Catégories :
Panier 0

Votre panier est vide

Nico - The End

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

The End

Nico

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Choisissez la qualité audio : 

Pour bénéficier de ce tarif, abonnez-vous à Sublime+

Langue disponible : anglais

It is one of the most entrenched visions in the rock critic's vocabulary; Nico as doomed valkyrie, droning death-like through a harsh gothic monotone, a drained beauty pumping dirges from her harmonium while a voice as old as dirt hangs cobwebs round the chords. In fact she only made one album which remotely fit that bill -- this one -- and it's a symbol of its significance that even the cliché emerges as a thing of stunning beauty. Her first album following three years of rumor and speculation, The End was consciously designed to highlight the Nico of already pertinent myth. Stark, dark, bare, and frightening, the harmonium dominant even amid the splendor of Eno's synthesized menace, John Cale's childlike piano, and Phil Manzanera's scratchy, effects-whipped guitar, it is the howling wind upon wuthering heights, deathless secrets in airless dungeons, ancient mysteries in the guise of modern icons. Live, Nico took to dedicating the final cut, a sparse but heartstoppingly beautiful interpretation of the former German national anthem, to terrorist Andreas Baader, even as the song itself conjured demons of its own from an impressionable Anglo-American audience. Nico later admitted she intended the performance in the same spirit as Jimi Hendrix rendered "Star Spangled Banner." But "Das Lied der Deutschen" -- "Deutschland Uber Alles" -- has connotations which neither tribute nor parody could ever undermine. It is only in the '90s that even Germany has reclaimed the anthem for its own. In 1974, it was positively leperous. Listen without prejudice, though, and you catch Nico's meaning regardless, even as her voice tiptoes on the edge of childlike, all but duetting with the little girl she once was, on a song which she'd been singing since the cradle. The ghosts pack in. Former lover Jim Morrison haunts the stately "You Forgot to Answer," a song written about the last time Nico saw him, in a hired limousine on the day of his death; of course he reappears in the title track, an epic recounting of the Doors' own "The End," but blacker than even they envisioned it, an echoing maze of torchlit corridors and spectral children, and so intense that, by the time Nico reaches the "mother...father" passage, she is too weary even to scream. The cracked groan which emerges instead is all the more chilling for its understatement, and the musicians were as affected as the listener. The mutant funk coda with which the performance concludes is more than an incongruous bridge. It is the sound of the universe cracking under the pressure. But to dwell on the fear is to overlook the beauty -- The End, first and foremost, is an album of intimate simplicity and deceptive depths. Nico's voice stuns, soaring and swooping into unimagined corners. No less than "Das Lied der Deutschen," both "Valley of the Kings" and "It Has Not Taken Long" make a mockery of the lazy critical complaints that she simply grumbled along in a one-note wail, while the arrangements (most of which were Nico's own; producer Cale admits he spent most of his time in the studio simply marveling) utterly rewrote even the most generous interpretation of what "rock music" should sound like. The End doesn't simply subvert categorization. It defies time itself.
© Dave Thompson /TiVo

Plus d'informations

The End

Nico

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 50 millions de titres avec votre abonnement illimité.

Écoutez cet album et plus de 50 millions de titres avec votre abonnement illimité.

1
It Has Not Taken Long
00:04:06

John Cale, Producer - Nico, MainArtist, ComposerLyricist

℗ 1974 Island Records, a division of Universal Music Operations Limited

2
Secret Side
00:04:04

John Cale, Producer - Nico, Vocalist, MainArtist, AssociatedPerformer, ComposerLyricist

℗ 1974 Island Records, a division of Universal Music Operations Limited

3
You Forget To Answer
00:05:07

John Cale, Producer - Nico, MainArtist, ComposerLyricist

℗ 1974 Island Records, a division of Universal Music Operations Limited

4
Innocent And Vain
00:03:46

John Cale, Producer - Nico, MainArtist, ComposerLyricist

℗ 1974 Island Records, a division of Universal Music Operations Limited

5
Valley Of The Kings
00:03:53

John Cale, Producer - Nico, Vocalist, MainArtist, AssociatedPerformer, ComposerLyricist

℗ 1974 Island Records, a division of Universal Music Operations Limited

6
We've Got The Gold
00:05:37

John Cale, Producer - Nico, MainArtist, ComposerLyricist

℗ 1974 Island Records, a division of Universal Music Operations Limited

7
The End
00:09:28

John Cale, Producer - JOHN DENSMORE, ComposerLyricist - Jim Morrison, ComposerLyricist - Ray Manzarek, ComposerLyricist - Robert Krieger, ComposerLyricist - Nico, MainArtist

℗ 1974 Island Records, a division of Universal Music Operations Limited

8
Das Lied Der Deutschen
00:05:29

John Cale, Producer - Nico, Arranger, Work Arranger, MainArtist - August Heinrich Hoffmann von Fallersleben, ComposerLyricist

℗ 1974 Island Records, a division of Universal Music Operations Limited

Descriptif de l'album

It is one of the most entrenched visions in the rock critic's vocabulary; Nico as doomed valkyrie, droning death-like through a harsh gothic monotone, a drained beauty pumping dirges from her harmonium while a voice as old as dirt hangs cobwebs round the chords. In fact she only made one album which remotely fit that bill -- this one -- and it's a symbol of its significance that even the cliché emerges as a thing of stunning beauty. Her first album following three years of rumor and speculation, The End was consciously designed to highlight the Nico of already pertinent myth. Stark, dark, bare, and frightening, the harmonium dominant even amid the splendor of Eno's synthesized menace, John Cale's childlike piano, and Phil Manzanera's scratchy, effects-whipped guitar, it is the howling wind upon wuthering heights, deathless secrets in airless dungeons, ancient mysteries in the guise of modern icons. Live, Nico took to dedicating the final cut, a sparse but heartstoppingly beautiful interpretation of the former German national anthem, to terrorist Andreas Baader, even as the song itself conjured demons of its own from an impressionable Anglo-American audience. Nico later admitted she intended the performance in the same spirit as Jimi Hendrix rendered "Star Spangled Banner." But "Das Lied der Deutschen" -- "Deutschland Uber Alles" -- has connotations which neither tribute nor parody could ever undermine. It is only in the '90s that even Germany has reclaimed the anthem for its own. In 1974, it was positively leperous. Listen without prejudice, though, and you catch Nico's meaning regardless, even as her voice tiptoes on the edge of childlike, all but duetting with the little girl she once was, on a song which she'd been singing since the cradle. The ghosts pack in. Former lover Jim Morrison haunts the stately "You Forgot to Answer," a song written about the last time Nico saw him, in a hired limousine on the day of his death; of course he reappears in the title track, an epic recounting of the Doors' own "The End," but blacker than even they envisioned it, an echoing maze of torchlit corridors and spectral children, and so intense that, by the time Nico reaches the "mother...father" passage, she is too weary even to scream. The cracked groan which emerges instead is all the more chilling for its understatement, and the musicians were as affected as the listener. The mutant funk coda with which the performance concludes is more than an incongruous bridge. It is the sound of the universe cracking under the pressure. But to dwell on the fear is to overlook the beauty -- The End, first and foremost, is an album of intimate simplicity and deceptive depths. Nico's voice stuns, soaring and swooping into unimagined corners. No less than "Das Lied der Deutschen," both "Valley of the Kings" and "It Has Not Taken Long" make a mockery of the lazy critical complaints that she simply grumbled along in a one-note wail, while the arrangements (most of which were Nico's own; producer Cale admits he spent most of his time in the studio simply marveling) utterly rewrote even the most generous interpretation of what "rock music" should sound like. The End doesn't simply subvert categorization. It defies time itself.
© Dave Thompson /TiVo

À propos

Distinctions :

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...
À découvrir également
Par Nico
Dans la même thématique...
Les Grands Angles...
British blues boom, chronique d’une révolution

Si Joe Bonamassa revient avec “British Blues Explosion”, un an après le “Blue & Lonesome” des Rolling Stones, c’est que le « British blues boom » a été plus qu’un simple courant. L’intérêt des Anglais pour les icônes américaines du genre a engendré une véritable révolution, avec en tête la sainte Trinité de la guitare, formée par Eric Clapton, Jeff Beck et Jimmy Page. À l’aube des années 1960, une fabuleuse déferlante atteint les côtes de la Grande-Bretagne. Et ouvre la voie à de nouvelles dimensions musicales.

Jimi Hendrix, le ciel a fini d’attendre

Malgré une carrière éclair, Jimi Hendrix a eu le temps de réinventer le blues en repoussant les limites sonores du genre, grâce à sa Stratocaster et à la liberté électrique de son inspiration. Son troisième album posthume <i>Both Sides of the Sky</i>, une compilation d’inédits cinq étoiles, offre un panorama étonnamment large de l'épopée courte mais fulgurante du Voodoo Child.

Stax, on dirait le Sud…

Motown au nord. Et Stax au sud. Deux conceptions bien distinctes de la soul music. Dans la moiteur sudiste de Memphis, Isaac Hayes, Otis Redding, Sam & Dave, Booker T. et quelques autres ont inventé un groove unique, biberonné au blues et surtout au gospel.

Dans l'actualité...