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L’inclassable Mélanie de Biasio

On aime bien placer les artistes dans des catégories, pas que les artistes d’ailleurs, les étiquettes, ça nous rassure. Bon, avec Mélanie de Biasio, la tâche s’annonce difficile.

L’envoûtante musicienne et chanteuse belge de 39 ans nous balade du blues au jazz, du trip hop à l’électro et réalise avec « Lilies » un album au sommet de son talent.

 

 

Le résultat est un album magnétique. On se retrouve comme suspendu aux lèvres de Mélanie de Biasio. Son phrasé est unique, sa voix feutrée peut se faire caresse ou orage.
Aérienne, elle vient se poser en toute délicatesse sur une mélodie où chaque silence et chaque respiration comptent.

Première écoute, j’interromps la musique, puis me regarde dans le miroir, mes pupilles sont complètement dilatées, je ne suis pas en train d’écouter un disque de jazz, je suis sous le coup d’un sortilège. Qui me fait osciller dans un courant ambivalent entre jardin d’Eden et rivages désolés.

Mélanie de Biasio se mue en prêtresse vaudou et étire ou rétrécit nos têtes à l’envi, tout comme ses notes qu’elle distend à l’infini, sans jamais les faire retomber. Elle les dilue dans le silence. Un silence qui ronge les morceaux et les magnifie, nous maintient en apesanteur tout au long de l’album comme si on était dans du coton.

Le disque commence très fort, avec en ouverture « Your Freedom is the end of me » (sous-titre “the arena of failed obsessions” = l’arène des obsessions déchues”), un morceau entre jazz et trip hop, où Mélanie, sous une apparence de douceur, témoigne de ses angoisses et affiche une sensibilité torturée, l’angoisse de perdre l’être aimé.

Le second morceau « Gold Junkies » , plus rythmé, est une réminiscence du planant morceau de 20 minutes « Blackened Cities », sorti en 2016.
Lillies montre une osmose parfaite avec le piano. Sa voix est poussière, sa voix est soupir. La note maintenue de piano grave fait l’effet d’un bourdonnement où la voix ose à peine se poser.
La note finale qui perdure met en lumière le contraste infime entre le silence et le chant.

Avec « Let me love you » , Mélanie exprime sa fureur dans l’amour. Elle l’avait fait avec la même énergie dans le puissant « I’m gonna leave you » de l’album No Deal en 2013. Une fureur sombre qui prend sa source dans la souffrance « Made of sorrows that follow me all the time ».

Suivent deux blues minimalistes, « Sitting in the stairwell » , dont le dénuement extrême rappelle dans l’émotion le blues des plantations.
Et le splendide « Brothers« , un blues ethéré, presque une prière.

Sa version d’ « Afro Blue » touche au sacré, et pourtant on en a connu des versions réussies, dont la très sensuelle interprétation d’Erykah Badu, mais là, l’émotion est profonde, proche et humide.

Puis, on imagine Mélanie traîner du côté de Bristol, qui a vu naître le trip hop à la fin des années 90. La fin de l’album se liquéfie dans une certaine ivresse des profondeurs, avec l’ambiance sous-marine d’ « All my worlds » et de « And my heart goes on » .

Cette fin n’en n’est pas une. Elle nous invite à suivre les longues notes à travers les montagnes d’octaves et dans les profondeurs océaniques.

Mélanie est une artiste rare dont le talent éclate aujourd’hui dans toute sa splendeur. Oui, elle a l’élégance d’une Nina Simone, et son jeu admirable sur les sons met en valeur la grâce de sa voix.
Elle règne sur un univers où les notes sont libres, de leur durée, de leur fréquence, et les instruments sont les piliers de son royaume.

* interview extraite du magazine Jazz News de septembre 2017

* pro tools est un logiciel de production musicale qui permet d’enregistrer sa musique sur différentes pistes et de la retravailler (mixage-effets-volumes).

 

 

Mylène Aroul

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