Cyrille Aimee voce
Hila Kulik piano
Wayne Tucker tromba
Matteo Bortone contrabbasso
Zach Mama batteria
Let’s Get Lost, Cyrille Aimée’s second album for Mack Avenue Records, brings to light a different side of the radiant singer. After two years of dazzling audiences around the world with the joyful repertoire of It’s A Good Day, Aimée reflects
on her musical and personal growth, telling us the story of a nascent love coming to full bloom. Accompanied by two guitar wunderkinds, Adrien Moignard and Michael Valeanu, as well as an Australian rhythm section (consisting of bassist Sam Anning and drummer Raj Jayaweera) so tight-knit that they are almost the same person, she adds pensive touches to her usual zest and reveals a bittersweet depth that will have listeners daydreaming for a while.
Aimée calls the album a journey through a relationship, which starts with Sondheim’s ironic salute to celibacy “Live Alone and Like It.” The legendary Broadway composer himself chose Aimée to perform this song for his Encore Series at New York’s City Center. The railroad folk rendition of “There’s A Lull In My Life,” with its gentle stream of overlapping guitars, makes us yearn for love again. “Estrellitas y Duendes”is sensuous Spanish poetry by Dominican superstar Juan Luis Guerra; imaginary travels on a lover’s body and a tribute to Aimée’s mother’s homeland of the Dominican Republic. “I wanted to sing something for my people there and make them proud,” she explains. “This is one of the first love songs I danced to growing up.”
Aimée’s expressive singing conjures a spellbinding reverie on “Lazy Afternoon,” visited by the ghost of French impressionism. The mischievous “Three Little Words”is an occasion to hear drummer Jayaweera’s tasteful soloing, before he turns Edith Piaf’s “T’es Beau tu Sais” into a tender, ethereal mambo. The moving lyrics are an ode to beauty as perceived by a blind woman. Then comes the roaring twenties crackle of the title track, “Let’s Get Lost,” and the delicate nostalgia of “Samois à Moi,”co-written with Diego Figueiredo. The latter serves as Aimée’s love letter to the place where it all started, long gone summer nights in a gypsy wonderland. “Those two songs talk about the longing I sometimes have for nature and quiet, the urge to escape the city,” reflects Aimée. “Nine More Minutes” is the sweet tale of a boy reading poetry to a girl, waiting for the next train in the wee small hours. Any resemblance to Aimée and Valeanu’s story is anything but coincidental.
“Laverne Walk” is a vibrant tribute to her swinging connection with bassist Anning: “Sam and I have the exact same feel, we just recorded it on the fly at the end of a long day,” notes Aimée. Time then expands on the breathlessly slow “That Old Feeling,”a ballad so close to her heartthat Aimée was on the verge of tears in the studio.The band takes it home on the final track “Each Day,” a hymn to love and a stirring duo with singer Matt Simons. “Matt used to play saxophone in my band, and we busked on the roads of Europe, long before he became a success in pop,” states Aimée. “It meant a lot to get back together for this.”
Let’s Get Lostspeaksof love in three different languages, wide ranging references, oldies and odd metered originals, yet it retains a distinct identity, like summer grass freckled with late afternoon sun. Aimée and her band weave confidently from one musical region to the next, and Valeanu’s guitar arrangements always underscore the meaning of every word in uncontrived and subtle fashion. “This album owes a lot to him,” Aimée adamantly states. Moignard is full of swagger and humor, and Fab Dupont’s production and sense of form brings every refinement to the forefront. “Fab helped us transition from being a live band to really shaping the songs for the studio.” With a strongly cohesive team and a dizzying momentum, Cyrille Aimée takes us on a thoughtful promenade and it seems there’s much left to discover about her.