lundi 12 mai 2014, par Cécile Desbrun

« "America"... I love "America." I’m very, you know... it runs through my veins, wherever I am in the world, wherever I go. Maybe, perhaps, because my mother’s people have been singing songs there, they know the song lines there. That’s in my DNA, deep, for thousands of years. So, I was interested in talking about, not an America that sometimes Europe sees, or the world sees, or Russia sees, or whoever in the world we’re speaking of... But the other America that holds nature very close, Mother Earth very close, that doesn’t see the earth as something to be used as a product, not just consumerism. And sometimes I think Americans can be generalized. When I travel, I find I walk into some place and they don’t know who I am, they hear my accent and they already have an opinion of me. As if we’re all the same. And I think that’s because it’s a very big place, America, a lot of people, and sometimes people just have an idea because of a politician or something they see that is ’all Americans.’ Clearly, we as Americans have to think of our land and how it’s being used. And Native Americans would talk about seven generations, that you look ahead to seven generations, not just consuming for the next generation, but what we’re going to leave for seven generations from now. And that type of thinking, which was an ancient way of thinking, is something that we desperately need now. And America has a role to play. It needs to be clear what that role is. And it means you have to be brave in order to play that role and you have to be clear what that role is, what is the role ? That’s what has to be defined by the young ones coming up. What do they want their role to be in the world ? » (Unrepentant Geraldines interview DVD)

"It is a letter. And we were trying to figure out the soundscape for it in order to infer that there’s a Native American energy, the Other America, as well as a futuristic other America. And how she’s ancient and yet, she’s all of us. So creating that character and a space for her to tell her story and sing her song through her letter was a big challenge, finding that soundscape. And we were playing with the piano acting like a banjo. So that was what we were going for, banjo-piano. Because the acoustics were doing their job as acoustics and we didn’t want the Bösendorfer to come across as a classical-sounding instrument. So we spent a lot of time working on the parts back and forth, the conversation between guitarist-piano in a mid-range. There are a couple of vocals that are supporting the lead vocal. And we were working on, I’d say the bridge first. So we approached that and all its vocals before we went back after the course haunting vocals.Sometimes, for me anyway, I like to know where the song is taking us where it needs to end up and the bridge is an explosion, obviously inspired by all those Beatles records I’ve listened to in my life as well as from Mark and Marcel. They were listening to those through their life and it all came together, I guess, in the bridge. So there, for once, we knew what that bridge was, then we could do some backtracking." (Spotify’s Unrepentant Geraldines track-by-track audio commentary)