Editor's info:
Cécile Schott returns with her third album as Colleen, the highly personal but distinctly more adventurous and confident Les Ondes Silencieuses, which follows her one-off Colleen Et Les Boîtes A Musique project from late 2006.

This album signals a change of approach for Parisienne Schott. Gone are the samples and loops of old, as the emphasis moves to the natural tones produced by a range of unusual live instruments, largely unadorned.

The seeds for this album were sown when the 15–year-old Schott happened upon the film Tous Les Matins Du Monde, based on the life of Marin Marais, the acclaimed 17th Century viola da gamba (or viol) player and composer. It was the first time Schott had seen or heard a viol. The sound and mystery of the instrument, which remain rooted in the context of period music, set her off on an obsession which reached fruition in 2005 when she found a viola maker to custom-build an instrument for her. She found the viola da gamba more fascinating to play than she had ever imagined. Bowed like a ‘cello, but with seven strings and fretted like a guitar, the sound produced was so rich and naturally resonant that the loop-based works that had become a defining characteristic of Colleen’s work could be laid to rest.

The viola da gamba was supplemented with another Baroque instrument that Schott had dreamed of, the spinet, a smaller relative of the harpsichord. The versatile clarinet was also recruited, mainly due to its jazz connotations, along with Schott’s trusted classical guitar. Crystal glasses were added for percussive effect. And that’s everything you hear on the album.

A whole new approach to composing was needed, both in a more traditional and, paradoxically, a more improvised way. This fresh modus operandi crucially opened up her songs to a greater diversity in song construction and melody. Chord changes, greater use of space and t.......
more

Editor's info:
Cécile Schott returns with her third album as Colleen, the highly personal but distinctly more adventurous and confident Les Ondes Silencieuses, which follows her one-off Colleen Et Les Boîtes A Musique project from late 2006.

This album signals a change of approach for Parisienne Schott. Gone are the samples and loops of old, as the emphasis moves to the natural tones produced by a range of unusual live instruments, largely unadorned.

The seeds for this album were sown when the 15–year-old Schott happened upon the film Tous Les Matins Du Monde, based on the life of Marin Marais, the acclaimed 17th Century viola da gamba (or viol) player and composer. It was the first time Schott had seen or heard a viol. The sound and mystery of the instrument, which remain rooted in the context of period music, set her off on an obsession which reached fruition in 2005 when she found a viola maker to custom-build an instrument for her. She found the viola da gamba more fascinating to play than she had ever imagined. Bowed like a ‘cello, but with seven strings and fretted like a guitar, the sound produced was so rich and naturally resonant that the loop-based works that had become a defining characteristic of Colleen’s work could be laid to rest.

The viola da gamba was supplemented with another Baroque instrument that Schott had dreamed of, the spinet, a smaller relative of the harpsichord. The versatile clarinet was also recruited, mainly due to its jazz connotations, along with Schott’s trusted classical guitar. Crystal glasses were added for percussive effect. And that’s everything you hear on the album.

A whole new approach to composing was needed, both in a more traditional and, paradoxically, a more improvised way. This fresh modus operandi crucially opened up her songs to a greater diversity in song construction and melody. Chord changes, greater use of space and t.......
more