1. Connan Mockasin - Faking Jazz Together 2. The McIntosh County Shouters - Lay Down, Body 3. Grace Jones - Walking in the Rain 4. György Ligeti - Lux Aeterna 5. Le Mystère des Voix Bulgares - Kalimankou Denkou 6. Serge Gainsbourg - Melody 7. Sylver Tongue - Sugar Coat 8. Angel Olsen - The Waiting 9. Vampire Weekend - Ya Hey 10. Bernard Herrmann - Taxi Driver (Main Title) 11. Steve Reich - Different Trains - America Before the War 12. Richard Wagner - Tristan und Isolde (Prelude to Act I)
I know she didn’t play Tristan in Strasbourg however, but played Blackout/Rider To The Sea so it does change a bit from that, but I’m not sure what the setlist exactly was in Angers. Maybe someone who went can help you more?
Otherwise, send me your recording and I can tell you hehe.
Thank you for sharing the links to Endless World and 1970's Wind. They are wonderful, I wish they'd have been on the album though! 1970's Wind reminds me of Howard Shore's soundtrack for Lord of The Rings! Which is a wonderful thing! Take Care - Tom.
No problem. Thanks to Sandra for uploading them! I definitely wish Endless World was on the album, it’s one of my favourites…
I’m not sure. I still haven’t listened to One Breath as much as Anna Calvi. I think maybe I still like Anna Calvi more as a whole, cohesive album and it has a lot of sentimental meaning, but Cry, Piece by Piece and Love Of My Life top anything off the first album, so it will probably continue to grow on me. How does everyone else feel about it?
Hey Molly! First of all thank you so much for your beautiful tumblr. I love Anna and your blog is so precious! Just a question: do you have the lyrics of Love Of My Life? I really like that song but I can't figure out the words. Marti
I don’t think anyone has them. I tried to figure them out here a while ago, but they definitely aren’t 100% correct: Love Of My Life lyrics.
Any chance you could post the link to the (terrible quality) livestream of un lugar llamado mundo? Thank you so much!!!
Sorry, I probably didn’t explain myself well. You need to find a livestream of Canal+ es (I can’t link it here, because the one I had definitely could have had a virus). Then you need to look and see what times they are replaying the episode and watch it on that. Hope that helps!
Emma Nathan is a freelance filmmaker and photographer based in London. Her work has appeared in various publications including The Guardian, The Times, Mojo, NME, Dazed Digital and Les Inrockuptibles. Her most prominent work has been with Anna Calvi, creating the artwork for her debut album, shooting many of Calvi’s press shots and a number of her videos. Hit Read More and get to know Emma!
“I want to feel a lot when I’m on stage. I summon whatever I need to in order to get as emotional as I can when I play. If it’s a song about someone, I’ll think of them the whole time I play. Is that a bit self-destructive?”—Anna Calvi
Within the space of a few seconds, Anna Calvi’s epic voice can go from harrowing to haunting, and her guitar style – a boldly expressive, idiosyncratic creation – can pull you close before it sends you flying across the room. Her bewitching ways of unwinding the mysteries of lust and heartache make her impossible to forget. The sound of her poignant sonic narratives leave an indelible mark on one’s soul.
Calvi’s musical journey started early – she remembers her parents playing her classical music when she was five. “It helped me sleep,” she recalls. “Hearing Mozart is my first memory of music.” When she was eight, her father played her one of his David Bowie records, which ignited a lifelong obsession with the chamelonic rocker. “I couldn’t get enough of Bowie,” she says. “As soon as I got my own pocket money, I started buying his records.”
Growing up, Calvi continued to dip into her father’s music collection – for rock, there were The Beatles, Jimi Hendrix and Led Zeppelin, but there was jazz, too, with the sounds of Duke Ellington and Miles Davis burrowing into her psyche. “I gravitated towards things that were dramatic,” she says. “When I got a little older, I listened to a lot of Jeff Buckley, but I also liked singers like Edith Piaf and Billie Holiday. I always liked a wide variety of styles.”
When writing songs for her captivating new album, One Breath, Calvi drew upon some of her favorites as source inspiration. I wanted more texture and color to come from the guitar, almost as if it wasn’t a guitar,” she says. “I wanted it to be almost this wild animal. That’s why listening to an album like Rain Dogs came in handy. What Tom Waits did with the guitar on that record was so full of unexpected treatments.”
For the emotionally draining Eliza, a song about “seeing something in someone else that reminds you of a part of yourself that you’ve lost,” Calvi referenced the vivid sentimentality of Roy Orbison. “He could be very broad and painful but also and quite beautiful,” she says. “His melodies would stretch further than what you might expect from pop music, almost like opera.”
Sing To Me happens upon you like a mirage. It’s a strange and spooky mood piece, one which was conceived as an homage to the renowned soprano Maria Calas. “I’ve always been very intrigued by the idea of healing somebody with your voice,” Calvi explains. “Maria Calas had that kind of quality to her singing. What an amazing thing it must have been to see her perform in person.”
Anna Calvi: 'that’s what it’s all about - the animalistic power of lust'
When UK singer/songwriter Anna Calvi first came to the public’s attention it was for two reasons: one, she’s a strikingly photogenic young woman, and two, because she’s a downright savage guitarist.
It helped that her singing and songwriting are also exceptional, sure, but she was one of the first English female performers since PJ Harvey where the playing was as ear-catching as the vocals. Her self-titled debut begins with ‘Riders to the Sea’, a Spanish-inflected surf-blues instrumental that sounds ready-made to soundtrack a David Lynch film, and ‘Eliza’, the first single off this year’s One Breath features an arpeggiated guitar solo that’s pure look-at-my-chops showing off, as gleeful as any metal axeman’s.
However, the biggest feature of her second album is the focus on her vocals. They’re right up front and delivering uncharacteristically personal lyrics. Despite Calvi’s lusty purr-to-a-roar vocals on record, her speaking voice is gentle, polite and oh-so-very-English. In fact, it feels downright intrusive to ask her about these things.