Commitment, femininity, independence, and to some extent libertarian surround the figure of this exceptional and versatile performer and composer Canadian responsible for a long career you are looking for (and usually is) without despair beauty and sincerity, work the best artistic quality. Immune to discouragement and recently converted into a 'homeless' detached from much of their property, including intellectual, gives his entire work on the official website, "Jane Siberry is a living example against the cynicism and hypocrisy of the world prevailing both within and outside the studio and on stage. Telegraphed discs made with your name (including its current stage as Issa). Siberry adventure. To leave no wonder.
Jane Siberry (1981)
The cover of their first album can be misleading: a sort of Chrissie Hynde and Debbie Harry on a rudimentary proto-cybernetic background. However, this is an album of folk from all sides that has little to do with the muses of the new wave of troubadours but rather to earlier times, the Joni Mitchell, for example, "Amelia" at the top. Directory opens its first classic: "Marco Polo". One of those record-consummated early in the changing local scene near Ontario, which combine inspiration, spontaneity, subtlety and apparent fragility soft advocating revelations and delights intact. Big words: one of those one believes start-ups that have seen many times, but at the moment of truth will only bring "Sunday morning" or "Uh-Oh, Love Comes to Town" and very few cases. Stories
adolescent doubts, certainties - "In the blue light, reflections on the creation -" Writers Are A Funny Breed "- great consolations -" Above the treeline ", dedicated to your pet, and uncertain desires bathing texts the first-and country-Siberry, supported by a chorus sweet and fair implementation that does not interfere at any time these compositions, suitable at all times. They are simple songs but never stupid or inadequate, the most accessible from all his work, forming one of their best albums (if not the best) for precisely that immediacy and freshness. The album never came out of Suzanne Vega. A hidden gem and unchanging, like the first breeze after a long and fierce winter.
No borders here (1984)
Thought at first as an EP, expanded to conform to these nine songs where, this time if she supports a new wave sound, more intricate, with changes of pace , distinct parts in a single composition. It has been left by the way the soft flutter of his debut, for truffles pimpante playful guitars and arrangements for its continuation. Include "Follow Me" "Extra Executives"-with such choirs as to what The B-52's-or hit "Mimi on the Beach", a song that sounded quite peculiar in its day and is distinguished from what are the success stories for use by its complex structure, including stoppages, recitations and unexpected silence.
dream with some epic pieces like "Dancing Class" or "You do not need" the start to put into orbit by artists such as Kate Bush (rather as hypothetical student), but the claims do not work like that in other and interpretations of both are greatly variable. All housing pseudoperĂstica, cumbersome, burdensome and disproportionate Bush barely seen in the Siberry. The production of their discs are not obsolete in the case of the first of the British Jane's boasts vocals are much more sweet and demure, fortunately.
The speckless sky (1985)
"One More Colour", one of the most devastating hits, with undisguised environmental discourse, 'Elizabeth Fraser moves to the more accessible "to" Heaven of Las Vegas "or" Four-Calendar Café "- with lyrics expansive included, as is also the first Kristin Hersh in" Mein bitte. " The tone between playful and mischievous, with interludes of 'spoken word', another of its identity, is for moments such as "Vladimir Vladimir" or "The Empty City", experimenting with a very atmospheric electronic pop of the time, sounding more and more rested-if- adult. Here we have to prove it "The taxi ride," a ballad that both can remember David Sylvian, Ricky Lee Jones, circa "Pirates" - as Tears For Fears and was among the most accomplished of his career. Aires epiphany and sumptuous texts - "Map of the World (part II)" - in another of her most celebrated. The
walking (1987)
Sublimation of progressive pop. With hits as valuable as endless - "Ingrid and the Footman", much in the orbit of a B-52's of "The Good Stuff" - seldom has a figure both of these features songs stretching over humanly desirable, if change is offset by moments as palatable as surprising as cases of "The white tent the raft" or "Lena is a white table", where pop arithmetic breaks many of its rules in pursuit of land (sound ) so-hidden and unpredictable. The fantastic title track to the album explains it properly: the path of no return as a fait accompli.
Bound by the beauty (1989) Jane Siberry
gives a clear move to the sound of approaching natural sounds, next to the country, without forgetting the breath pop, as well as grow substantially as a performer mature and incorruptible. But do not start well. The first half of the disc disturbs and there seems almost no time off. Lucky that there is "The Valley", shocking, one of the favorite songs from kd Lang, incidentally, to recover the pulse intimate. Or "The life is the red wagon", and climb vocal chorus. But the best is in the final: the harrowing and ghastly "The Jalouse", the brief and charming "Miss Punta Blanca" and "Are we dancing now", with its sophisticated line of tropical pop that would have been pleased to sign Everything But The Girl, Basia or Isabelle Antena on those -or-years.
When i was boy (1993)
Produced by Brian Eno, abandons the acoustic sounds of "Bound by the beauty" to return to the synthetic probe, as is well illustrated from the initial "Temple." Contains two milestones in their discography: "Calling all angels (with the aforementioned Lang), one of his most quoted, or the classic" Love is everything. " Incorporates details like the soft cadences of hip-hop "All the candles in the world" and everything in general has an ethereal and peaceful character of motley sensuality.
special mention for a song that is off the hook for this album to come later on the payroll of the soundtrack of "The Crow", "It can not rain all the time", much along the lines of everything "When i was boy ".
Maria (1995)
jazz-heel at one of their mouths more predictable, "delivered here one of her most self-absorbed, environmental, something crisper text loaded spirituality. Too scholastic, not just to contain highlights or bold brilliant songs, except maybe "Goodbye Sweet Pumpkinhead." The end of their long cohabitation with Warner.
Teenager (1996)
is a weakness, and I think Jane Siberry hardly disappoint when put alone in front of a guitar. A long time ago that it does-in fact hardly lavish, "but the memory of his memorable debut album does well yearn for more stages. Taking advantage of a record impasse, Jane rewrite several of his very first songs, before the disk 81, and I had stored on reel tapes with very poor sound. But the treasure is there and only need to revive them to bring out all interior impact. "Teenager", though few believe it is one of their albums capital, precisely because of the unusual in this trial, and because it conceals the spontaneous affection, the purity of a person who gives without expecting something special applause or too many harangues on.
Songs dedicated to your father, your sister or your best friend, almost all made by her voice and her memories and repeatedly with chunks of the original recordings-home, at the foot of the bed of the first sneak-haven from time Siberry started to discovered vitally speaking. Beautiful songs that were lost in the memory files as "too sweet" as the studs in their first performances. Interestingly, and unlike in "Maria" is impossible to stay or highlight a song ("" Broken Birds "," Puppet City "," Bessie "?, Who cares?) Above the rest. Despite the endless questions from Jane to take up these pieces, the eternal gratitude to discover this little jewel folk of all time. Endearing and cooing. Perfect.
[New York Trilogy] Project
live in three parts of the proposal emerged Alan Pepper, fan and owner of The Bottom Line, New York where local prestigious Siberry will have leeway to experience their songs (some known, others unpublished) with different sounds and speech. Only unrepentant fans.
1. Tree (1999)
Music for Film and forests. Including its interests in that film by Alex Proyas, and the "Slow Tango" from "Faraway, so close" Wenders. More absorbed than ever and with a chorus that resizes widely flowery compositions, passed by the neoclassical blender.
2. Lips (1999) Music
to tell. Just as unstoppable in the MINUTES to "Tree", the friend of Joe Jackson, who by that time invited to participate in its "Heaven & Hell" - flashes expands the palette to gospel, funk - "Freedom is gold" - " Hotel room 417 "-here-including sketches, recitations -" Foecke "- self-homage -" Mimi finally speaker "- and a nice version of" I Will Survive. " The best thing is again to the end with "Barkis is willin '" to the piano.
3. Child (1997)
Jane can not help but wonder and surprise the audience, so begins the last part of the trilogy for Christmas-Music-paying the taxi to take you directly to the stage a couple of years before the two remaining parts. This double CD contains stories, familiar carols German, French, Polish, special and concise "Mary's Lullaby" - or British, verses - "In the bleak mid-winter" by Christina Rossetti, as well as original songs from previous albums, in disconsolately waited a year other regular Christmas concerts at the Bottom Line: Laura Nyro, her spirit can be felt, or the Roches, a dead these days and others, with whom Jane helped the Nyro tribute album, remote medical problems. Another opportunity to get rid on instrumental developments and take a walk a voice accompanied by a cast for the occasion, that does it all, well marinated over time.
Hush (2000)
New Compilation British-American folk songs and folk-gospel that had been part since the beginning of Jane in her musical education and sentimental, some of them arranged for occasion, as the case of "Streets of Laredo", which also anecdotally adapted at the time Paddy McAloon in "The Gunman and Other Stories" by Prefab Sprout. More condensed than in the previous trilogy, and therefore also more enjoyable for the novice listener. Even discrete electronic arrangements - "False false fly", "Ol 'man river" - I feel very well.
Shushan the palace (2003) Homage to
Baroque composers with some additional letters to create another (great) spiritual. Kneeler for a hard coral initially destined for the Christmas season, but finally confined all year round. The latter as Jane Siberry, before becoming Issa and get to live in the shadows of hotels at low load, their talent, confidence and enthusiasm, "is another collection of timeless beauty achieved, criterion exquisite care by sources and what is projected for them. Back to resort to the poet Christina Rossetti. As God, and rose secret rule.
Dragon Dreams (2008)
For its new identity, Siberry's baptism with layers of noise, gurgles and bases with sparkling pianos in a new and emancipated unclassifiable work of any commercial conditioning. There is concern about single-lift after all this time of introspection as "Oui Gallo?" or "You never know" in a pop imprint so wild and unexpected. With
What shall I keep warm? (2009)
This "second of a story told in three parts" Issa delves into the cut-up in arrangements that blend tradition with some technological deception. It contains some of his greatest songs are the ballads like "Then we Heard to shout", "Mama Hererby" or "In my dream," the latter as a stylized Jarboe least histrionic possible.
As proven by their fans more undisturbed, it is itself a constant challenge.
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