Ex-Tucson chanteuse, trepsing sunny Europe with cat, mat and a bag of tricks


(Full list and links to reviews here)


‘Cologne Vier Takes’ (2015)
“Assisted in her artistic efforts by the redoutable Yan Péchin and the exquisitely intense Allyson Ezell, Marianne Dissard proves, once more, that her talent works as well in the captured spell of live performance as it does in the studio.” (Blues Bunny/UK)
TOP 2015 Albums . “Another haunting knockout from Marianne Dissard […] There’s no other short album released this year that can compare with this.” (New York Music Daily/USA)
The Cat. Not Me’ (2014)
Top Albums 2014 (New York Music Daily/USA)
“Am Letzen” Top Songs 2014 (New York Music Daily/USA)
“Pairs ambitious musical leaps with greater emotional vulnerability […] bigger, stranger, wilder and artier than anything that’s come before […] Dissard’s most vibrant album yet.” (Tucson Weekly/USA)
“There are key changes going on here — thematically and sonically —that suggest The Cat. Not Me. is a quintessential transition LP” (Blurt Magazine/USA)
“Meticulous arrangements, wrenchingly emotional musicianship, and Dissard at the top of her uneasy game: an early contender for best album of 2014.” (New York Music Daily/USA)
“It’s her finest work. It’s the culmination of her ideas” (Off The Tracks/NZ)
“Her most successful album to date, luxurious in its sumptuousness, molasses of music poured over her provocative voice” (Blabber & Smoke/ UK)
“Complexity and, indeed, the courage to be different have always been the defining characteristic of Marianne Dissard’s music and “The Cat, Not Me” is the evidence of her maturity and, whilst by no means hard to like, she nonetheless demands so much more attention than many will be capable of giving.” (BluesBunny Review/UK)


‘L’Abandon’ (2012)
“Marvelous. An outstanding batch of songs, rich in the romance of French chanson and delivered in vibrant rock shades.” (Blurt/USA) – “Edith Piaf updated for a darker, hotter century. There literally isn’t a single substandard song here: count this among one of the best dark rock records in recent years.” (Lucid Culture/USA) – “Cliff-hanging liaison between Chanson and Rock. Complex and yet stringent, experimental and extravagant, dramatic and sexy” (Musikwoche/DE) – “Dramatic but never theatrical, forceful but never strident. Finally, perhaps, a female Nick Cave that we can actually believe in” (MetroMag’/New Zealand) – “A hell of a wild ride” (Sunday Star Times/New Zealand) – “This sophomore album is punk-meets-folk is gritty, energetic and, probably because of the husky French vocals, incredibly sexy” (New Zealand Herald/New Zealand) – “The erotic charm of French desert-chanson, the power of US-American indie rock and the obsession of jolly Mariachi-brass all fall into place to emerge as a vital mosaic” (Szene/DE) – “A voice, bearing the intensity of an Edith Piaf, a wild Rodeo of style and feelings” (Piranha/DE) – “Timeless creation” (Tagesspiegel/DE) – “A great production, in this year’s highlights” (Culturmag.de/DE) – “Watch out, pigeonholers: Francophile Pop can grind too.“ (Zitty/DE) – “Feverish songs, captivating pop anthems and touching ballads” (Schnüss/DE) – “A furious mix” (Kulturnews/DE) – “Shockingly sanguine” (Westzeit/DE) – “Simply very entertaining” (Sono) – “Provocative scenes that brand strong impressions into the imagination” (Bitch Magazine/USA)
 ‘Paris One Takes’ (2010)
“7/10″ (Pop Matters/USA)
“As urgent as Patti Smith, as indifferent as Nico, and as sexy as Nancy Sinatra.” (Blurt/USA)
“Definitely one of our favorite albums of 2010.” (Lucid Culture/USA)
Live Performances
“She’s just a damn good time.” (Seattle Weekly/USA)
“One of the most poignant and versatile live performers you could ever hope to stumble across. Whether she is crooning in the corner of a Tucson bar or fronting a five-piece collective, Dissard commands an audience unlike many others.” (Santa Barbara Independent/USA)
‘L’Entredeux’ (2008)
”Enchanting” (Now Toronto/CA) – “Fabulous. Stunning” (Ottawa Xpress/CA) – “Beautiful and coherent, understated and entrancing” (Blurt/USA) – “Very classy, but straightforward too. Hard to characterise, excellent” (Radio3.CBC/CA) – “Plumbs for the soul of both traditions and re-invents them both.” (Rochester City Newspaper/USA) – “Striking in its ability to seamlessly fuse styles that seemed previously to be wholly disparate” (Buffalo News/USA) – “Heart-melting debut” (Philadelphia Weekly/USA) – “The effect is magical” (Democrat & Chronicle/USA) – “An enchanting listen” (New Haven Advocate/USA) – “Something like ’70s import movie music. It is delightfully noncommercial and full of risks.” (San Diego Reader/USA) – “Pick of the Week: Her work has a lovely, mournful lilt, a sort of Parisian blues. Even those of us who don’t speak French cannot help but be touched by the stark beauty of her phrasing.” (LA Weekly/USA) – “Flush with bluesy overtones and a sultriness that doesn’t veer into lounge-cheese territory.” (Ottawa Citizen/CA) – “Seductive French lyrics, brooding ballads and a sultry, alternative jazz/neo-lounge vibe” (Washington Post/CA)