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Irm (Limited Edition) CD+DVD

14 customer reviews

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Music

Image of album by Charlotte Gainsbourg

Photos

Image of Charlotte Gainsbourg

Biography

In these ever-changing times, the world at large is still ready to embrace new music that dares to express a different sensibility and challenge its audience’s preconceptions. Such is the case with the new album by Charlotte Gainsbourg. For her third venture into record making, the much-loved actress enlisted the aid of one of America’s most prolific and multi-gifted natural ... Read more in Amazon's Charlotte Gainsbourg Store

Visit Amazon's Charlotte Gainsbourg Store
for 15 albums, 5 photos, discussions, and more.

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Product details

  • Audio CD (25 Jan. 2010)
  • Number of Discs: 2
  • Format: CD+DVD
  • Label: Because Music
  • ASIN: B002QXI2X6
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Bestsellers Rank: 101,536 in Music (See Top 100 in Music)

1. Master's Hands
2. IRM
3. Le Chat Du Café Des Artistes
4. In The End
5. Heaven Can Wait
6. Me and Jane Doe
7. Vanities
8. Time Of The Assassins
9. Trick Pony
10. Greenwich Mean time
11. Dandelion
12. Voyage
13. The Collector
14. Looking Glass Blues (Bonus Track)

Product Description

Irm, the album from Charlotte Gainsbourg was co-written and produced in the summer of 2009 by Beck. Aside from being the daughter of Serge Gainsbourg and Jane Birkin, Charlotte is a renowned musician and actress in her own right, having won the Best Actress Award at Cannes this year for her role in Lars Von Trier's controversial "Antichrist". Irm is the follow-up to 2006's collaboration with Air, Nigel Godrich and Jarvis Cocker; 5.55, which sold over 500,000 copies worldwide, and features the duet with Beck "Heaven Can Wait".
The limited CD + DVD set is a three-panel digipak with a deluxe 28-page booklet, features a 14th unreleased track "Looking Glass Blues" and video documentaries (live and studio sessions, interviews, clips and making of).

Customer Reviews

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Most Helpful Customer Reviews

4 of 5 people found the following review helpful By Omnes on 20 Feb. 2010
Format: Audio CD
As we review the 2009-2010 years, we can all say that Charlotte Gainsbourg got quite a professional success, and for two reasons. The first one is with the excellent role she gave in Lars Von Trier's Antichrist, which has made her name more known in the film industry and made her an actress to be respected. And finally for this excellent album, co-produced with Beck. In it she manages to speak about the operation she had to do three years ago and put a lot of the emotions that she felt in Lars Von Trier's Antichrist. A great idea from Beck to include a new version of "Le chat du Café des Artistes", originally written by the french-canadian singer Jean-Pierre Ferland. It adds an eerie and mysterious touch to this album.

A great work from an excellent singer and a great way for me to discover Beck, which I didn't knew before.
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7 of 9 people found the following review helpful By The Wolf TOP 50 REVIEWERVINE VOICE on 25 Jan. 2010
Format: Audio CD
IRM = MRI = Magnetic Resonance Imaging.

Following a serious water-skiing accident in 2007
Ms Gainbourg sustained a life-threatening brain injury.
The experience of that trauma, the surgery and subsequent
MRI monitoring form the inspiration and backdrop to this
uniquely personal collaboration with American songwriter/
producer Beck. That she faced the experience head-on
(so-to-speak) and delivered this fine album is to be applauded.

The reflections of that difficult time are handled in lyrics
which are subtle, unaffected, ambiguous and deeply personal.

The thirteen songs in this collection display a wide range
of emotions and atmospheres. From fear and fragmentation :
'Master's Hands' and 'IRM'; through stubborn hope :
'In The End' - a stompingly good song!; self re-evaluation :
the profoundly beautiful 'Burning Vanities'; dark nightmares :
the disturbingly surreal 'Trick Pony' and 'Greenwich Mean Time';
the optimistic four-square blues of 'Dandelion' and on the final
track 'La Collectionneuse' transformation and redemption.

Ms Gainsbourg's voice has never been a great instrument but
what she has she uses well. Her breathy tones complement the
dream-like quality of much of the subject matter perfectly.

Beck's compositional and production skill puts flesh on the bones
of these elusive and ephemeral psycho/physical experiences with
intelligently complex musicality. Sometimes stripped down to almost
nothing; sometimes richly-layered and wonderfully exotic.

For my money the string and percussion arrangement of 'Voyage'
forms the fast beating heart of this quietly visionary project.
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13 of 17 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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6 of 8 people found the following review helpful By Mr. H Chinaski on 6 Feb. 2010
Format: Audio CD
In 1971, aged 42, Serge Gainsbourg entered a London recording studio armed with a 50-peice orchestra and the beautiful Jane Birkin on his arm, he later emerged with his pop masterpeice 'L'Histoire de Melody Nelson'. The album is a true monument of French art and has many admirer's including Pulp's Jarvis Cocker, Sterolab and Beck. It is Beck who is of most interest here, for in 2009 Charlotte Gainsbourg entered an American studio armed with more than 30 musicians and the multi-talented Beck Hansen on her arm. And here we are in 2010, Ms Gaingbourg has emerged with another pop masterpeice.

It would be wholly unfair to sit here and compare this record with her father's legacy (even though I just have) but it is almost impossible not to draw some comparisons. For a start it is interesting from the social aspect that it is now the male artist (Beck) supporting the female protaganist, but then one is drawn towards the question of just who is playing the part of the Jane Birkin style muse when Beck is writing all but one of the songs featured on this set, is he Gainsbourg's male muse or indeed is she playing the supportive role towards his most creative and playful release since 1996's 'Odelay'?. Either way it does'nt matter, because between them they have released a mighty fine record and certainly a career high for Gainsbourg.

The album opens with the dreamy 'Masters Hands'. It's African-style percussion, bass and sparse acoustic guitars are the foundations to which Gainsbourg unleashes her whimsical vocal style. The moment two minutes in where the strings make their first appearence is both beautiful and prothetic for the entire record. Track 2 is the M.I.
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