(Disaster Amnesiac) The last time that Disaster Amnesiac received a recording featuring Elliot Sharp from Public Eyesore, I balked, in many ways simply due to the seriousness with which Sharp is esteemed by me. Some context for that decision: here's an artist whose Larynx remained in the tape deck of my cars for years during the 1980's (the lettering actually rubbed completely off its casing over time), whose band Carbon, seen at the Kennel Club in 1992 or so, completely blew me away, whose interview with Mondo 2000 remains one of the definitive statements on Cyberpunk as culture. In short, Sharp's work over the years means a lot to me. Disaster Amnesiac is a huge fan of his. The thought of reviewing any work of his seems particularly daunting to me. After an initial spin of Chansons du Crepuscule, Elliot's duo recording with French singer Helene Breschand, Disaster Amnesiac felt an immediate need to attempt to describe and enthuse. This new Public Eyesore product is so damn good, so illustrative of the twos' talents, I just had to dig in and type. Things get off to a wild, spooky start with Extase. Right out of the gate, Breschand's vocals, presumably sung in French but sounding more Kobaiian to this listener, pair with cool fuzz tones from Sharp, riffed out in rhythmic trance form. No one gets credit for the great drum programming, which is equally fine. Helene's wild wailing carries the track to some pretty odd places, but any fan of Avant Garde singing will find lots to love within them. Following up on the opening romp, La Langue Dans Ma Bouche and Je t'aime Tant feature more introspective moments. The former has great electronic burbling and mellow acoustic guitar strumming that frame vocals from both performers. On the latter, greasy slide guitar and swanky drum beats suggest Gainsbourg, but the lyrics seem to be a bit more Platonic than his legendary kink perspective. Breschand keeps up with the expressive vocal extends to great effect. Next up we find Ne Lui Dis Rein, with more acoustic guitar and electronic loops being paired. The loops have cool, reedy timbres, while the guitar strings drop sonic dew drops among them. The lyrics are sung cool and sultry. This one exudes mystery throughout its relatively short duration. Rein is followed up by Goutte a Goutte, which continues showcasing Elliot's diverse guitar creativity. Here, he coaxes metallic industry sounds from an electric; he's been doing this for years now, but as Disaster Amnesiac has listened to this track, I've marveled at his singular aesthetic accomplishment with it. Sharp's got such a unique take on sound, and he practices it incredibly well. Helene hits emotional soprano tones on the song, pulling the sense upward as she does so. All of the the previous action leads up to what, for me, is the high point of Crepuscule, a mind blowing version of the American Traditional classic The Cuckoo. Everything about this track, from Sharp's masterful guitar playing to his dusty baritone vocals and more of that crafty drumming blends with evocative mastery. This here's high art, and should be heard by anyone interested in creativity and aesthetic craft. Elliot Sharp has done so much, and Disaster Amnesiac has felt, listening to this track, that in many ways it's all lead to this track. If for no other reason, seek this disc out for it.
Breschand returns to the mic for the Eastern European Gypsy vibe of Amor, wherein the relative calm and beauty of the harp sounds gets exploded mid-song, one outburst framing its otherwise plaintive feel. The mournful zones gets quickly left behind with Le Bloque Cri, which again uses Elliot's electric guitar extensions and electronics for crazed sonic soundscape painting upon which Helene gets her Avant Ya Ya's out somewhat disturbingly. Sharp comments wryly in what sounds like some pretty fluent French, to boot. Nouveau Monde has a European Art Music sound, with Sharp's sparse rhythm guitar sliding all around his partner's up and down the scale vocal performance. Elliot shines as an accompanying player here and Breschand shows more incredible range.
Chansons du Crepuscule ends on with the quiet tones of Le Dernier Mot, where both players use whispering, soft tones with guitar and voice, almost as if they're waving goodbye, and Chose Rose rounds the the disc out in simple spoke-sung duet mode, a final bit of surreal expression from these two masterful performers. As mentioned, there are tons of reasons for any fan of creative music to seek out and enjoy the prodigious output of Elliot Sharp. Chansons du Crepuscule has more than a few itself. Disaster Amnesiac figures that, sadly, it isn't likely that this CD will be the breakout hit that it, in a sane world, should be, but, then again, Elliot and Helene Breschand probably couldn't care less about that. Undoubtedly, they'll continue in their quests for musical expression of the real and vital variety. Will they see you on their paths? - Mark Pino
(Avant Music News) Chansons du Crépuscule—“songs of dusk”—is a collection of original songs and interpretations recorded in Paris by New York guitarist/composer Elliott Sharp and French harpist and vocalist Hélène Breschand. The music on the disc was inspired by the music of Jane Birkin and Serge Gainsbourg—presumably including their classic 1969 recording Je t’aime…moi non plus, whose title, if not its period pop sound, finds an oblique echo in Sharp and Breschand’s Je t’aime Tant. Chansons du Crépuscule tends more toward an angular, hard-edged expressionism carrying the strong imprint of Sharp’s sonic alchemy and Breschand’s Dadaesque vocals. But they can switch registers at will, as the softly melancholy Le Dernier Mot shows; diverseness is the other side of their virtuosity. - Daniel Barbiero
(Neospheres) Ce disque d'une petite heure est le fruit de la sublime rencontre créative d'Hélène Breschand et d'Elliott Sharp enregistrée en une journée de mai 2014. Sur Chansons du Crépuscule la harpiste et le guitariste entrecroisent leurs cordes avec sensibilité, soubresauts et effets, et s'adonnent tous deux à des expressions vocales captivantes. L'alchimie fonctionne tout au long de l'album et donne corps à un ensemble naturellement bâti, évoquant tantôt la force éruptive d'une cérémonie chamanique et tantôt le récit intimiste. La voix d'Hélène Breschand emploie diverses nuances, passe sans heurt du chuchotement au râle, du récit susurré aux distorsions vocales plaintives en français, anglais et en des langues non identifiées, d'Europe de l'Est peut-être, voire inventées au vol. Elliott Sharp pose sa voix grave, en anglais et en français, dans un style mi-parlé mi-chanté sur quelques titres, en particulier sur le thème traditionnel "The Cuckoo", titre qui se rapproche le plus de la définition ordinaire du mot "chanson". Sur le titre "Le Dernier Cri" les vocalises ensorcelantes d'Hélène Breschand précèdent la redoutable voix grave d'Elliott Sharp qui s'exprime là en français. Chansons du Crépuscule trouve un bel équilibre entre expressions vocales et parties instrumentales librement égrenées, les unes venant structurer les autres au fil de l'intuition du moment capté. C'est ce qui fait tout le charme mystérieux de ce disque. - Eric Deshayes
(Vital Weekly) Elliott Sharp needs no introduction. He is one of leading forces of the downtown scene in New York, since the end of the 70s releasing stuff on his own Zoar Records label. His list of releases is an endless one, and must contain many dozens of albums. I don’t know much of his whereabouts of the last decade, but as this new release illustrates, he is still an active musician, always open for new projects. ‘Chanson du Crépuscule’ is a collaboration with French harpist, composer and improviser Hélène Breschand. Their collaboration has a history I learn, but this is their first recording as a duo. Recordings took place in a Paris studio in 2014. Obvious for their songs Jane Birkin and Serge Gainsbourg were a source of inspiration. This is very evident in ‘Je t’aime’. In the opening track the singing by Breschand come close to Diamnda Galas-like extravaganza. But in most of the songs she sings with a soft voice, with a bit overacting in her performance. Sharp concentrates on guitars of course, and a diversity of tools and instruments (drum machine?) for creating ambient-like textures and backgrounds to Breschands performance of the lyrics, which she almost all wrote. Also most of the songs are written by the two of them, but carry above all the handwriting of Sharp. ‘The Cuckoo’, is a traditional, a bluesy song sung with the deep voice of Sharp. Qualities of Sharp and Breschand make a good match, and result in an entertaining album. - Dolf Mulder