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IRM
 
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IRM

25 Jan 2010 | Format: MP3

£3.99 (VAT included if applicable)
Buy the CD album for £6.99 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
2:47
30
2
2:35
30
3
4:01
30
4
1:59
30
5
2:40
30
6
3:19
30
7
3:37
30
8
2:45
30
9
2:51
30
10
2:24
30
11
3:15
30
12
4:01
30
13
5:15
30
14
2:20
30
15
7:05

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Product details

  • Original Release Date: 25 Jan 2010
  • Release Date: 25 Jan 2010
  • Label: Because Music
  • Copyright: 2009 Because Music
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 50:54
  • Genres:
  • ASIN: B0034FV8YK
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: 24,760 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

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Most Helpful Customer Reviews

6 of 7 people found the following review helpful By Barclay H. Jerrard on 1 Feb 2010
Format: Audio CD
Having only heard of Charlotte in her acting guise, I was surprised to learn of her having released a couple of albums of late.
I remember watching Antichrist a few weeks back (not the easiest watch, I'll admit) and finding her utterly mesmerising, and in possession of quite possibly the loveliest voice I'd ever heard (with perfect diction)

When I found out about her heritage in music, I thought I'd give her two albums (this and 5:55) a punt.

I'm very happy I did! 5:55 is fantastic, but this just edges it in my opinion.
the music is quite tin-pot sounding in part (it definitely has that classic Beck feel to it) but it pulls together really nicely, with some epic Serge-esque string sections help to give the whole affair quite a "complete" feel.

It seems I've fallen under Ms Gainsbourg's spell somewhat, where I've heard others dismiss her as a "non-singer" I'd have to disagree....I think her breathy whispers compliment her choice of tracks perfectly.

There are several stand out tracks on the album (in particular the title track, replete with sinistir mechanical M.R.I whirrings and a tribal thump) and the constant changes of pace help it maintain a nice flow and stops it from settling into a slump (something I think 5:55 is unfortunately guilty of in places)

I'd recommend this heartily to anyone looking for something a bit "different" to the usual fare, it's certainly not going to be getting much airplay (that's for sure)

Ps - the music video on the bonus DVD is completely bonkers.
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5 of 6 people found the following review helpful By Nigel on 18 Mar 2010
Format: Audio CD
Charlotte first came to my attention a few years back in the best ever film adaptation of Jane Eyre. The woman has such screen presence. I was delighted to find that she also followed in her father Serge's musical footsteps although any comparison between the two is unfair as Charlotte is a unique and talented artist in her own right. Do not be put off by her soft and breathy tones, her voice is as beautiful and as delicate as a butterfly's wings and she uses it to great effect on this fascinating and eclectic mix of songs. Her collaboration with Beck has produced a wonderful album, the best I've heard in a long time. I've been playing the album over and over, it's just so good. There's not a bad track on it which is more than you can say for a lot of albums. This limited edition CD is extremely good value as you get a DVD full of visual goodies, a 28 page booklet together with the CD. The album cover is a triple fold-out with some really cool pics of Charlotte. I urge you to buy this album. Vive Charlotte
P.S. Charlotte, if you ever read this please come and tour the UK. Merci.
P.P.S. I saw Charlotte live at the 02 Shepherd's Bush, London on 22nd June. Absolutely brilliant. Loved it. Thank you Charlotte
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13 of 16 people found the following review helpful By Marc Cabir Davis on 8 Dec 2009
Format: Audio CD
Anyone with a passing familiarity with Charlotte Gainsbourg's work in the medium of both music and film will know that the woman brings a lot of her fathers' eccentricity to the table. It doesn't take a physicist to figure out that her work in Lars Von Trier's "Antichrist" was one of the most painful (literally) experiences ever captured on film, yet she went on to render it in an almost blank-faced fashion, dead-panning throughout the movie until its' visceral climactic conclusion.

On "5:55", which I rated rather highly a few years ago, Charlotte worked with a production team that understood that the only way to make her light, spoken-word singing voice work, was to complement it with strings, violins, and quiet piano interludes. Add to this a medium dose of musical experimentation, and an epic was born. "5:55" found and captured something that no other album has been able to since, and it is truly a unique work in more ways than one. From the jangly musical perfection that is "Everything I Cannot See" to the ponderous morbidity of "The Operation", its something best appreciated by lovers of the independent French music scene, of which thankfully I am a subscriber.

Post "Antichrist" and her much publicized accident, Gainsbourg returns with an album that could possibly even perplex Serge. The immediate sense of coherency that heralded "5:55" is missing here, with lead (and standout) track "IRM" setting the tone for a curious oddity, an album where the stakes are higher, the experimentation more visible, and the voice showing absolutely no signs of evolution at all. While Gainsbourg is certainly alluding to her time spent with the magnetic equipment that discerned her injuries at the time, the song itself is an ode to the clunky bit of equipment an MRI machine really is.
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4 of 5 people found the following review helpful By Nicolas CARR-FORSTER on 28 Jan 2010
Format: Audio CD Verified Purchase
Some people are born lucky, with iconic parents from which they can extract and form their own charm and image. In some photos, Charlotte's profile is an uncanny silhouette echo of her father Serge, whilst she sports the same baggy jumpers, t-shirts and teasing hot pants Jane did in the late 60s. For this album, more so maybe than for the beautiful previous '5:55' , a lot of work has been done to explore Charlotte's vocal potential, which it has to be said, is unfortunately not astounding in the purely technical sense.
However, it is the slightly anxious, out-of-breath whispers we loved to hear from Jane a few years back, which perfectly suit the music prepared here for her by prolific music-master Beck. It is that fragility and complex moodiness which firmly establishes Charlotte as the new sensitive gamine of cross-channel chanson. Beck composed an appropriate musical masterpiece for Charlotte who in turn, has grasped sufficient maturity to act it out perfectly. A great combination where middle-American quirkiness meets Parisian café existentialism.
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