella Union issued relationship-minded full-length Second Love. It featured liner notes by her friend, writer Jon Ronson. Inspired by a return to Hong Kong in late 2017, the songwriter recorded her fourth album, April, with producers Beatriz Artola and Dani Markham in Brooklyn in early 2018. It eventually saw release on Bella Union in October 2020 following a maternity leave.
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Pop - Paru le 12 juin 2011 | Close Harbour (Stage 3)
Where 2009's First Love's intimate indie folk tales cornered the listener with what felt like a collection of personal diary entries, Virtue boasts a far more expansive but no less affecting Emmy the Great experience. This time around, the core duo of Emma-Lee Moss and Euan Hinshelwood were aided by experienced producer Gareth Jones, who enabled their musical imaginations to be realized to a greater degree than what was perhaps possible on their self-produced debut. Full of grandeur but never allowing the guitar, bass, and drums combo to be overwhelmed, Virtue is accomplished and captivating where First Love was immediate and charming. There is a step up both sonically and within the songwriting, which is something Moss and Hinshelwood have honed without surrendering to the trappings of anthemic cliché. Swaying more toward Joni Mitchell and fellow contemporary Laura Marling than Florence + the Machine, Virtue is a collection of songs that are built to last. Having spoken publicly of the last-minute breakdown of her engagement in the lead-up to writing the album, Moss' heartache is evident on tracks such as "Cassandra," where she asks "What use is love if it always passes?" with familiar clarity, while a newly guarded nature forces the audience to also expand their imagination if they want a clear view into Virtue's diary. Repeat listens reveal messages hidden within metaphor, as Moss admits to be "standing in the afterglow of rapture with the words that rapture left" on "Paper Forest (In the Afterglow of Rapture)," where her vocal prowess makes the same leap as the instrumentation. The quality of songcraft is constant throughout Virtue, but there is plenty of musical variation on offer. The mysterious, sweeping sounds of "Dinosaur Sex" and "Exit Night/Juliet's Theme" are balanced by the indie pop simplicity displayed within the dreamy guitar sound of "Iris" and the disco-inspired "Sylvia." Meanwhile, the piano-led, hymn-like closer "Trellick Tower" is the most affecting, sublime track on what is a record full of reasons to replay. © Daniel Clancy /TiVo