Mi And L'au
Mi And L'au
Label ©  Young God
Release Year  2005
Length  45:09
Genre  Freak Folk
Personal Star Rating [1-5]  
  Ref#  M-0147
Bitrate  192 Kbps
    Track Listing:
      They Marry  
      I've Been Watching You  
      Merry Go Round  
      A Word In Your Belly  
      Christmas Soul  
      New Born Child  
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      Review by Greg Prato

      You can't get much more sparse than the self-titled debut full-length by the French/Finnish duo, Mi & l'Au. But there's good reason for the lack of instrumentation. It turns out that Mi (a model, who represents the French equation) and l'Au (a former music-industry employee, who represents the Finnish equation) live together in a small cabin, in an isolated part of Finland. It was their surroundings that influenced their music, which is usually comprised solely of voice (both split lead vocal duties), acoustic guitar, and a very modest bit or two of additional instrumentation. Interestingly, although the recordings were created in the aforementioned cabin, overdubs were done at a locale that is probably the furthest removed from isolation you can get -- the busy streets of Brooklyn, New York. With all the songs following the same sonic recipe, the 14-track album is best experienced in one sitting -- from front to back -- rather than individual selections. That said, the merger of Mi's voice and orchestral flourishes certainly make tracks like "Older" stand out. If you're looking for music to put you in a mellow mood, Mi and l'Au would be a perfect selection.

      Mi and L'au
      Mi and L'au
      [Young God; 2005]
      Rating: 7.3
      The backstory behind the charming debut album from European duo Mi and L'au almost reads like something out of a Hans Christian Andersen folktale: two restless, kindred spirits meet and fall in love in Paris, then move to a cabin in the remote Finnish forest to write and record their deeply intimate music in utter seclusion. And while for some albums such a quaint and colorful narrative might seem an incidental talking point, in the case of Mi and L'au it becomes an essential descriptive, as it's nearly impossible to imagine this delicate, wintry music being made under any other circumstance.

      Matching the couple's hushed vocals with acoustic guitars and minimal, deceptively sophisticated arrangements, Mi and L'au create music that bears only tangential relation to traditional folk, seeming instead to be their own enchanted form of stripped-down, hermetic cabaret-pop. Sung entirely in English, their songs do sound considerably less alien and otherworldly than Finnish psych-folk counterparts like Islaja, Lau Nau, or others from the extended Fonal label roster. The album's relative accessibility can perhaps be traced to guest contributions from members of Akron/Family and Antony compatriot Julia Kent which were overdubbed and mixed in Brooklyn. Yet despite these outward flourishes, Mi and L'au carries the distinct air of a work constructed almost entirely in private, seemingly intended for no further audience than the snow-topped fir trees eavesdropping through the windows.

      Quietly plucked strings, woodwinds, and bells help give the opening processional "They Marry" a gently off-kilter carnival sway, with Mi's willowy vocals delivered in an ear-nibbling, Bardot-like whisper. "Fold your hands around me," she repeatedly coos and the music promptly obliges, enveloping her voice in cozy wisps of chimney-smoke. The chiming "Philosopher" sounds as though it were composed in accordance with a vintage grandfather clock. Here L'au joins Mi on effortless vocal harmonies before taking the lead himself on the austere "I've Been Watching You", a track whose lucid, plain-spoken lyricism fondly recalls Leonard Cohen's Songs From a Room.

      Given the inherent, rustic simplicity of the duo's equipment and production (as well as Mi's rather limited vocal range) it is perhaps inevitable that over the course of these 14 songs a certain placid uniformity begins to afflict tracks like the uneventful "New Born Child" or the calliope-winding-down "Merry Go Round". Much richer and more effective are tracks like "Older" or "A Word in Your Belly", both of which feature exquisite, understated string arrangements similar to those producer Joe Boyd helped score for performers like Nick Drake or Vashti Bunyan. These orchestrations reach an apex on the set-closing "Study", which pairs a diffuse symphonic swell with what sounds like a mad scientist's bubbling test tubes, as Mi softly wonders "What's to come of tomorrow'" And as their captivating debut proves the great distances Mi and L'au are willing to go for their music, the possible answers to this album's final question appear to be virtually limitless.

      -Matthew Murphy, April 11, 2006
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