And yet like other sound artists cast in the same mould (from François de Roubaix to Pascal Comelade or even Ennio Morricone), René Aubry has settled into our musical world.
As a young man, he developed a passion for the guitar but was more attracted to the soft arpeggios of Leonard Cohen than the biting riffs of Led Zeppelin.
Together with his brother, he set out to work “in the footsteps of Catherine Ribeiro and François Béranger”.
However, it was his encounter with Carolyn Carlson that propelled him along a less crowded path. René Aubry became “a composer of ballet music”, while at the same time making it a point of honour to produce albums for the pure pleasure of listening to music.
As a composer, player of numerous instruments, and his own sound engineer, René Aubry works alone on his albums, blending classical harmonies with modern instrumentation, samples of voices or violins “taken from Beethoven, Stravinsky or Puccini”. Archivists tear their hair out in despair because his work has a place on all the record shops shelves: classical, ballet, new age, new music, rock, French variety, and world music.
The urge to appear on stage came to him later and despite himself. In the early nineties, when the organisers of the “Festival of Possible Music”, Time Zone, in Bari, Italy, asked him to give a concert, he initially refused. However, after much persuasion, he eventually gave in “after nearly three years of discussions over the telephone!” In 1994, he finally shared the festival’s line-up with Philip Glass, Nusrat Fateh Ali Khan and David Byrne. Not bad for a baptism of fire!
In 1997, he composed Signes, a ballet by Carolyn Carlson, with the première held at the Opera Bastille, winning an award at the "Victoires de la Musique Classique et du Jazz" in 1998.
His albums Plaisirs d’amour and Invités sur la Terre were the starting point for a return to more acoustic compositions as a result of his determination to continue his stage experience. The timid tinker, who handled his musical craft on his own, learned how to make instrumentalists work on his music and, above all, to appreciate contacts with the public. He performed one concert after another, travelling all over Europe with his septet.
And as soon as he seemed to have settled into this “system”, this unpredictable artist, with his love of freedom, again astonished everybody with Seuls au Monde, a sombre and electric record marked by the 11th of September. In this record, he went back to his programming and tinkering to share with us his alarmist but lucid view of our world.
His Projection Privée, a fantasy centred on San-Antonio, the famous character of Frédéric Dard, was released in 2004 and included the original soundtrack of the film Malabar Princess.
Allow yourself, today, to be tempted by the new Opus of René Aubry, whose liberated career is a reminder that this atypical artist, constantly acclaimed by a local public, deserves more than ever to be celebrated!
In reality, Memoires du futur is an album with ethereal overtones, a timeless work, punctuated by songs, including Viendras-tu avec moi?, a highly influential title that is breathtaking and out-of-the-ordinary, like its performer.
Non ti amo piu
René Aubry Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
C'e sempre una cansone (ohohoh ahahah)
Un profumo de passsato
Una lacrima sul viso (ohohoh ahahah)
non ti amo piu
non ti amo piu
non ti amo piu
je ne t'aime plus
Apettano le memore (ohohoh ahahah)
Ancora tu
Ancore tu si sfumano le parole (ohohoh ahahah)
non ti amo piu
non ti amo piu
non ti amo piu
je ne t'aime plus x2
Cuando ti voglio pensare
c'e sempre una canson (ohohoh ahahah)
un' arbero dentro il mare
un'isola sul mio cuore (ohohoh ahahah)
non ti amo piu
non ti amo piu
non ti amo piu
je ne t'aime plus x2
The song, "Non ti amo piu" by René Aubry, is a poignant representation of a once-loving relationship that has come to an end. The Italian and French lyrics speak of a time when the singer would think of their beloved and be reminded of a song, a scent, and even shed a tear at the memories. However, now there is a deep feeling of loss, and the pivotal point of the song is when the repeated lines "Non ti amo piu" and "Je ne t'aime plus" are sung, which means "I don't love you anymore" in Italian and French, respectively.
The imagery in the song is quite powerful. The reference to Venice, with its fog and memories waiting to be discovered, is a beautiful way of describing the past. The idea that the words between the singer and their lover have "faded away" or "disappeared" is another illustration of the loss they feel. The trees in the sea and the island on their heart are evocative descriptions of how love can feel like something out of reach, impossible to grasp. The song ends with what may be perceived as a painful realization that the love once felt is no longer there and may never be regained.
The song ultimately captures the complex emotions that come with the end of a relationship, with its lyrics and melody blending together to create a sense of sorrow and wistfulness.
Line by Line Meaning
Cuando ti voglio pensare
When I want to think of you
C'e sempre una cansone (ohohoh ahahah)
There's always a song (ohohoh ahahah)
Un profumo de passsato
A scent of the past
Una lacrima sul viso (ohohoh ahahah)
A tear on my face (ohohoh ahahah)
non ti amo piu
I don't love you anymore
je ne t'aime plus
I don't love you anymore (French)
Nella nevia di Venezia
In the snow of Venice
Apettano le memore (ohohoh ahahah)
Memories are waiting (ohohoh ahahah)
Ancora tu
Still you
Ancore tu si sfumano le parole (ohohoh ahahah)
Yet the words fade away (ohohoh ahahah)
un' arbero dentro il mare
A tree in the sea
un'isola sul mio cuore (ohohoh ahahah)
An island on my heart (ohohoh ahahah)
Contributed by Sadie O. Suggest a correction in the comments below.