This Friday, February 22, you can also find Autour de Lucie and Camille Yembé’s records on shelves.
Autour de Lucie Hors monde (Microcultures/L’Autre Distribution)
Valérie Leulliot and Sébastien Lafargue resurface with a delicate, inhabited pop where nothing overflows and everything breathes. “I’m coming back and I don’t know/What brings us back to the edge/We’ve already seen the sea make some bodies disappear/That we had said were missing,” sang Valérie Leulliot on Je reviens, the splendid opening of Faux mouvement (2000). A line that now resonates as a troubling echo, almost prophetic. Eleven years after Ta lumière particulière, Autour de Lucie reappears with a sixth album faithful to that clear-obscure pop shaped since the 1990s.
By Arnaud Ducome. Read the review of Hors monde.
Bleachers Everyone For Ten Minutes (Dirty Hit/Virgin Records/Universal)
The band led by Jack Antonoff revisits the Great American Songbook, blending intimate lyrics with catchy anthems. Acoustic, electric or bass guitar, piano, synths, harpsichord, drums, banjo, harmonica, glockenspiel, vibraphone, sitar, cello… you name it. Jack Antonoff is, without a doubt, a one-man orchestra capable of a lot.
By Sophie Rosemont. Read the review of Everyone For Ten Minutes.
Chassol Funny How? (Ludi Magister/Créature/Bigwax)
The musician draws on the distinctive cadence of American stand‑up to build an “ultrascore” that is both humorous and political, enriched with choirs and strings. Tirelessly, the French musician, who will celebrate his fiftieth birthday in the autumn, continues his method of harmonizing reality. With the grace, brio and ease he has shown since his beginnings at Tricatel in 2012, after having long been a sought-after keyboardist (from Phoenix to Sébastien Tellier).
By Franck Vergeade. Read the review of Funny How?
Ed O’Brien Blue Morpho (Transgressive Records/Firebird/PIAS)
One of Radiohead’s two guitarists steps off the beaten path with an album whose slender beauty invites surrender. Across the record, and notably thanks to its strings, the singing intermittently evokes Thom Yorke, yet returns to warmer, more human frequencies. A conscious continuity with Radiohead that at times gives the album the feel of an intimate Amnesiac.
By Rémi Boiteux. Read the review of Blue Morpho.
Camille Yembé Jeune & laide (Tie Break Music/Wagram)
“The idea behind this first album was to tell what is sometimes not told: to be in the truth of the story of a young Afro-descendant woman from the popular neighborhoods,” she tells us. Native of Molenbeek, proud of her Belgian identity as well as her Congolese heritage (you can hear her father speak from the opening track, Vol 170197), this singer as gifted as she is precocious cut her teeth in the shadow of Tiakola or Stéfi Celma before being revealed with her EP Plastique (2025) and finally asserting herself with Jeune & laide. A demonstration of embodied pop, where a distinctive voice tells the story of “a young Afro-descendant woman from the popular neighborhoods.”
By Sophie Rosemont. Read the review of Jeune & laide.
