(ENG)

On L’ABANDON :

“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, NYC) – “Cliff-hanging liaison between Chanson and Rock. Complex and yet stringent, experimental and extravagant, dramatic and sexy” (Musikwoche) – “Dramatic but never theatrical, forceful but never strident. Finally, perhaps, a female Nick Cave that we can actually believe in” (MetroMag’, Auckland) – “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) – “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, Hamburg) – “A voice, bearing the intensity of an Edith Piaf, a wild Rodeo of style and feelings” (Piranha) – “Timeless creation” (Tagesspiegel) – “A great production, in this year’s highlights” (Culturmag.de) – “Watch out, pigeonholers: Francophile Pop can grind too.“ (Zitty) – “Feverish songs, captivating pop anthems and touching ballads” (Schnüss, Bonn) – “A furious mix” (Kulturnews) – “Shockingly sanguine” (Westzeit) - “Simply very entertaining” (Sono) – “Provocative scenes that brand strong impressions into the imagination” (Bitch Magazine, USA)

“On the second album of the Tucson, AZ French singer, she succeeds in creating a cliff-hanging liaison between Chanson and Rock enriched by elements taken from Jazz and Rhythm & Blues. The songs written by Marianne Dissard in collaboration with the Italian composer Christian Ravaglioli are complex and yet stringent, experimental and extravagant, dramatic and sexy.” (Musikwoche)

“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… Spectacularly, within the album, an artist finds herself. (Szene Hamburg)

“… a voice, bearing the intensity of an Edith Piaf … a wild Rodeo of style and feelings, hitting the bull’s eye of freedom and the loss within.” (Piranha)

“…. a timeless creation of French poetry, folk, ragtime and indie rock… harmonies as thorny as a cactus pear, melodies like merciful raindrops falling on the audience.” (Tagesspiegel)

“A great production, by now to be noted in this year’s highlights.” (Culturmag.de)

“Watch out, pigeonholers: Francophile Pop can grind too.“ (Zitty)

“… feverish songs, captivating pop anthems and touching ballads…” (Schnüss Bonn)

“… French poetry married to temperate American rock.” (Kölner Stadt-Anzeiger)

“A furious mix of texmex and chanson” (Kulturnews)

“’L'Abandon’… effortlessly reunites apparent opposites such as anger and joie de vivre, sarcasm and affection, easy buoyancy and emotional strain and in doing it sounds shockingly sanguine” (Westzeit)

“The composer Christian Ravaglioli has the right touch for catchy melodies, perfectly suiting Dissard’s warm contralto timbre. Dissard might still be undergoing some sort of catharsis and probably there lies still lies some hurt in it – but for the listener it is simply very entertaining” (Sono)

“a collection of provocative scenes that brand strong impressions into the imagination.” (Bitch Magazine)

“The French-born artist … has now succeeded under her own auspice in creating an alignment of songs who live up the tradition of Desert Chanson, created by her” (Aachener Zeitung)

on 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

On L’ENTREDEUX

”Enchanting” (Now Toronto) – “Fabulous. Stunning” (Ottawa Xpress) – “Beautiful and coherent, understated and entrancing” (Blurt) – “Very classy, but straightforward too. Hard to characterise, excellent” (Radio3.CBC) – “Clearly, Dissard isn’t pandering to anyone’s yen for exoticism. Instead, she plumbs for the soul of both traditions and re-invents them both.” (Rochester City Newspaper) – “Striking in its ability to seamlessly fuse styles that seemed previously to be wholly disparate” (Buffalo News) – “Heart-melting debut” (Philadelphia Weekly) - “The effect is magical” (Democrat&Chronicle) – “An enchanting listen” (New Haven Advocate) – “Something like ’70s import movie music. It is delightfully noncommercial and full of risks.” (San Diego Reader) – “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) – “Flush with bluesy overtones and a sultriness that doesn’t veer into lounge-cheese territory.” (Ottawa Citizen) – “Seductive French lyrics, brooding ballads and a sultry, alternative jazz/neo-lounge vibe” (Washington Post)

”Enchanting” Now Toronto/Canada

“Fabulous. Stunning.” Ottawa Xpress/Canada

“Beautiful and coherent, understated and entrancing” Blurt Magazine/USA “

“Stunning Frenchwoman despite years of living in Tucson, she had great songs, a fine voice and excellent delivery. Very classy, but straightforward too. Hard to characterise, excellent” Radio3.CBC/Canada “

“Weds the cabaret/chanson tradition with Americana. Where such a mix could easily have come across as contrived in someone else’s hands, Dissard makes both forms sound like they were meant for each other. French may be the language of love, but the emotional punch of the music comes from Dissard’s delivery. So natural is her approach, in fact, that after a short time her French lyrics don’t sound novel or even foreign at all. Clearly, Dissard isn’t pandering to anyone’s yen for exoticism. Instead, she plumbs for the soul of both traditions and re-invents them both.” Rochester City Newspaper/USA

“Unusual mixture of French and American Southwestern influences” Tribune Montréal/Canada “

Striking in its ability to seamlessly fuse styles that seemed previously to be wholly disparate” Buffalo News/USA

“Her stage performances are a seductive mingling of catchy melodies, with her deep, raspy voice emanating a haunting sense of longing.” Art Voice Buffalo/USA

“Heart-melting debut that beautifully melds Southwestern noir with the husky, unequivocal whisper of chanson. An intimate and amorous album. What sets Dissard apart from the rest of the chanteuses riding the Francophile wave is her delivery—subtle, slightly spitty and the most effective aphrodisiac since Benjamin Biolay’s Trash Yéyé.” Philadelphia Weekly/USA “

“A fair presence, a true-to-form throaty alto, and enchanting French lyrics.Marianne’s vocals have been called breathless, but that makes her out to be a lo-fi chanteuse a la premiere dame. I’d say she sounds more like a scaled downTetes Raides. Think of a female performer who embraces the poetry of Leonard Cohen and the litheness of a panther – that’s Marianne Dissard. Live, she performs with an abandon that compliments Calexico’s technique – not AIDS WOLF, try Ida Maria.” Toronto Blog/Canada “

“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

“There is little to say here; if you don’t fall in love with her from the moment she says hello, then you will have done by the time she finishes the first line of her first song, and if you’re not melting by then, you have a swinging brick instead of a soul. The same kind of ache you get from Lambchop or Alice by Tom Waits- yet sounding like neither of them.” Mitch & Murray/UK

“Polished and thoughtful, French and sultry, smoky, beautiful and sad.” Tucson Weekly/USA “

“Flush with bluesy overtones and a sultriness that doesn’t veer into lounge-cheese territory.” Ottawa Citizen/Canada

“Seductive French lyrics, brooding ballads and a sultry, alternative jazz/neo-lounge vibe. Washington Post/USA