You’ll never forget the elegant and noble music after watching Amélie & Good Bye, Lenin!, composed by the French musician Yann Tiersen. His works are inspired by his exposure to classical music in his childhood and by the punk culture that influenced him in his adolescence. Yann Tiersen never ceases his endeavors into creating music with an experimental style. He constantly challenges himself, and therefore his music has been labeled as “modern classical”, “neo-classical”, “folk music”, “post-rock”, “ambient music”, “electronic music”, etc.
The MISA debut of Tiersen will present songs in his new album ∞/INFFINITY. He makes noise with toy instruments just like he did in his early works. The music constantly goes back and forth between acoustic and electronic music, digital and analogue sounds, in cycles. It resembles a samsara, a constantly repeating cycle. “Infinity” not only represents the limitless resources of the nature, but also the fusion of a diversity of musical styles in the album. Tiersen recorded this album after he had travelled around European countries. He sang in multiple languages, and imbued the album with nature, which a large part of the titles of song as inspired of as well as related to. In Yann Tiersen’s own words, “I didn’t choose the title; the title chose itself.”
There are rich layers of inspirational textures in Midsummer Evening, creating a soundscape of electronic music in the midst of ambient sounds. It starts with homogeneous noises produced by toy instruments. Then the string section comes to overshadow the noises. When the electronic music is slowly introduced, a lyrical melody cuts in, which soon culminates in bells, drums, and human voices. Ar Maen Bihan is a story written in Breton (a language spoken in Brittany of France) by Emilie Quinquis, a partner of Yann Tiersen’s. It begins in sounds of brass bells from faraway places. Gradually, electronic music prevails in the background, with further inclusions of human soliloquies. In Grønjørð, low male voices sing softly and slowly in Faroese, which is accompanied by bells, cracklings in the background, as well as cyclic sweeping strings. Steinn was composed in Icelandic lyrics. It begins with a recitation by female voices. With a repeated three-note motif, the music is transformed into a subject enshrouded with drums and electronic music, following a passage on the percussions that remind the audience of iron and steel. Meteorite is dominated by human voices, from a beginning with recitations, to subsequent singing phrases. Everything seems to exist in a never-ending cycle.