Tiersen has been honing his musical aesthetic since he could stand on two legs. He started learning piano at the age of four, taking up violin at the age of six and receiving classical training at musical academies in Rennes, Nantes and Boulogne. Then, at the age of 13, he chose to alter his destiny, breaking his violin into pieces, buying a guitar and forming a rock band.
Yann Tiersen has collaborated with vocal artists like Claire Pichet ("Le phare" and "Rue des cascades"), Elizabeth Fraser ("Les retrouvailles") and Shannon Wright ("Yann Tiersen and Shannon Wright"). Other musicians he has worked with include The Divine Comedy, Noir Désir, Dominique A., Francoiz Breut, Les Têtes Raides, The Married Monk and Sage Francis
Tiersen got a musical education from the city of Rennes' annual Transmusicales festival, seeing acts like Nirvana, Einstürzende Neubaten, Nick Cave and The Bad Seeds, The Cramps, Television and Suicide. When his band broke up a few years later, instead of hunting for some new musicians, he bought a cheap mixing desk, an eight-track reel, and started recording music solo with a synth, sampler and drum machine, poring over the grooves of old records on the hunt for loops and orchestral strings to plunder.
As it turned out, though, the key to his new approach lay in his own past. "One day I thought, instead of spending days on research and listening to tons of records to find the nearest sound of what I have in mind, why don't I fix this fucking violin and use it?" Through the summer of 1993, Tiersen stayed in his apartment, recording music alone with guitar, violin and accordion, guided not by the classical canon, but by intuition and his vision of "a musical anarchy".
By the end of the summer of 1993, Tiersen had recorded over 40 tracks, which would form the bulk of his first two albums. 1995's La Valse Des Monstres, inspired by Tod Browning's Freaks and Yukio Mishima's The Damask Drum was the second album to be released on Nancy-based label Ici, d'ailleurs. It would be followed six months later by Rue Des Cascades, a collection of short pieces recorded with toy piano, harpsichord, violin, accordion and mandolin. Six years later, the record would find a much larger audience when several tracks, along with a couple of Tiersen originals, would be used on the soundtrack to Jean-Pierre Jeunet's film Amelie (2001).
Tiersen's commercial breakthrough would come earlier, though, and off his own back. 1998's Le Phare (The Light House) was recorded in self-imposed seclusion on the isle of Ouessant, where Tiersen spent two months living in a rented house. At night, he watched the Creach'h, the most powerful lighthouse in Europe, as it illuminated the surrounding scenery. "I was amazed how the rays of lights from the lighthouse revealed some hidden details of the land, how we can rediscover something we have everyday, just in front of us, by a light pointing on it," says Tiersen.
Le Phare went on to sell over 160,000 copies, confirming Tiersen's status as one of the most pioneering and original artists of his generation and commencing a run of successful albums like 2001's L'Absente (featuring orchestral group Synaxis, Lisa Germano and the Divine Comedy's Neil Hannon) and 2005's Les Retrouvailles (with guests Stuart Staples of Tindersticks, Jane Birkin and Elizabeth Fraser of Cocteau Twins). In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet – a set-up captured on 2002's electrifying live album C'etait ici. And following the box-office success of Amelie, Tiersen's skills as a soundtracker were much in demand, leading to scores for the likes of Wolfgang Becker's tragicomedy Good Bye Lenin! (2003) and Tabarly (2008), a documentary about the French sailor Éric Tabarly, who ate his final meal on Ouessant Island before he meeting a watery end in the Irish sea.
Discography:
La valse des monstres (1995)
Rue des cascades (1996)
Le phare (1998)
Tout est calme (1999)
Black session (1999, radio concert)
L'absente (2001)
Le fabuleux destin d'Amélie Poulain (2001, Soundtrack)
C'était ici (2002, Live and Best Of)
Good Bye Lenin! (2003, Soundtrack)
Yann Tiersen and Shannon Wright (2004)
Les Retrouvailles (2005)
On Tour (2006, Live)
Tabarly (2008)
Dust Lane (2010)
Palestine
Yann Tiersen Lyrics
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The song "Palestine" by Yann Tiersen only consists of the repeated chanting of the word "Palestine" in a haunting and mournful manner. The lack of lyrics makes it difficult to attribute a specific meaning to the song, but it is likely that the repetitive nature of the song represents the repetitive cycle of violence and conflict that has been ongoing in Palestine for decades. The haunting melody of the song, played on a piano and accented by strings and chimes, captures the sadness and despair often associated with the situation in Palestine.
The song might also be seen as a call to action, in which Tiersen wants the world to pay attention to the ongoing human rights violations in Palestine. The consistent repetition of the word "Palestine" might also represent the constant struggle for a place that Palestine has been fighting for. Overall, while the song may appear simple and lacking in substance, the emotions and frustrations behind it make it a powerful symbol of the ongoing struggles in Palestine.
Line by Line Meaning
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The repetition of the word 'Palestine' serves to emphasize the importance of the topic and the ongoing conflict in the region.
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There are no lyrics in this section of the song, leaving room for personal interpretation and reflection on the topic at hand.
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Repeating the word 'Palestine' once again reminds us of its significance.
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The use of only instrumental music allows the listener to focus solely on the emotions conveyed by the melody.
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The repetition serves as a persistent reminder of the ongoing struggles faced by the Palestinian people.
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The somber tone of the music reflects the serious and often tragic nature of the conflict in Palestine.
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By repeating the word yet again, Tiersen emphasizes the need for continued attention and action towards resolving the conflict.
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As with the earlier instrumental section, this part of the song allows for introspection and personal reflection on the topic of Palestine.
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The final repetition of the word serves as a poignant conclusion to the song, leaving the listener with a solemn reminder of the ongoing struggles and need for resolution in Palestine.
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The song ends with a final repetition of the word, leaving a lasting impression on the listener and emphasizing the importance of continued attention towards the conflict in Palestine.
P. A. L. E. S. T. I. N. E.
The final repetition of the word serves as a poignant conclusion to the song, leaving the listener with a solemn reminder of the ongoing struggles and need for resolution in Palestine.
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The last repetition of the word stands as a forceful reminder of the ongoing conflict in Palestine and the need for continued attention and action towards resolving it.
Contributed by Dominic C. Suggest a correction in the comments below.
@thedukeofdorks6001
I still remember that 1 vid yann did with a few guys in a car playing music.
Yann your music is magical and I have been a fan since I was 15 and first saw Amelie. Since then I dove into many of your albums and always come back wanting more. You are amazing.
For some reason this song makes me very sad so thank you for giving me a reason to let it all out. Sometimes I forget to feel sad and bottle it up. Songs like this help me get out all the gunk in my soul.
@eypkel3165
After following the awful news for over two weeks I wanted to come back here to this masterpiece and hopefully one day we will be able to see peace in Palestine like the way of Yann is having while performing the art. Viva Palestine
@LukeFaulkner
My dude is one of the most successful composers in the world and just sits on some grass in a baggy jumper vamping away on his electro-magic machine with no wind-shield on the mic. Legend.
@antonioromo9965
I agree 100%, Luke!
@LukeFaulkner
@@antonioromo9965 Hey Antonio!
@psycorunners
I mean, how else would you sit in some grass in some baggy jumper while vamping away on your electro-magic machine?
Obviously with no wind-shield on the mic. That's how it's done.
@knightofdereth
Hahah awesome description of the scene! Long live Yann!
@oldbushie
I think it sounds more beautiful with the wind. :)
@GaryWattsWorks
Beautiful piece of music.
I once went to see him in concert in the Metro Detroit area in a "not so safe" neighborhood. I got there way early, and went to get a coffee. His entire band was in the diner, and on the way back, I saw Yann, sitting on the ground against a light pole, playing his accordion. Talk about surreal!
@seanrimada8571
Cool story
@GaryWattsWorks
@@seanrimada8571 Yes, it was something one never forgets! Lol - I felt sorry for his band; eating at that diner! lol