People say that everything passes
that love fades away and the wind sweeps away the prints of the lovers
people say that everything passes
that time is a stream that dissolves the air that bounds
that tightens us � �La Mer/The Sea�
elodieO makes sexy, groovy, layered electro-pop with much pathos concealed in the folds. elodieO�s songs are often about the frictions and contradictions in love relationships; the longing and desire for someone, something you don�t have, and the anticipated pleasure of finally being with the object of your desire. Nature, the sea, the wind, the impermanent seasons � all become regular protagonists in her surreal plaintives about loss and unrequited love.
Elodie Ozanne was born and raised in Paris, France. Her father was a part-time jazz musician who could play piano, bass and clarinet, and her next door neighbors were from the illustrious Eiffel family, who believed in the sacrosanct of all things artistic. With their combined encouragement, Elodie began studying the cello at the age of eight. Around the same period, Elodie recalls having her first musical epiphany: �I remember seeing a classic American musical on TV at the Eiffel�s, and it was like, how you say, when you see God?" Revelatory. Elodie saw Fred Astaire and Ginger Rogers, and everything made sense. Elodie decided then and there that show business was her future and enrolled in a tap-dancing class at the American Center. An intense dance, theatre and music training during her teenage years led to Elodie�s acceptance into a renowned drama school at the Paris National Theater of Chaillot.
After being cast in a successful French TV soap series, Elodie knew that she needed to leave Paris for London or New York if she was to realize her Anglo-Saxon musical dream. After being chosen by the French ministry to study musical theater at NYU, she promptly moved to New York. However, some small Broadway roles quickly led to Elodie�s disillusionment with her beloved musicals: �My idea was to come and learn about this form of art and then make something out of it that was my own," she recalls. �But I found it such a commercial thing, kind of tacky. Not like the Hollywood of the 50�s.� She then alternated between New York and Paris and began moving more towards music, but not the music she had grown up with. �I was raised on classical and jazz, avant garde and obscure stuff. Pop and rock were totally despised at home: it was considered cheap, bad music, you know?� She later formed a jazz-cover band in New York and began performing in bars and hotels.
Then Elodie met multi-instrumentalist Manuel Bienvenu in 2000, and together they co-founded the minimal pop band Elm. Elm experimented with French torch songs and tango sensualities, releasing two albums on popcornlab and telescopic, playing various French festivals, opening for Cat Power, and garnering rave reviews. As France�s Rolling Stone claimed, �Elm and its delicate pop, whispered by elodieO and her charming french accent, could very well make itself a place in our record collection this winter�comfortably settled in between the records of Katerine, Autour de Lucie and Tue-Loup.�
Finding confidence in her songwriting skills, Elodie next set out to become a self-taught composer, arranger and producer. She owned an old Casio keyboard, a cello and a few cheap keyboards and began recording demos on an 8-track recorder. After French producer Boris Persikoff opened his fully-equipped Parisian studio to her and gave her the opportunity to experiment with the demos she had created, Elodie taught herself how to use pro-tools in a matter of a few months and returned to New York to begin the D.I.Y. process of making her debut solo album. She then started to hang out at New York�s Nublu club, where she met future collaborators Brazilian Girls and where a family of other new-direction pop bands with dub, funk and global-punk aesthetics coalesced. Ideas were shared and methodologies were exchanged, and soon Elodie and her own live trio began to hone their live skills with a Sunday night residency. Her live performances have recently taken her New York, Boston, The West Coast, and throughout Europe on three separate European tours.
elodieO�s debut, Stubborn, is a testament to her dogged tenacity in a journey through skeptics who were unable to classify elodieO�s unique sound within France and America�s artistic landscapes. When her dream couldn�t find an echo, elodieO held dear to the personal nature of her lyrics and sounds. The music that supports elodieO�s whispery French chanteuse and her cooing harmonies is as much pop music as it is an experimental juxtapositioning of lo-fi heavy bass chords against polymelodic conversations of casio keyboard filigrees, programmed grooves, orchestral strings, ornamental harps - like water droplets � and a flutey melodica. This dubby bass guitar latches itself onto the unconscious and, with the urgings of the snares and bass-drum, it takes front and center in our aural perspective. It lets go only at the intro to a new song, which often consists of an electronically processed acoustic instrument, melodic or glitchy, alongside elodieO�s wistful, surreal vocal entreaties.
Refusing to be confined by cultural or musical boundaries, elodieO seduces us into her world, a world in which one can instantly travel from 60�s French pop to hip-hop, new wave to straight electronica. Lay back, dim the lights and enjoy the voyage.