| When Marc Collin and Olivier Libaux created the band Nouvelle Vague, they were expanding on a concept of wordplay. In the late 1950s, The “Nouvelle Vague” of cinema hit France as the “Bossa Nova” of music moved through Brazil. Both of these new art forms shared the idea of the new, the idea of doing something different. They also share an English translation: “New Wave.”
Taking the pun further, Nouvelle Vague, the band, performs 70s/80s new wave music in a 60s bossa nova style. If the idea seems a bit shallow, than their self-titled debut, released in 2004, proved that the concept can be carried beyond gimmick. Their first album was a playful collection of classic songs that were covered with such flair that the kitschiness of the project was overshadowed by its lighthearted fun.
Nouvelle Vague adds a number of fresh ingredients to their second outing. The instrumentation and arrangement is deeper, the song interpretations are more straightforward, and everything sounds more conscious and intentional. Unfortunately, the differences between the two albums subtract more than they add.
More involved songwriting, does not necessarily mean better songwriting. Take “Dancing with Myself,” for example. Nouvelle Vague’s rendition of this song is completely overworked. With a heavy upright bass, snapping beats, and popping horn, the song falls heavily on the theatric. Yet, in spite of its complexities, the track stays relatively close to the original. Does the world really need a straight cover of a Billy Idol song?
In fact, a number of the songs on Bande a Part, do not stray far from their roots. Echo And The Bunnymen’s “Killing Moon,” for example, is recognizable from its onset. The Cramps always sounded like they came out of the 60s, so Nouvelle Vague’s version of “Human Fly,” while a bit more chic that the original, is redundant. And “Bela Lougosi’s Dead” brings a lot more Bauhaus than it does bossa nova.
There are some notable exceptions. The band’s version of the Buzzcock’s “Ever Fallen in Love” is a good track. It is well-constructed and stays true to the attitude of the original. “O Pamela” sounds better (and more emotive) than when The Wake did it in 1985. And “Let Me Go” removes Heaven 17s intrusive synths are reveals the beauty of the song underneath. The added strings and sultry vocals further the cause.
Still, even with these tracks, the overall album is lackluster. The fresh concept is decidedly less new wave the second time around and, with Bande a Part, the thrill of the new has grown a bit old. Reviewed
by: Richie Corelli
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