It's quite hard to explain what was expected from Mylene Farmer, female sex idol of my teenhood. She certainly never was into Bjork-ish experiments or, on the other hand, straight pop like Kate Ryan, but one of her distinguishing features was innovation. Seems like on this album the idea suffered a breakdown. It took me a while to get into the album musically, I was trying to catch old tricks of her music and couldn't . One can claim that's about what had happened with Depeche Mode on Playing The Angel, but a bit different in this case. What is there, however, is a move towards dance rhythmical music (can I say 'eurodance' without putting Mylene to shame?). There is some beauty in songs, there are songs that are tonic, but ...
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