Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

Mélanie Pain’s solo album ‘How and Why’ stands apart from her involvement in Nouvelle Vague

Dreaminess and frostiness from the Gallic singer-songwriter

share this article

Mélanie Pain’s ‘How and Why’: an indication that Pain is in control

Strings swirl. A flute drifts like a bird floating on warm air. The melody is subdued, its tonality evoking The Smiths’ “Please, Please, Please, Let me Get What I Want.” A wistful, French-accented voice sings “I’ve always been so cruel, Hard on myself, You say I’m just a fool, Trying to be somebody else.” Mood set with opening track “Bluer Than Blue,” How and Why subsequently showcases nine more similarly moody, acoustic-centred songs.

The dreamy, slightly husky, voice is recognisable. Since 2003, Mélanie Pain has been a main vocalist with France’s Nouvelle Vague, Marc Collin and Olivier Libaux’s endeavour dedicated to recording and performing archly bossa nova-esque, acoustic-framed versions of songs from the new-wave and new-pop eras. On Nouvelle Vague’s last album, February 2024’s Should I Stay Or Should I Go? – its title track the Clash song – Pain featured on reinterpretations of Billy Idol’s “Rebel Yell,” The Smiths’ “This Charming Man” and Yazoo’s “Only You. This long-running project tends to obscure Pain’s solo career, which kicked off with 2009’s pointedly titled My Name album.

How and Why is Pain’s fourth solo album, belatedly following-up 2016’s Parachute. Like its predecessor, all the songs – bar one cover – are self-penned. She is also the producer. The cover version is “Senden daha güzel,” a 2009 track by Turkey’s Duman. In its original form, its stop-start structure is similar to “Should I Stay or Should I go.” For How and Why, the song still sounds Turkish but has become lighter and jazzier. It swings. Elsewhere, Pain’s downbeat, yet glacially twinkling, “Cold Hands” is a duet with Calexico ‘s Brian Lopez. How and Why is nothing like the frenetic Kill The Pain, her recent duo collaboration with Phobe Killdeer.

As Pain is the writer and producer – neither of her last two albums were self-produced: a (male) co-producer or producer was present – it's possible to interpret How and Why as indicating that Pain is in control. Getting to the point of full self-determination has taken a while.

Beyond this knotty relationship to her biography as a singer and songwriter, How and Why stands apart as a lovely, frosty collection: one suggesting that Mélanie Pain has no need to be a guest voice on records by anyone else.

@kierontyler.bsky.social

Mélanie Pain has no need to be a guest voice on records by anyone else

rating

3

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

A championing, but also perhaps a dilution, of South African innovation
The return of a punk-era landmark of British art rock
With a danceable rock feel she displays her burgeoning creativity
The garage rockers don't do themselves justice on new album
Andy Dragazis’ musical alter-ego offers nods to legendary arranger and producer Charles Stepney
The welcome return of a foundational album of electronic minimalism
Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat