ITALIAN TOUR DATES
29 NOVEMBER AVELLINO Ex Asilo Patria e Lavoro
30 NOVEMBER ROME Unplugged in Monti Black Market
1 DECEMBER FAENZA Clandestino
2 DECEMBER GRATTAMMARE Montefleuri
4 DECEMBER SAVONA New Raindogs
5 DECEMBER BRESCIA Carmen Town
6 DECEMBER NOVARA TBA
GUIDE ME LITTLE TAPE REVIEW
Well this is exceptionally fearless. Tape scene ambience, confident female vocals, grinding noise and pop art sensibilities from Lisa Papineau, with Blood Noise on Hornbuckle Records. Sounds and feels vintage, futurist, and completely authentic. Tracks develop patiently, with Papineau providing ethereal accompaniment to sparse bits of astral soundscapes. I adore the way the vocal feels instrumental as opposed to simply narrative, but not so much so that it feels unstructured. Lush multiple layers of backing that float drum patterns simply and effectively. The flip is littered with standout tracks, particularly Frozen Blue, with it’s harsh looping guitar, and the delicate Little Light, earnestly asking, will you fill the world with your song?. Heck, now that I hear it again, the closer The Weather Gone kills with soft cooing and addictive groove. This absolutely hooked me from the first second, and carried me until the last.
Really sharp looking physical product. Pro dubbed and imprinted on black, housed in a yellow norelco. Edition of 200 available direct from Hornbuckle.
PINA 40 FESTIVAL WUPPERTAL NOVEMBER 23RD 2013
VIENNA AUSTRIA NOVEMBER 28TH 2013
REVIEW: STRIKER BILL
What did it sound like when the Sirens called out to Odysseus’ crew in The Odyssey? It’s impossible to say exactly what Homer had in mind when he composed his famous epic poem, but it would be no surprise to me if what he imagined coincides with the most recent set of songs from Lisa Papineau. Even if the name may not be immediately recognizable to many, the names of folks she’s collaborated with (including Air, M83, Anubian Lights, and her project with Mars Volta bassist Juan Aldrete called Big Sir) are more than enough to pique your interest.
On her third solo album Blood Noise, Papineau doesn’t require a lot of bells and whistles in order to accomplish what she sets out to do. Recorded partly from her bed as she recovered from complications of MS, she created an expansive avant-pop sound with a minimal amount of instrumentation. From her lastest, the song “Out for a Swim” specializes in sparse synths and drum machine loops to create an icy blanket of sound. But it’s the layers of hushed vocals that catch your ear the most, cascading in a wash that reveals pure, unadulterated emotions. These vocals are surprisingly hypnotic, luring you in like a Siren as their seductive affirmations (“and now I’ve found the courage to return to the sea”) play well over the bed of instrumentation she’s crafted. It may seem an unassuming listen at first, but by the time you’ve made it all the way through you can’t help but be sold on what Papineau has achieved here.
ALBUM REVIEW: MUZIK DIZCOVERY
Experimental pop artist Lisa Papineau has created music for the darkest haunts in our souls with her new album Blood Noise, a haunted forest of twisted orchestration, sinister synths and vaguely psychedelic foliage (for the video game buffs, imagine your favorite Nintendo soundtracks getting the remix treatment from Silent Hill's Akira Yamaoka) over which her voice reigns. Papineau's performance is an exorcism of sorts: she recorded much of the album in one take while recovering from cancer surgery, and throughout the nine tracks here it sounds as if her wispy, emotive soprano is grasping at strength. Somewhere and somehow, she manages to find it: on “Out For A Swim,” her voice floats above the choppy instrumentation like a foghorn, and though it's scratched and pained, it never stops pulsing. “And now I cannot face the water, but it's too far to turn back,” goes one line, encapsulating the subdued but ferocious spirit that breathes unexpected life into Blood Noise.
MAGNET MAGAZINE MP3 AT 3PM: RAINMAKER
Even if you don’t know Lisa Papineau by name, chances are you’ve heard her voice. After working with artists such as Air, M83, Jun Miyake and Big Sir, Papineau has recently released Blood Noise via Neurotic Yell Records. The latest single off the LP, “Rainmaker,” is an avant-pop piece that will take you to another time.
Auxuliary Phoenix remix of Rainmaker
RAI RADIO 3 BROADCAST FEATURING BLOOD NOISE
Host Valerio Corzani discusses the making of Blood Noise, Lisa’s work, and plays Little Light and Light Up World (a song she collaborated on with Nick Reinhart from Tera Melos) (Blood Noise segment: mins. 21:50-30:00) Streaming, or, download Volume del 01/11/2013.
VIDEO PREMIERE: RAINMAKER FOLK RADIO UK
VENTS MAGAZINE INTERVIEW WITH LISA
http://ventsmagazine.com/magazine/ Interview starts on page 204.
REVIEW: THE FIRE NOTE
Fire Note Says: Lisa Papineau‘s Blood Noise is a moody weave of beauty and darkness.
Album Review: It‘s always my job as a music journalist to expand my horizons and branch out. With Lisa Papineau‘s new album Blood Noise, that‘s exactly what I did. It‘s funny though, because Papineau‘s artistic beauty and storied past make it easy—I’m sure you‘ve heard Papineau but just didn’t know it at the time. Papineau has worked with trip-hop-ish electronic outfit BIG SIR, which features Mars Volta bassist Juan Alderete (Cedric also lent his drum talents’ to 2012’s Before Gardens After Gardens). She’s also lent her voice to the French electronic chill act Air, and been featured with electro shoe-gazers M83; and if that wasn’t enough, she appeared on the Academy Award Nominated Pina Soundtrack. When you put all that together it’s a very impressive résumé.
Blood Noise, Papineau’s unpredictable follow up to 2010’s Red Trees, takes its itself seriously. While not directly comparable to the straight shot of doomsday moodiness like contemporaries Thom Yorke, Portishead, How To Destroy Angles, or SONOIO, Blood Noise forms a fierce, serpentine path that forges its way into the expansive meandering beauty of siren Liz Harris’ Grouper, Mirrorring, or Julianna Barwick. Blood Noise eventually reveals its beauty, but it does take some time to get going. The brooding electro crawl of “Dream The Wild,” “Out For a Swim,” and “Early Spring” is only one piece of the ever-evolving experiment. “Rainmaker,” for example, echoes its title as beat and vocals fall from the sky with the slow motion impact.
Where I find Blood Noise at its strongest is the back half, starting with “Frozen Blue.” The first four tracks aren’t weak by any means, but “Frozen Blue” struck me a bit more than most. The grungy instrumentation propels the song forward as Papineau’s vocal churns like rusty gears. “Light Up World”—a personal favorite—is similar to Popineau’s other project BIG SIR. The chaotic bounce, channeled through a Thom Yorke-esque filter, collides with that Pink Floyd “On The Run” vibe—if you listen carefully, you’ll hear it. “Little Light” turns Papineau into a mother, singing her sweet child to sleep with the reassuring lyrics: “Here am I, your little lullaby / Calling out the stars / Here am I, a single troubled cry / to tell the night who you are. “The Weather Gone” ends the album on a fun note with speedy beats, explosive hand claps, and an upbeat Papineau.
The French word for water just so happens to be l’eau, so every time I see Lisa Papineau’s name—appropriate or not—I relate her talents’ to water – pure, unpredictable and refreshing. Blood Noise’s rapid fluidity is enigmatic, sporadic, simplistic, and dramatic; Papineau isn’t pushing any boundaries, but she’s always pushing to find beauty. Not every track on Blood Noise is a winner, but it’s still rewarding to see some musical schizophrenia because what ties everything together nicely is Papineau’s voice—it’s consistently beautiful and chilling. Lisa Papineau is one to follow and this latest album definitely has me excited for what comes next!
Green Mountain Firecracker.
Stole my fur from the shore, trapped my soul in a jar. Carried onto the soil, plant my feet in the Earth. For a thousand embraces, force the might of the Land. Tie my will to your hearth, bind me unto your breast. Dream the Wild Wild, yearn to pull the waves down. Die to wear what is mine, take me back when it’s time. Wrap me up in my skin, row out and throw me back in. Leaving only my breath, I’ll swim away to the West.