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| Elena Alice Fossi, SPECTRA*Paris -- Agent Jane |
The sound of footsteps that at first have a laissez-faire
pace soon quicken with a sense of urgency before melting into the opening notes
of “License to Kill” as Elena Alice Fossi takes aim and hits the mark with a
popping noir electro-rock number. With lyrics, Drowning in red water / I
must speak to agent Bond! / Creeping the dark path, Fossi thus begins a spy filled journey on the second album by
SPECTRA*Paris. Of course Fossi is no stranger to taking lead vocals: many
listeners of electronic darkwave will likely recognize her name associated with
the Italian band, Kirlian Camera, founded in 1980 by Angelo Bergamini. Fossi
joined Kirlian Camera in 1999 as lead singer, and in the intervening years
since, she has focused on a variety of side projects.
In 2006 while Fossi was working on a third album for her
side project Siderartica, she found that the direction she was exploring didn’t
fit with the project. At that point, she founded SPECTRA*Paris as a “rock band filled
with love for aesthetics, fun and drama! Crime, spy stories, fashion and sex at
the Opera house!!!” (Original Sin Fanzine Blog Interview, May 2010). In
addition, Fossi outfitted S*P with all female musicians, a rarity in the sea of
all male bands that populate the industry at large. And in the following year,
“Dead Models Society (Young Ladies Homicide Club)” was released through the
Trisol label. In her first album, she referenced Hitchcock’s Vertigo and Carol Reed’s The Third Man, and Fossi did a cover of Tears for Fear “Mad World”
from the cult film Donnie Darko.
References to and blending popular culture would be a recurring theme for Fossi
on her second album.
“License to Kill” started taking shape in 2009. Again, Fossi
turned to cinema for inspiration and continued to explore the themes of her
first album. This time she crossed Brian De Palma’s musical Phantom of the
Paradise, released in 1974, with the spy
genre, and who else better represents the genre than James Bond. “In a few
words, charming agent 007 will have to investigate on a disquieting facts
having Swann – unquestioned boss of the Death Records – as a main and surely
weird character” (SPECTRA*Paris MySpace exclusive interview, July 1,
2009). She used the combination of genres, in this case opera house musical and
spy, to convey the injustice and difficulties facing bands today in the music
industry (Black Magazine Interview, December 2010). Fossi incorporates Swan,
the villain from De Palma’s movie, and makes several references to James Bond,
by name and nods to some of the Bond movies. Fossi professes to taking all of
what she watches, making “a massacre of all that useless trash I’ve seen, going
to select just a few frames from several movies” (PeekaBoo Interview, April 15,
2011) in order to create her own movie via her albums.
Taking a look at the various glamour photos of the S*P band,
one can readily see their homage to the spy genre. Lean, beautiful lethal
bodies in high heeled leather boots and black trench coats, or much less,
toting “hand” guns, these ladies represent the sexy equivalent of James Bond.
Fossi admits that music isn’t her muse as much as the written and visual forms
of popular culture around her (PeekaBoo Interview, April 15, 2011). However, along
with the visual iconography, lyrics play an important part to the visual
representation that Fossi creates. She describes her “store of thoughts and
ideas is a like a TV screen whereas characters, colours and settings are taking
place. That’s just the reason why I’m used to attaching great importance to
lyrics, even though I couldn’t be under the illusion that I’m succeeding in
expressing all that I would like in 5 minute music per song.” (Frank Bentert from Bodystyler Magazine, May 2011).
“License to Kill” is comprised of ten tracks, two of which
are instrumentals, which describes the story of the conniving Death Records
owner by the name of Swan. Will Swan’s empire be toppled?
Track 01 License to Kill
This track could be seen as the prelude to the entire album,
setting the stage of the lies and deceit that exist. Fossi sings about looking
for salvation from drowning and believes that death of another will cleanse
her. She seeks out Agent Bond for help. Many references are made to murder and
various weapons – gun, knife, hands, stinging needles – in this electro-rock
song. The strength of the music and Fossi’s vocals lends itself to being in the
company of many of the more recent Bond theme songs by contemporary pop/rock
artists. Whereas Bond has his iconic gun barrel sequence, S*P has the theatre
stage. As the song fades, one can almost hear the sweep of the heavy velvet
curtain swooshing back as a spotlight begins to illuminate center stage.
Track 02 A Clockwork London
Fossi continues the electro-rock tempo as she dips into a
darker driven beat with help of electric guitars. The theme shifts from murder
to the concept of death and the disposition of one’s soul. Our singer could be
dying but who would know when the stage façade is an illusion: Here no one knows
me, my bloody hands / I could look as a pretty girl! Fossi says she is living for her dreams however the consequences are
high. There are no references to Bond or spies in general; instead, the musical
aspect, in this case the stage performance is central. It sets up the conflict
that needs to be resolved.
Track 03 007 Gold
Movie samplings of a conversation between police dispatch
and a patrol unit that cuts off abruptly with the line “She’s got a gun!”
introduces another electro-rock song with synthpop elements that give way to
more industrial sounding electric guitars. This song returns to the spy aspect
of the story, setting up a relationship between spy and musical references that
alternate back and forth between the tracks. Bond is referred to by film titles
such as “GoldenEye” and “License to Kill” as well as the truncated title “From
Russia”. The spy seems to be on a stake out while Fossi finds strength to
fight: My shiva golden eye / Got fever like a fire / See people throwing
dice / My shiva golden eye / And now I’m about to [shoot] him dead.
Track 04 Movie Ghouls
Returning to the theatre, the pace slows to a synthpop
ballad. The lyrics become more emotional and personally symbolic for Fossi.
Here tale seems to have the power to turn people to stone, or from the keys of
undisclosed spells she now possesses. She has the power; our spy is nowhere to
be found in this track.
Track 05 Aston Martin DBS
This is the first of two instrumentals offered by Fossi. It
revs the beat back up like the passing seconds of a clock. Just as the song
hits its groove, it is over. It’s only 72 seconds long, which is unfortunate
since it is a sporty rhythm that is very catchy. The Bond reference is of
course in the title.
Track 06 Carrie Satan
The ticking beat carries over into this darkish synthpop
song. The lyrics reveal bad things are closing in on Fossi yet she believes she
will prevail in spite of the hardships and criticisms that surround her.
Track 07 Death Records
Here’s where Fossi gets to the heart of the problem: Swan,
as owner of Death Records, masterminds the exploitation of her musical talents
and profitability. She plays with her vocals, twisting and sharpening her voice
with the accompaniment of harsh determined electric guitars. At moments, her voice
becomes sorrowful and soul searching in its mood. Bond appears and faces Swan
as Fossi’s anger swells against Swan and his lies. On stage, the fame and
fortune (for Swan anyway) is touted. There is fear in Bond’s presence but he
doesn’t seem to exact justice or resolution: No suspect comes out / Just
lights on the stage … Their eyes full of fear.
Track 08 Lost Highway Voices
Fossi returns to a ballad’s pace, her voice wavering and
breathlessly whispering the lyrics as she realizes there is no going back, only
forward. Perhaps to a better place: And words to light the creepy skies /
And rain to clean sweet cheering lies / Across the beauty that remains. All her barriers have been broken, but Fossi is
hopeful. Our agent appears for the last time.
Track 09 S.I.S. Soundtrack
The second instrumental accompanied by some supporting
metallic sounding vocals compliment the 95 second track. It is reminiscent of
Kraftwerk returning to the more electro-rock tone. The song incorporates a
guitar drilling out the melody with a synthpop wailing that drives the beat
along to an all too short song that seems to tease the listener towards the
finale.
Track 10 Phantom Theme (Beauty and the Beast)
Fossi covers the 1974 Paul Williams song (same title) that
was featured in De Palma’s movie. It is the climatic moment in which both sides
– good and evil – assemble and are reconciled within Fossi herself, a new self.
Resolution is unclear: Like a circus on parade / Seldom close enough to see
/ I wander through an angry crowd / And wonder what became of me. The original Williams song was over eight minutes
long (Paul William's Phantom of the Paradise Original Soundtrack, Youtube) but Fossi chose to
cover the last half of the song. The track and lyrics compliment Fossi’s vocal
range and style. This may be the best song on the album to showcase her vocal
prowess, and I would say, it rivals her cover of “Mad World” (a track from
S*P’s first album).
“License to Kill” is a fascinating melting pot of cultural
references to De Palma’s Phantom of the Paradise, James Bond and the spy genre while critcizing the nefarious dealings
that plague the music business industry. The songs are edgy, chaotic and dark.
The Bond references, particularly in the first track, are easily comparable
with our famous British agent, while many of the other tracks limit to flirting
with spy references. Visually, Fossi and her band don the secret agent persona
of black trench coats or skimpy outfits of Bond girls. They even are seen
poising with a red sports car in some photos. A third album was released by the
group – a Christmas album in 2010 and features some of the same tracks from the
second. Fossi has not indicated what’s next for the group, but hopefully,
she’ll consider a fourth outing with our intrepid spy at some point in the near
future.
All photos are from Kirlian Camera and SPECTRA*Paris websites.
All photos are from Kirlian Camera and SPECTRA*Paris websites.
