Interview with Mandy Lerouge 1st album “La Madrugada” & Sophian Fanen’s Playlist

Published on : 20/11/2020 – 23:36Modified : 20/11/2020 – 23:37

Every month, Sophian Fanen (@SophianF on twitter) of the Les Jours site presents 5 new products, today its choice fell on:

Angel Bat Dawid & Tha Brotherwood, What Shall I Tell to my Children who are Black, tiré de l’album “Live” (International Anthem, 2020).

see the clip

C. Tanaga, You stopped loving me (feat. Niño de Elche & La Hungara), single (Sony Music España, 2020).

see the clip

Mahmoud Guinia, Bangara Bangara, taken from the album “Aicha” (reissue, Hive Mind, 2020) See tribute to Maâlem Guinia.

see the clip

San Salvador, Make Sautar, taken from the album “La Grande Folie” (Pagans / PIAS, 2021).

see the clip

Sault, Uncomfortable, tiré de l’album “Rise” (Forever Living Originals, 2020).

see the clip.

Mandy Lerouge.
Mandy Lerouge. © Anne-Laure Etienne

Then, virtual meeting with Mandy Lerouge (we don’t see each other, but we talk) for the release of the album The dawn.

See the EPK

Excerpts played in the show: Chacarera de un triste, Peoncito de Estancia, La Noche feat. Melingo, Romance de la Luna Tucumana feat. Vincent Segal.

Biography: “La Madrugada”, by Mandy Lerouge: the flight of a voice

Self-taught singer who grew up in the Hautes-Alpes, Mandy Lerouge has tamed the world of music for a good ten years, through adventures that lead her from jazz to classical music through trip-hop, not to mention a sound engineer training and journalist experience . In 2014, a first trip to Argentina made her discover the culture of her northern countryside and she fell in love as much with her music as with horseback expeditions with the Gauchos who roam the region watching their herds – Mandy has been a horse rider since her earliest years. young age. Now based in Marseille, she matured her project and nourished it with meetings with several figures of Argentinian music: Chango Spasiuk, Raúl Barboza, Melingo… Then at the start of 2020, she returned to these regions and, like a worthy heir toAlan Lomax, collects what will become the repertoire of this first album so personal and at the same time so catchy … Several fairies have leaned over her cradle: Vincent Segal who carried out it by “encouraging plugs without headphones and proximity to musicians”, Gérard de Haro who organized his studio-showcase in La Buissonne to adapt to this rare “live” configuration and of course the musicians; Argentinian pianist Lalo Zanelli to the sensual playing which also signed the arrangements, his compatriot the percussionist Javier Estrella while restrained flamboyance, the Colombian double bass player Felipe Nicholls discreet architect, and as a bonus an intense appearance of the accomplice Melingo. Not only Mandy Lerouge has succeeded, but it also gives us a lesson in cultural intelligence. In this almost telepathic recording where the melodic elegance of the ballads seems to be punctuated by the trotting of the horses and the racing hearts, she transcends with her magnetic voice these dances of oral tradition (chamamé, chacarera, zamba and a zest tango canaille). Child of interbreeding – her father is Malagasy and her mother French -, she appropriates this popular music which is itself mixed and makes it flourish in a new hybridization, a chamber music of today where jazz and even rock is never far away. Trans-culturality? Beneficial effect of globalization? All this certainly at the same time, but without forgetting the main thing: this “madrugada” which means “dawn” must also be read as the metaphor for the flight of a great voice. – Pascal Bussy.


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