#frenchpop — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #frenchpop, aggregated by home.social.
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Demon Lover – Rookie Technique
#60smetal #Electronic #FrenchPop #Garagerock #Italianbossanova #Rock #Trap #experimental #happymusic #hard #mikeherr #yachty #StLouis
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://demonloverstl.bandcamp.com/album/rookie-technique -
Self-Titled Summer | Françoise Hardy (1971, France)
Our next spotlight on a Fedi-recommended self-titled album is on number 119 on The List, submitted by arratoon. By the time this album came out, Hardy was firmly ensconced as a key figure in France’s yé-yé phenomenon and as an international star, with nearly half of her 14 albums in other languages. Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further, with most of the bossa nova-tinged music composed by the Brazilian guitarist known as Tuca. Both women were going through it at the time, and their collaboration created something beautiful and honest out of their pain.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/08/12/self-titled-summer-francoise-hardy-1971-france/Want to skip straight to the music? Here's a Songlink: https://album.link/ca/i/1490263490
And as a bonus, here's a YouTube link with Tuca's MPB/psychedelic solo album from 1974, Drácula I Love You: https://www.youtube.com/watch?v=EMaidh-ltJUHappy listening!
#FrançoiseHardy #Tuca #FrenchPop #BossaNova #BrazilianMusic #1970s #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Françoise Hardy (1971, France)
Our next spotlight on a Fedi-recommended self-titled album is on number 119 on The List, submitted by arratoon. By the time this album came out, Hardy was firmly ensconced as a key figure in France’s yé-yé phenomenon and as an international star, with nearly half of her 14 albums in other languages. Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further, with most of the bossa nova-tinged music composed by the Brazilian guitarist known as Tuca. Both women were going through it at the time, and their collaboration created something beautiful and honest out of their pain.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/08/12/self-titled-summer-francoise-hardy-1971-france/Want to skip straight to the music? Here's a Songlink: https://album.link/ca/i/1490263490
And as a bonus, here's a YouTube link with Tuca's MPB/psychedelic solo album from 1974, Drácula I Love You: https://www.youtube.com/watch?v=EMaidh-ltJUHappy listening!
#FrançoiseHardy #Tuca #FrenchPop #BossaNova #BrazilianMusic #1970s #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Françoise Hardy (1971, France)
Our next spotlight on a Fedi-recommended self-titled album is on number 119 on The List, submitted by arratoon. By the time this album came out, Hardy was firmly ensconced as a key figure in France’s yé-yé phenomenon and as an international star, with nearly half of her 14 albums in other languages. Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further, with most of the bossa nova-tinged music composed by the Brazilian guitarist known as Tuca. Both women were going through it at the time, and their collaboration created something beautiful and honest out of their pain.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/08/12/self-titled-summer-francoise-hardy-1971-france/Want to skip straight to the music? Here's a Songlink: https://album.link/ca/i/1490263490
And as a bonus, here's a YouTube link with Tuca's MPB/psychedelic solo album from 1974, Drácula I Love You: https://www.youtube.com/watch?v=EMaidh-ltJUHappy listening!
#FrançoiseHardy #Tuca #FrenchPop #BossaNova #BrazilianMusic #1970s #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Françoise Hardy (1971, France)
Our next spotlight on a Fedi-recommended self-titled album is on number 119 on The List, submitted by arratoon. By the time this album came out, Hardy was firmly ensconced as a key figure in France’s yé-yé phenomenon and as an international star, with nearly half of her 14 albums in other languages. Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further, with most of the bossa nova-tinged music composed by the Brazilian guitarist known as Tuca. Both women were going through it at the time, and their collaboration created something beautiful and honest out of their pain.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/08/12/self-titled-summer-francoise-hardy-1971-france/Want to skip straight to the music? Here's a Songlink: https://album.link/ca/i/1490263490
And as a bonus, here's a YouTube link with Tuca's MPB/psychedelic solo album from 1974, Drácula I Love You: https://www.youtube.com/watch?v=EMaidh-ltJUHappy listening!
#FrançoiseHardy #Tuca #FrenchPop #BossaNova #BrazilianMusic #1970s #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Françoise Hardy (1971, France)
Our next Self-Titled Summer spotlight is on number 119 on The List, submitted by arratoon. Here’s a quick rundown:
- Point of origin(s): Françoise Hardy (b. 1944) began writing her own songs and playing guitar as a teenager and, in 1961, after a few auditions and both singing and music theory lessons, she was signed to Disques Vogue. After her song “Tous les garçons et les filles” from her first EP (1962) became a hit, Hardy quickly became a popular – if not the – star in France’s new yé-yé phenomenon (the term itself, if I understand correctly, originating from a transliteration of Hardy’s English “yeah! yeah!” lyric in her song “La fille avec toi”, which she had performed on TV). Her debut LP album (s/t but also known by the title of that first hit) was released in 1962 (i.e., when Hardy was only 18), and it sold 2.5 million copies within a few months. Hardy quickly became an international star as well, and released an album in Italian (1963), two in German (’65, ’70), and three albums in English (’66, ’68, ’69) in between her first few French albums. The album we look at here is Hardy’s 11th studio album, left untitled like most of the previous ones (it can also be found under the title La question, after its most popular track). Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further from her previous work, primarily due to its more sparse and mature sound and difference in how it was developed. Most of the music was composed by a Brazilian musician named Valeniza Zagni da Silva aka Tuca, and then rehearsed with Hardy for a full month before the recording process began. The two women connected deeply both artistically and personally, each at the time dealing with issues in their love life (Hardy’s issues specifically stemming from her relationship with future husband Jacques Dutronc). The pair would essentially use the recording sessions for this album to deal with their emotional situations, collaborating with each other to create something beautiful and honest out of their pain.
- Tasting notes: Not (post-?)yé-yé, French pop mixed with Brazilian saudade/bossa nova, 33 minutes of having your socks charmed off, emotional acoustic guitar therapy, a beautifully supportive relationship between two women
- Standout track: “Viens”, “Chanson d’O”, “Le martien”, “Si mi caballero”
- RIP: Hardy would go on to continue an incredible career as a singer-songwriter, which would include 17 more studio albums (the final being the 2018 Personne d’autre), a couple of which went in some unexpected directions such as the fantastic alt rock Le danger (1996) (my personal favourite). She was also a writer (fiction and non-fiction, including an autobiography in 2008) and an astrologer. Hardy left us just over a year ago, at the age of 80. Tuca would co-make another bossa nova album also in 1971 (Dez Anos Depois by Brazilian Nara Leão) and then one solo album in 1974 (Drácula I Love You), but would sadly die much too young in 1978.
- Websites: Wikipedia
Happy listening!
#1970s #bossaNova #BrazilianMusic #FrançoiseHardy #FrenchPop #music #musicDiscovery #selftitled #Tuca
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Self-Titled Summer | Françoise Hardy (1971, France)
Our next Self-Titled Summer spotlight is on number 119 on The List, submitted by arratoon. Here’s a quick rundown:
- Point of origin(s): Françoise Hardy (b. 1944) began writing her own songs and playing guitar as a teenager and, in 1961, after a few auditions and both singing and music theory lessons, she was signed to Disques Vogue. After her song “Tous les garçons et les filles” from her first EP (1962) became a hit, Hardy quickly became a popular – if not the – star in France’s new yé-yé phenomenon (the term itself, if I understand correctly, originating from a transliteration of Hardy’s English “yeah! yeah!” lyric in her song “La fille avec toi”, which she had performed on TV). Her debut LP album (s/t but also known by the title of that first hit) was released in 1962 (i.e., when Hardy was only 18), and it sold 2.5 million copies within a few months. Hardy quickly became an international star as well, and released an album in Italian (1963), two in German (’65, ’70), and three albums in English (’66, ’68, ’69) in between her first few French albums. The album we look at here is Hardy’s 11th studio album, left untitled like most of the previous ones (it can also be found under the title La question, after its most popular track). Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further from her previous work, primarily due to its more sparse and mature sound and difference in how it was developed. Most of the music was composed by a Brazilian musician named Valeniza Zagni da Silva aka Tuca, and then rehearsed with Hardy for a full month before the recording process began. The two women connected deeply both artistically and personally, each at the time dealing with issues in their love life (Hardy’s issues specifically stemming from her relationship with future husband Jacques Dutronc). The pair would essentially use the recording sessions for this album to deal with their emotional situations, collaborating with each other to create something beautiful and honest out of their pain.
- Tasting notes: Not (post-?)yé-yé, French pop mixed with Brazilian saudade/bossa nova, 33 minutes of having your socks charmed off, emotional acoustic guitar therapy, a beautifully supportive relationship between two women
- Standout track: “Viens”, “Chanson d’O”, “Le martien”, “Si mi caballero”
- RIP: Hardy would go on to continue an incredible career as a singer-songwriter, which would include 17 more studio albums (the final being the 2018 Personne d’autre), a couple of which went in some unexpected directions such as the fantastic alt rock Le danger (1996) (my personal favourite). She was also a writer (fiction and non-fiction, including an autobiography in 2008) and an astrologer. Hardy left us just over a year ago, at the age of 80. Tuca would co-make another bossa nova album also in 1971 (Dez Anos Depois by Brazilian Nara Leão) and then one solo album in 1974 (Drácula I Love You), but would sadly die much too young in 1978.
- Websites: Wikipedia
Happy listening!
#1970s #bossaNova #BrazilianMusic #FrançoiseHardy #FrenchPop #music #musicDiscovery #selftitled #Tuca
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Self-Titled Summer | Françoise Hardy (1971, France)
Our next Self-Titled Summer spotlight is on number 119 on The List, submitted by arratoon. Here’s a quick rundown:
- Point of origin(s): Françoise Hardy (b. 1944) began writing her own songs and playing guitar as a teenager and, in 1961, after a few auditions and both singing and music theory lessons, she was signed to Disques Vogue. After her song “Tous les garçons et les filles” from her first EP (1962) became a hit, Hardy quickly became a popular – if not the – star in France’s new yé-yé phenomenon (the term itself, if I understand correctly, originating from a transliteration of Hardy’s English “yeah! yeah!” lyric in her song “La fille avec toi”, which she had performed on TV). Her debut LP album (s/t but also known by the title of that first hit) was released in 1962 (i.e., when Hardy was only 18), and it sold 2.5 million copies within a few months. Hardy quickly became an international star as well, and released an album in Italian (1963), two in German (’65, ’70), and three albums in English (’66, ’68, ’69) in between her first few French albums. The album we look at here is Hardy’s 11th studio album, left untitled like most of the previous ones (it can also be found under the title La question, after its most popular track). Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further from her previous work, primarily due to its more sparse and mature sound and difference in how it was developed. Most of the music was composed by a Brazilian musician named Valeniza Zagni da Silva aka Tuca, and then rehearsed with Hardy for a full month before the recording process began. The two women connected deeply both artistically and personally, each at the time dealing with issues in their love life (Hardy’s issues specifically stemming from her relationship with future husband Jacques Dutronc). The pair would essentially use the recording sessions for this album to deal with their emotional situations, collaborating with each other to create something beautiful and honest out of their pain.
- Tasting notes: Not (post-?)yé-yé, French pop mixed with Brazilian saudade/bossa nova, 33 minutes of having your socks charmed off, emotional acoustic guitar therapy, a beautifully supportive relationship between two women
- Standout track: “Viens”, “Chanson d’O”, “Le martien”, “Si mi caballero”
- RIP: Hardy would go on to continue an incredible career as a singer-songwriter, which would include 17 more studio albums (the final being the 2018 Personne d’autre), a couple of which went in some unexpected directions such as the fantastic alt rock Le danger (1996) (my personal favourite). She was also a writer (fiction and non-fiction, including an autobiography in 2008) and an astrologer. Hardy left us just over a year ago, at the age of 80. Tuca would co-make another bossa nova album also in 1971 (Dez Anos Depois by Brazilian Nara Leão) and then one solo album in 1974 (Drácula I Love You), but would sadly die much too young in 1978.
- Websites: Wikipedia
Happy listening!
#1970s #bossaNova #BrazilianMusic #FrançoiseHardy #FrenchPop #music #musicDiscovery #selftitled #Tuca
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Self-Titled Summer | Françoise Hardy (1971, France)
Our next Self-Titled Summer spotlight is on number 119 on The List, submitted by arratoon. Here’s a quick rundown:
- Point of origin(s): Françoise Hardy (b. 1944) began writing her own songs and playing guitar as a teenager and, in 1961, after a few auditions and both singing and music theory lessons, she was signed to Disques Vogue. After her song “Tous les garçons et les filles” from her first EP (1962) became a hit, Hardy quickly became a popular – if not the – star in France’s new yé-yé phenomenon (the term itself, if I understand correctly, originating from a transliteration of Hardy’s English “yeah! yeah!” lyric in her song “La fille avec toi”, which she had performed on TV). Her debut LP album (s/t but also known by the title of that first hit) was released in 1962 (i.e., when Hardy was only 18), and it sold 2.5 million copies within a few months. Hardy quickly became an international star as well, and released an album in Italian (1963), two in German (’65, ’70), and three albums in English (’66, ’68, ’69) in between her first few French albums. The album we look at here is Hardy’s 11th studio album, left untitled like most of the previous ones (it can also be found under the title La question, after its most popular track). Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further from her previous work, primarily due to its more sparse and mature sound and difference in how it was developed. Most of the music was composed by a Brazilian musician named Valeniza Zagni da Silva aka Tuca, and then rehearsed with Hardy for a full month before the recording process began. The two women connected deeply both artistically and personally, each at the time dealing with issues in their love life (Hardy’s issues specifically stemming from her relationship with future husband Jacques Dutronc). The pair would essentially use the recording sessions for this album to deal with their emotional situations, collaborating with each other to create something beautiful and honest out of their pain.
- Tasting notes: Not (post-?)yé-yé, French pop mixed with Brazilian saudade/bossa nova, 33 minutes of having your socks charmed off, emotional acoustic guitar therapy, a beautifully supportive relationship between two women
- Standout track: “Viens”, “Chanson d’O”, “Le martien”, “Si mi caballero”
- RIP: Hardy would go on to continue an incredible career as a singer-songwriter, which would include 17 more studio albums (the final being the 2018 Personne d’autre), a couple of which went in some unexpected directions such as the fantastic alt rock Le danger (1996) (my personal favourite). She was also a writer (fiction and non-fiction, including an autobiography in 2008) and an astrologer. Hardy left us just over a year ago, at the age of 80. Tuca would co-make another bossa nova album also in 1971 (Dez Anos Depois by Brazilian Nara Leão) and then one solo album in 1974 (Drácula I Love You), but would sadly die much too young in 1978.
- Websites: Wikipedia
Happy listening!
#1970s #bossaNova #BrazilianMusic #FrançoiseHardy #FrenchPop #music #musicDiscovery #selftitled #Tuca
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Self-Titled Summer | Clothilde (1967/2013, France)
Our next Self-Titled Summer spotlight is on number 911 on The List, submitted by arratoon. Here’s a quick rundown:
- Point of origin(s): “Clothilde” was a stage name/persona briefly worn by Élisabeth Beauvais (b. 1948). The daughter of 50s actress/singer Gisèle Parry and writer/journalist and radio/TV producer Robert Beauvais, at an early age Beauvais was frequently around famous French actors and up-and-coming French pop stars. One day, Germinal Tenas (b. 1947), then an up-and-coming music producer, was at the family house to work on a TV soundtrack with Parry. He had been searching for a French girl to sing his songs, particularly “une fille qui aurait une voix douce et jolie qui dirait en même temps des choses horribles dans un genre détaché” (“a girl with a very soft beautiful voice and who at the same time could say horrible things in a semi-detached way”).[1] The moment he saw Beauvais, without even hearing her voice, he decided she fit the bill, and began to pester Beauvais into agreeing to his project. Beauvais was very reluctant and only at the behest of her mother unwillingly went through with an audition and then contract signing with the Vogue record label. At the time, Beauvais was rather upset about the entire thing, and took every opportunity to let the rather demanding Tenas know that – she was a shy and depressed teenager, she didn’t like the Clothilde persona, the lyrics, or that she had essentially no say in the project, and she had dreams of singing her own music more along the lines of Françoise Hardy, i.e., the direct opposite of Tenas’ vision. Tenas, however, saw Beauvais’ anger and rebellion against him as serving the Clothilde persona, and so he did not bother looking for another singer. In the end, Beauvais recorded two EPs plus an Italian single under the Clothilde name, all in 1967. The s/t album we look at here, put out by Born Bad Records in 2013, compiled those releases, over 45 years later.
- Tasting notes: French 60s girl pop, anti-yé-yé, subversive lyrics full of dark humour and double-entendres, odd instrumentation including musical saws, anti-Françoise Hardy (or, “Françoise Hardy on acid”[2])
- Standout track: “Saperlipopette”, also “La Vérité, Toute La Vérité” which probably has the best instrumentation (I’m also a sucker for Beauvais’ “hey!”s). Note that the last two songs are Italian versions of tracks 1 and 3; I’m not sure of the quality of Beauvais’ Italian, but I personally prefer “Qualcosa Che Non Va?” to “La Chanson Bête Et Méchante” because the repeating response “hin hin” in the background sounds less creepy than the original French, lol.
- Where are they now?: Beauvais refused to tour as Clothilde and generally avoided answering calls from Vogue, so the project only lasted one year (the last of a handful of TV appearances was January 1968). Beauvais essentially disappeared from the public eye following the Clothilde project, and wouldn’t record anything else for 15+ years (though these recordings were never released). Tenas continued (and, I believe, continues) to work as a producer and composer. According to the (rather extensive) interview linked below, there are no hard feelings between the two and, at least at the time of the interview (presumably done around the time this compilation was released), they are actually friends.
- Websites: Interview with Beauvais on Born Bad Records website, Wikipedia
Happy listening!
- Songlink: Clothilde – Clothilde (note: the compilation can also be found under the title French Swinging Mademoiselle)
- Discogs: Clothilde – Clothilde
- Tenas quote and translation from: www.bornbadrecords.net/releases/clothilde-queen-of-the-french-swinging-mademoiselle-1967/. ↩︎
- Quote from: radioherbetendre.blogspot.com/2013/07/clothilde.html. ↩︎
#1960s #ÉlisabethBeauvais #chanson #Clothilde #France #FrenchPop #GerminalTenas #music #musicDiscovery #psychedelicRock #selftitled #YéYé
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|♥︎K| M☆E☆R☆C☆I☆ @legrandmix et massive big up aux @naivenewbeaters pour les vibes de ouf that got us Rising Above ♡ #coeurkaijulive #coeurkaiju #naivenewbeaters #liveband #frenchpop #frenchrock #legrandmix #concert #artpop #artrock #indiepop #indierock #newwave #funkwave #gigs #bandontour #timplacenti #jeremycuvelier #thomasberthelot #concert #viewfromthestage
@timfplacenti @j_cvl @thomasberthelot_drums -
Galatée – Just Another Single
#Electronic #bedroompop #dreampop #frenchpop #indie #newmusic #newwave #retrosynth #retrowave #synthpop #synthpop
CC BY-SA (#CreativeCommons Attribution Share Alike)
https://hjordis-britt-astrom.bandcamp.com/album/just-another-single -
Days are getting shorter. In the afternoon it's so dark now it's hard to see anything at all. But that's nothing 2b worried about if u concentrate on ur hearing. There are so many wonderful noises around u: Don't ignore them! Let 'em shine now! And to get a climax out of all that interesting noise (yes I've said CLIMAX!):
TURN YOUR RADIO ON!
'cuz it's time 4…
Radio Irrtum!
Oh yes, the upcoming issue of #RadioIrrtum! will be aired this Sat., 2024/10/26, 8:00pm UTC+2/Berlin time. Over at Alex Berlin FM at 91MHz or DAB+ K7D around Berlin & worldwide at
https://www.alex-berlin.de/radio-livestream .
#Radio Irrtum! is a #germanLanguage #radioShow exploring the sonic vastness of the unheard #underground. It's totally fine to ignore that German language aspect btw – 'cuz it's all about the music!
I always say it, I always mean it, but Today double that: This show is very special to me. 2 major reasons:
- A Politics
- B Interviews.
Let me explain:
Politics:
I'm aware, this radio show is about music. Should stick to that. But in these alarming times I wont. The world is shifting towards the right extreme. So much, that fascist and Nazi ideas are being "normal", even being defended by the mainstream media. Especially (but not only) in Germany. 1933 (the begin of Nazi Germany that let to WWII) is so near I can almost touch it. On top of all go the climate deniers, destroying the planet for their stupid privileges; against all scientific proof.
Even as a lil' radio host I will use my position to make the people aware about what's going on. I still believe we can do something, but we should do that together:
If you are a creator on Radio, TV, a YouTube cooking channel or whatnot: Don't be silent. Make people aware!
#JournalistsAgainstFascism
B) Interviews:
For the first time in my radio career there will be #interviews:
Even 2 of them – so long they only fit in partially. So the full length versions of those interviews will be announced after the show in this thread.
But there is also C and D – watch out!
C) you'll never guess what will be played:
- Hannes-Wader style songmaker stuff
- #FrenchPop
- elevator #lofi
- #alternativeHipHop
- #UKG
- #BassTec straight from the #Amiga
- #experimentalBass (interview!)
- #IDM
- #ArtPunk
- #FemalePunk
- #DeathCountry
- Melancholic #SeaWave (interview!)
The mentioned interviews – so much I can spoil beforehand – will be with Wrighter/Moonbase and Schall und Stille.
D) All that wouldn't be possible without artists from the Fediverse like:
@[email protected] | @[email protected] | @[email protected] | @[email protected] | @[email protected] and m0re
I'll post playlist + manuscript + links to the full length interviews later in this thread. Questions? I'll gladly answer! Just ask!
CU all on Saturday! :)
Normally the German text starts here, but no space left. Will write something at my account over at @[email protected] instead. -
I don't remember which of you is responsible for Stromae's "Racine carrée" album being in my iTunes, but I randomly put it on and had to look up this song, "Ave Cesaria". It's about Cesária Évora (who we have in #1001OtherAlbums!) and has one of the most charming music videos I've ever seen.
https://www.youtube.com/watch?v=rO1VDCZh_Ko
#Stromae #CesáriaÉvora #FrenchPop #ElectronicMusic #electropop
