Le Mirifique Orchestra play lush, vast, majestically arranged ballads from the worlds of jazz standards, classic chanson and pop music. The arrangements on their new album Oh! My Love – streaming at Bandcamp – draw on classical styles from the baroque to the 21st century, emphasis on the modern. It’s an absolutely unique, imaginative sound, with jazz solos, classical lustre and catchy, relatively short songs. The group like playful instrumental intros, and have six strong singers taking turns out front.
The orchestra open the record with calmly spacious minimalism and then make their way into the first song, Skylark, sung with soaring, vintage soul-infused hopefulness by Agathe Peyrat. With orchestration that spans the sonic spectrum, from Thomas Saulet’s flute and Nicolas Fargeix’s clarinet down to Jérémie Dufort’s tuba, the song sets the stage for the rest of the record.
Co-leader Alban Darche’s judicious sax flurries over Alexis Thérain’s bittersweet guitar chords introduce Don’t Explain, then back away for Alice Lewis’ similarly pensive vocals. The swirl of the reeds against the resonance of trumpeter Rodolph Puechbroussous and horn players Pierre-Yves Le Masne and Emmanuel Bénèche maintain an uneasy dichotomy over drummer Meivelyan Jacquot’s muted sway.
Chloé Cailleton moves to the mic for the wistful You Can Never Hold Back Spring, the orchestra shifting between terse lustre and bubbling optimism. After a coyly shapeshifting intro, crooner Loïs Le Van takes over the lead on Parce que je t’aime, the ensemble moving from a subtle fugue to bright pageantry and back.
After a suspensefully flurrying guitar-and-drums interlude, the strings of Le Quatuor Psophos add lushness to the moody, often rather troubled instrumental Answer Me. Darche opens Je crois entendre with a balmy solo, then Philippe Katerine offers a gentle vocal over a contrastingly brooding, tense backdrop.
The string quartet return for My Love, foreshadowing the album’s title track with disquieting close harmonies and dynamic shifts. Cailleton takes over vocals again in a hazily brassy take of I’ll Be Seeing You, the high reeds rising to a balletesque peak.
Lewis goes back to the mic with a moody understatement for the haunting Celian’s Complaint, guest trumpeter Geoffroy Tamisier winding it up with a desolate solo: it’s the high point of the album. The similarly somber, mysterious narrative Et pour autant qu’il m’en souvienne makes a good segue, Le Van’s sober spoken word set to spare, possibly improvised verses before the angst-fueled chorus kicks in. Thomas de Pourquery sings the title cut to close the album on a pensively pillowy note.