Donovan Mele & Perrino: Press

Évidemment, les victimes, leurs familles, les sauveteurs auraient à objecter sur l’effet de réel. Le disque de quatre plages consacré à l’événement par Janelle Donovan (en compagnie de Tony Perrino, Joe Mele et Tom Murphy)12 est ainsi au plus près du terrain. Cet enregistrement de circonstance (dont les recettes d’exploitation seront reversées aux fonds ouverts au profit des familles des pompiers de New York victimes des attentats) évoque la cendre chaude sur les vêtements et les cheveux, le sacrifice humain des sauveteurs, le travail sur les ruines. When ladder 5 come through the door propose le témoignage d’outre-tombe, par l’une des victimes, de la mort des onze firemen qui, désobéissant à l’ordre d’évacuation, ont tenté de sauver une femme assise sur un fauteuil roulant : « In shaking walls and crumbling glass / They stayed with me until the last / And the last thing I could clearly see / Was a fireman trying to cover me ». Monahan’s old blue truck évoque le retour de leurs compagnons vers les ruines dans un vieux pick up fourni par l’un des leurs, pour rechercher les disparus. Si à son tour, la musicienne se réfère aux couleurs du drapeau, ce n’est pas comme Keith dans l’exhibition d’un étendard guerrier. C’est le recours au premier emblème auquel se rallier, quand il ne reste que ruines et désolation : « Blue is the colour of loyalty / And blue is the colour they rode / Red is the blood from the hands that dug / And white buckets carried the load ». Dans ce monde de souffrance et rédemption, la musicienne égrène ces mots avec sa voix si caractéristique : suave quand elle est maintenue dans le registre medium, aigre dès la montée à l’aigu, rêche lorsque le haut de la tessiture est associé à un léger forçage de l’émission. Ce ralliement à la bannière (ou la Cloche du souvenir qui retentit onze fois) doit être pris comme le God bless America que les personnages entonnent spontanément dans les dernières images de The deer hunter (Cimino), dérisoire ciment communautaire lorsque tout se fissure. De quoi contredire Lorca, qui voyait en New York le symbole de l’absence de toute fraternité (« mundo de ríos quebrados y distancias inasibles »13).

Si Janelle Donovan dit l’ici et maintenant du drame, Bruce Springsteen, dans une perspective consolante et une élévation mythique, rejoindrait plutôt la manière d’un William Styron, y compris dans l’emphase, par sa tentative d’exorciser le mal14. L’image sacrificielle de la disparition (Into the fire : « The sky was falling and streaked with blood / I heard you calling me, then you disappeared into the dust / Up the stairs, into the fire »),Obviously, the victims, their families, the rescuers would have to object on the effect of reality.

English Translation (kind of...)

The disc of four songs devoted to the event by Janelle Donovan (in company of Tony Perrino, Joe Mele and Tom Murphy) 12 is thus closest to the ground. This recording of circumstance (of which the receipts of profit will be donated to the families of the firemen of New York victims of the attacks) evokes hot ash on clothing and the hair, the human sacrifice of the rescuers, work on the ruins. When ladder 5 as through the door proposes the testimony of in addition to-falls, by one of the victims, of died of the eleven firemen which, disobeying the order of evacuation, tried to save a woman sitting on a wheel chair: “In shaking walls and crumbling knell/They stayed with me until the last/And the last thing I could clearly see/Has fireman trying to cover me”. Monahan' S old blue truck evokes the return of their companions towards the ruins in an old man pick up provided by one as of their, to seek the missings. So in her turn, the musician refers to the colors of the flag, it is not like Keith in the exhibition of a warlike standard. It is the recourse to the first emblem to which to join, when there remain only ruins and desolation: “Blue is the colour off loyalty/And blue is the colour they grinds/Red is the blood from the hands that dug/And white buckets carried the load”. In this world of suffering and redemption, the musician shells these words with her so characteristic voice: suave when it is maintained in the register medium, sourness as of the rise with acute, rough when the top of tessiture is associated with a light forcing of the emission. This rallying with the banner (or the Bell of the memory which resounds eleven times) must be taken as God bless America which the characters spontaneously entonnent in the last images of The deer hunter (Cimino), ridiculous Community cement when all fissures. What to contradict Lorca, which saw in New York the symbol of the absence of any fraternity (“mundo of ríos quebrados there distancias inasibles” 13). If Janelle Donovan says here and maintaining drama, Bruce Springsteen, in a comforting prospect and a mythical rise, would rather join the manner of a William Styron, including in the emphase, by its attempt to exorcize the mal14. The sacrificial image of disappearance (Into the fire: “The sky was falling and streaked with blood/I heard you calling me, then you disappeared into the dust/Up the stairs, into the fire”),