April 26, 2007

 Navigation

   Home Page

 News & Features

   News

 Columns & Opinions

   Publisher's Note

   Boomers

   Pinings

   Longshots

   Techie

 Pop Culture

   Film

   TV

   Books
   Video Games
   CD Reviews

 Living

   Food

   Wine

   Beer
   Grazing Guide

 Music

   Articles

   Music Roundup

   Live Music/DJs

   MP3 & Podcasts

   Bandmates

 Arts

   Theater

   Art

 Find A Hippo

   Manchester

   Nashua

 Classifieds

   View Classified Ads

   Place a Classified Ad

 Advertising

   Advertising

   Rates

 Contact Us

   Hippo Staff

   How to Reach The Hippo

 Past Issues

   Browse by Cover


Emilie Simon, March of the Empress
Milan Records, 2007

Since this isn’t an import, the splash headline here is that you can finally buy an Emilie Simon record for less than the cost of a tank of gas, and this is the one you want, anyway, the bizarre little collection of icicle-clinking, glitchy electro she wrote for the film March of the Penguins. One of Simon’s other personalities excreted The Flower Book last year – a grubby zoetrope of Goldfrapp second-guessing her existence over Vicodin and Stohlies, in a nutshell – which went over big in her native France, not that that’s immensely difficult, but her crowning achievement to date remains this award-winning LP. Caveat emptor for filthy Americans: these pieces were included only on the original French soundtrack (La Marche de L’Empereur) where the rest of the world got stuck with Alex Wurman’s Hollywood-workaday score. That probably made good business sense, being that Simon insisted on adding vocals to five songs (her voice is a bee-stung, blank-stare whisper akin to Charlotte Gainsbourg or El Perro del Mar), but it’s a bummer for the rest of us, as Simon’s ideas are much more l’experimental and l’contemporary. She also had a better grasp of the seriocomic thread of the film, as demonstrated in the tableau of block-headed menace she fingerpaints in “Attack of the Killer Birds.” B- — Eric W. Saeger