Bernardino Femminielli - L'╔xil
(c) 2020 ╔ditions Appµrent
Artist....: Bernardino Femminielli
Album.....: L'╔xil
Source....: WEB/MP3
Tracks....: 4
Genre.....: Electronic
Label.....: ╔ditions Appµrent
Encoder...: LAME 3.100
Quality...: 320 kbps / 441kHz / Joint Stereo
URL.......: http://www.deezer.com/us/album/156770342
Tracklist:
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1. French Exit 12:15
2. L'amour Avec Moi 6:31
3. L'exil 16:32
4. La Ballade de Daddy & Johnny 3:44
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39:02
Total:94.33 MB / 39:02
Release Notes:
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Bernardino Femminielli is proud to present his first 2020 LP LÆExil. The album
is composed of lost Plaisirs AmΘricains sessions recorded in MontrΘal, Quebec.
Lyrics were written and recorded in Paris and Berlin in 2019 and mixed again in
MontrΘal in early 2020 by producer Dominic Vanchesteing (Plaisirs AmΘricains,
Double Invitation).
LÆExil, the album, the performance, the satire, took shape after the notorious
arrest of Bernardino Femminielli by American border authorities during a US tour
in 2018. Instantly, the American Pleasures, the American dream became obsolete,
irrelevant, of the past. The showman and his anguished wife decide to abandon
their failing restaurant, their debts and their meagre North American livelihood
to wander the old continent in search of a fresh start.
LÆExil is an paradoxical anthem for the unsuccessful. An elegiac and lyrical
autofiction in the form of a concept album. A satire of show business, a tribute
to societyÆs outcasts and heroesù a story which tells of the financial, artistic
and spiritual failure of the exiled American showman (Femminielli). We learn
early that the showman has a desire to symbolize the contradictions of life. We
learn that the showman is affected by a multitude of dissociative identity
disorders. A visit of an angel named ôJohnnyö seems to make him believe in the
existence of his double, who sadly does not come seeking camaraderie, but with
malicious intentions. He's the employee, the boyfriend, the slave. The showman
loves his wife because she looks like the showman. Johnny and the wife have
become products of his tormented world. Spiritual and psychological cannibalism
is rife, and all will be complicit in the showmanÆs atrocities.
The literary and cinematographic borrowings are here violently diverted from
their proper meaning to tell the story in their own way. PasoliniÆs Italy,
FassbinderÆs Germany, The Years of Lead, Macronist France, police terrorism,
paranoia, obsession with the double, substance addiction, money and marriage are
all subjects touched upon with humor and despair. As the showman ominously
cautions: You donÆt argue with a sly dog, you break his teeth and his jaw.
Bernardino Femminielli, frustrated by his status as a misunderstood artist, has
constructed a semi-fictional caricature of himself. A guy adrift, an anti-hero,
the politeness of despair, a loser crooner who's lost his way. The album has
many faces of the same distress: those of the victims of a system that
marginalizes them.
Repeated themes and catalysts present in the album:
OneÆs failure to achieve professional success can lead to unexpected volatility.
Exile is oppressive thus one must also transform into an oppressor.
Violence is a direct result of frenzied desperation.
Cannibal mechanics are often precipitated by financial devastation.
Self destruction becomes a means of self preservation.
Consumption always without moderation.
Money is earned, and then like life, itÆs burned.