Idioma disponible: inglésWhether she's making music, acting, or writing, Jehnny Beth challenges conventions, her audience -- and herself. Her unwavering commitment to pushing boundaries first became widely known during her time with Savages, whose acclaimed albums Silence Yourself (2013) and Adore Life (2016) delivered a jolt of uncompromising feminine energy into post-punk as well as the U.K. rock scene of the 2010s. When that band took a break, Beth's horizons broadened. Her searing, sexually liberated 2020 debut album, To Love Is to Live, added touches of jazz, industrial music, and torch songs to her repertoire, while her film roles and books proved she could be equally provocative and riveting in just about any medium. Born Camille Berthomier in Poitiers, Vienne, France, Beth's parents were theater directors who encouraged her creativity. She took voice and piano lessons starting at age eight; by the time she was ten, she'd starred in a production of Henrik Ibsen's Peer Gynt. However, the rest of Beth's family was Catholic and traditionally minded, and she felt stifled. After studying dramatic arts at the Conservatoire de Poitiers, Beth moved to London in 2006 to pursue music. It was there that she met Johnny Hostile (aka Nicolas Congé), who became her longtime life and creative partner. Together, they became the lo-fi band John & Jehn, which released 2008's John & Jehn and 2010's Time for the Devil before the project ended in 2011. That year, Beth and Hostile founded the Pop Noire label as a platform for their other artistic endeavors. Late in 2011, Beth joined forces with guitarist Gemma Thompson (a former John & Jehn member), bassist Ayse Hassan, and drummer Fay Milton as Savages. Led by Beth's commanding presence, the band's electrifying brand of post-punk soon won acclaim: At the end of 2012, Savages were nominated for the BBC Sound of 2013 award, and their debut album, May 2013's Silence Yourself, was nominated for the Mercury Prize. In 2015, Beth embarked on a few solo projects and performances. That March, she performed at the opening of the David Bowie Is … exhibition at the Philharmonie de Paris; in November, Beth and the Strokes' Julian Casablancas released a cover of the Danish punk band Sort Sol's 1983 collaboration with Lydia Lunch, "Boy-Girl." Savages returned in January 2016 with their second album, Adore Life, which, like Silence Yourself, earned a Mercury Prize nomination. Along with touring in support of the record, Beth continued to establish herself as a solo presence by opening for PJ Harvey's June 2016 performance at the Eden Project in Cornwall, England, and appearing on Trentemøller’s album Fixion. At the end of 2016, Savages went on hiatus. Beth took the opportunity to recharge creatively, performing with her friend Romy Madley Croft's group the xx and collaborating with Gorillaz and Noel Gallagher on the song "We Got the Power" from the band's 2017 album Humanz. She returned to France, where she settled in Paris and bought a studio with Hostile. Beth also returned to acting (prior to her time with Savages, she'd appeared in a few small French films) and earned a César nomination for her performance in Catherine Corsini's 2018 drama An Impossible Love. She and Hostile then collaborated on the music to the Chelsea Manning documentary XY Chelsea, which they issued on Pop Noire in June 2019. To make her solo debut album, Beth tapped Flood, Atticus Ross, and Hostile as producers, and brought on Madley Croft, Idles' Joe Talbot, and actor Cillian Murphy as contributors. Spanning jazz and industrial as well as post-punk, the freewheeling and challenging To Love Is to Live arrived in June 2020. That September saw the publication of Crimes Against Love Memories, a collection of erotic short stories; later in the year, she appeared in Kaamelott – Premier Volet, the movie sequel to director Alexandre Astier's long-running television series about King Arthur and his knights.
© Heather Phares /TiVo
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Alternativa & Indie - Publicado el 12 de junio de 2020 | Caroline International (S&D)
Hi-Res Premios Qobuzissime
Con To Love Is To Live, Jehnny Beth pone por primera vez su propio nombre en la portada de un álbum, a pesar de su ya larga carrera. Antigua mitad del dúo John & Jehn, revelada como cantante del grupo Savages, ha aparecido con Gorillaz (We Got the Power), cantado a dúo con Julian Casablancas de The Strokes (Boy/Girl), interpretado películas (Un Amour impossible de Catherine Corsini y Kaamelott de Alexandre Astier) y ejercido como periodista / presentadora de radio (Start Making Sense para Beats 1) y presentadora de televisión (Echoes en Arte). Sin olvidar C.A.L.M.: Crimes Against Love Memories, una colección de cuentos eróticos ilustrados con fotos de Johnny Hostile. Esta riqueza, ya sea estilística, sónica, emocional o contextual, está en el corazón de este To Love Is To Live. Para este exigente y complejo viaje, Jehnny Beth confió la producción y gran parte de la instrumentación a Atticus Ross, Flood y Johnny Hostile. Tres cómplices para esculpir una fascinante alianza entre post-punk, new wave industrial, cold wave electrónica, bandas sonoras reales de películas falsas y rock visceralmente oscuro. Una aleación entre tierras de contrastes a la que la francesa también ha invitado a Romy Madley Croft de The xx, al actor Cillian Murphy y a Joe Talbot, cantante de Idles...Como en la meteorología de un mes de abril, con todos sus contrastes, pasamos aquí del ultra-violento punk industrial en How Could You, a dúo con Talbot, a una balada de ensueño, French Countryside, sostenida por un sensual piano que interpreta por la propia Beth. A pesar de este eclecticismo, To Love Is To Live tiene mucha coherencia. Parecen fotos de Polaroid de un mundo complejo, lleno de tensiones, incertidumbres y preguntas sobre la identidad sexual, el extremismo e incluso el futuro del mundo. Instantáneas que Jehnny Beth ha construido a su propia imagen y semejanza, tan fuerte e impresionante como la portada diseñada por Tom Hingston (que había firmado, por ejemplo, la portada de Mezzanine de Massive Attack). Pero resulta todo sobre todo muy humano. La primera canción del álbum se llama I Am. La que lo cierra, Human. El círculo se cierra: “Soy humano”. © Marc Zisman/Qobuz
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