(ENG)

(Full list and links to reviews here)
‘Cibola Gold: Best Of 2008-2015’ (2016)
“Of all the cross-cultural, cross-genre musical experiments of recent years, one of the most intriguing is French singer Marianne Dissard’s inspired marriage of French chanson with American indie bands from Tucson, Arizona. Unlikely as that combination may sound, the reality is that between 2008 and 2014, Dissard (who lived in Tucson for twenty years) recorded four albums featuring collaborations with some of Tucson’s finest, including members of Calexico, Giant Sand, and XIXA. – Cibola Gold (Cibola being the legendary cities rumoured to be located somewhere in the American southwest) brings together thirteen tracks from those albums, plus a more recent one recorded with French guitarist Yan Pechin, and singer Allyson Ezell, on a contradictory collection that isn’t exactly chanson and isn’t exactly indie and yet it’s both of those things, and then some. – Sung largely in French, this is an album that’s by turns serious, humorous, strident, gentle and, above all, absolutely unique, as songs like ‘It’s Love’ prove. A deft marriage that brings two seemingly disparate musical forms together and, through some inexplicably strange alchemy, turns them into something else, something that’s hard to describe but something that’s pretty wonderful nevertheless” – Dave Haslam (R2 Magazine/UK)
“Without a dud song on the album, ‘Cibola Gold’ really is the perfect taster for those yet to discover Marianne’s music.” (Penny Black Music/UK)
“The album is an excellent entree into the weird and wonderful world of Ms. Dissard, a dizzying potpourri of sensual frissons seasoned with some wonderful music. The package itself is worth delving into. Packed full of pictures , tributes, poems and snippets of correspondence from the Tucson days it gives a measure of Dissard’s time there.” (Blabber & Smoke/UK)
“From an oldschool media perspective, albums of previously released material aren’t typically included among critics’ picks of the year’s best releases, but if there’s any one that deserves to be an exception, this is it.” (New York Music Daily/US)
“Ever the anachronism, Marianne Dissard gives us a compilation album this time around. […] An enigma? A chanteuse? Marianne Dissard is all that and more.” (Blues Bunny/UK)
‘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)

French chanteuse of American noir, aka desert chanson, left her home in Tucson, Arizona for a boat in Europe. Book is coming soon. More music too.