The new “multitude” album of the Belgian singer, whose exit has been carefully organized, makes an introspective dive in the spleen ambient.
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Since his first tube, then we dance, Stromae plays contrasts in Maestro. Those of a magic formula combining festive shancing and dark texts. Those also opposing his obsession with the mastery of whirlpools of a time and a psyche. It is more than ever the case with multitude, the third album expected for nine years, whose event exit was thoroughly organized, thanks to a creative marketing capable, for example, to stage, on January 9, in an interview “sung” at the “20 hours” of TF1 the intimate chaos of depression (mentioned in the title the hell).
The figure of the laborenin or teacher controlling the image, music and words has often been used by Paul van Hover, aka stromae, to stylize the shape until the scanning of an avatar – used in His clips or on stage – both crazy, surrealist and a little glazed, son Métis de Tintin, Magritte and Nwave Pictures (the Belgian Pixar). Musically, the obsessive handyman of Home Studio has turned into a high-flight aesthetic surgeon, capable of grafting a mosaic of references with clinical precision as much a warm efficiency. Opening the door to the reminiscences of the trips of which his mother, Flemish, had enriched her, this son of a Rwandan father had thus tropicalized his triumphal second album, square root of Congolese rumba, Cavaquinho Cap-Verdien or opposite Jamaicans.
The cultural “multitude” has become expanded in a new record that, if it is anchored in Latin America, the Caribbean and Africa, also sails in the East, Central and Asia. Sometimes seconded by the American producer Moon Willis, the musician singer (stylist, graphic designer, director …) Built for each piece a frame on which the bodies can dance, driven by the sensuality of the Cumbia, from the Forro, from the Rumba, the Bailecito … intermingle with a sharpened meaning of the gimmick, electronic sounds and clean instrumental presence. The Charango, this kind of Ukulele Andean, holds a major place (health, hell, is that happiness, bad day …), but the learned traveler does not fear to slip the Erhu – a Chinese violin – In African earth (solassitude), to show the Ney – a Turkish Flute – far from the Bosphorus (not really) or trapping its corpulous rates of polyphonic strangeness. One way to continue charmer while intriguing, in phase with the more disturbing universe of texts.
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