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Emily Loizeau is no sedentary contemplative singer. Not for her the captive heart and cracked whisper of some Proustian maiden kept far from the world's clamour. Emily tends more towards Rimbaud, Jack London and Kerouac. She expresses her taste for adventure and hazardous encounters musically with all the force of a tropical cyclone, and lyrically with the reflective delicacy of the bilingual child still living within her. Emily calls Pays Sauvage her "hippie record": all her friends were invited to join the party, bringing their instruments and temperament along. Since the country house was too small to accommodate the whole shebang, these encounters took place in the studio in Paris, with sound recording from Jean-Baptiste Bruhnes and production by Emily. In today's France, where bands are born of international marriages, Emily (who is half English on her mother's side) has no shortage of cousins. Having admired albums by Herman Düne and Moriarty, she offered them visas for her "country", which she saw as a land of communion. David Herman Düne contributed to five tracks in different roles (co-arranger, musician and duettist), while the entire Moriarty family appear on four songs (their distinguished folk collective sets some memorable sparks flying!). Still, Pays Sauvage was primarily built around the two musicians who back Emily on stage and worked on the album's arrangements: cellist Olivier Koundouno and drummer and guitarist Cyril Avèque. Over the months, an extended troupe formed around this nucleus (with the addition of violinist Jocelyn West), building on songs that Emily devised in a spirit of pure sharing, deliberately choosing not to make herself their sole focus.

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