On the eve of her digital EP release Only You, Emilie Levienaise-Farrouch shares a vibrant mix that showcases some of her influences, from the classic (Olivier Messiaen) to the modern (Hilde Marie Holsen). The mix flows smoothly while taking listeners to unexpected places. We’re happy to be hosting the premiere, brought to us by the good folks at the 130701 imprint of Fatcat Records.
Our cover images are brought to us by Joe Starbuck.
The London-based French pianist’s first album, Like Water Through the Sand, was released in 2015, but the artist gained momentum with 2018’s Époques, which was followed by two tracks on the EP The Sea at the End of Her String and an all-female tour. Only You sees her expanding her scoring resume. This London production is currently sitting at 100% at the review site Rotten Tomatoes, garnering great attention for its emotional power; The Metro calls it “one of 2019’s hidden gems.” The same might be said of the EP, although it it flies by in less time than it takes to cook an egg. The reason: much of the movie relies on pre-existing vocal music, leaving less space for original cues. The longest of these are included on the EP, highlighted by “End Scene,” which holds the widest variety of sound within the smallest space. The artist’s touch on the keys is at first firm, then gentle, pausing in the middle and ending with a passage of great tenderness ~ we assume, like the lovers in the film. Gregor Riddell’s cello retracts to showcase the composer, returning for a brief stint in the end.
As for the mixtape, one normally would not expect a Para track to blend into a Julia Holter piece, but Levienaise-Farrouch makes it work. The artist grew up on a diet of Kate Bush and Björk, and for a few years worked at online retailer Bleep. She began to see walls crumble between modern composition and electronic, vocal and instrumental ~ if the walls were ever there at all. In this mix, she explores juxtapositions that many would avoid, but that seem instinctive in context. And of course there’s an ELF track here ~ “Morphee” from Époques ~ lounging softly in the middle of the mix, holding its own against the glow of elder luminaries. A tip to Vanessa Wagner (with whom she shared a stage) and our dearly missed companion Jóhann Jóhannsson leads to a concluding track from A Winged Victory for the Sullen: a fitting finale, and not one of the tracks we might expect. As Emilie Levinaise-Farrouch’s career continues to develop, we expect to hear even more influences such as these: soothing music with curling corners. And now, we hope you enjoy Organes Electriques!
Listen/DL at Soundcloud
Para One – Naissance Des Pieuvres
Julia Holter – So Lillies
Hilde Marie Holsen – Lazuli
Alessandro Cortino – Di passaggio
Emilie Levienaise-Farrouch – Morphee
Olivier Messiaen – Fête des belles eaux, II/14: Oraison
Carl Stone – Banteay Srey
James McVinnie – O Clavis David (Alex Groves Remix)
Murcof+Vanessa Wagner – Variations for the Healing of Arinushka
Jóhann Jóhannsson – Target
Kelly Lee Owens – Arthur
A Winged Victory for the Sullen – We Played Some Open Chords and Rejoiced, For the Earth Had Circled the Sun yet Another Year