I think we are going down
When the city rise, when the ocean rise
I think we are going down
So I hold on to you
And I hold on to you
And I h-h-h-h-h….
I think God is breathing in
And if you didn’t believe
Well you better now
Because I think we’re going down
But I don’t know
So I hold on to you
And I hold on to you
And I h-h-h-h-h….
Your hands on my hips
I say, “Do you believe
that God is in our pleasure?”
You know I believe, I believe, I believe
And the rhythm is good
And the rhythm is good
When I hold….
And the birds sing
When my baby cries
And the whole world is a song
And the wind blows
When my baby sighs
And the whole worlds is a song
And my baby keeps a beat
When he’s walking down the street
And the rhythm is good
And the rhythm is good
And the rhythm is good
When I h-h-h-h-h-h hold on to you!
But I think we’re going down
I hear the trumpet call and the marching band
I think we’re going down
When the colours flash by so fast
And I think God is breathing in
And if you didn’t believe, well you better now
Do you believe? Do you believe?
Do you believe that God is in our pleasure?
You know I believe, I believe, I believe
And the rhythm is Good
And the rhythm is Good
And the rhythm is Good
When I h-h-h-h-h-h- hold on to you!
The ridge, the jump,
The foolish flight
To loose is to be free
To be free is to jump
You, you say you hope
I find what I’m looking for
I’m hungry
What I looked for I lost
Now I’m free
And the flight
And he wind
And the joyful speed
To loose is to be free
To be free is to jump
And the birds do it, too
And the clouds just float
And the song just flies
If they can do it why can’t I?
I run to the ridge I jump
And the waterfall don’t fear it
And the rain just falls
And the tears just cry
If they can do it why can’t I?
I run to the ridge I jump
The ridge, the jump,
The long drop down
To loose is to be free
To be free is to jump
I, I hope I find what I’m looking for
I’m pleading
Please, kiss me,
Give me that falling feeling
And the flight
And the wind
And the joyful speed
To loose is to be free
To be free is to jump
There has been an eruption
A cosmic combustion
A sonic defunction – wow!
There has been a glitch
A big-bang hitch
A lightning fist
And pow!
And I don’t know what I’ll do
No I don’t know what I’ll do – do you?
There have been kisses
Like sparks in the dark
Like shooting stars – ping!
Shiver and quiver
Shake and quake
You got that thing si sensualisé – ah hah!
And I don’t know what I’ll do
You’ve got that look in your eye don’t you? Don’t you?
Look up! Haze and glow
Sunset: Toronto
Something has died
What I don’t know
The love the hope
The shine the glow
Oh no! What will we do?
It’s the little deaths
And the ruptures inside
That ignite the atoms
Make the molecules collide
That keep us alive!
There has been an eruption – pow!
Who are you?
Are you the nape of your neck?
Or your hot breat?
Baby go to sleep
And let me see
All there is to see
When you don’t know I’m looking
Don’t be afraid
Who are you?
Are you your good deeds?
Or your pretty ideas?
Take off your clothes
And let me know
All there is to know
When you can’t hide
Don’t be ashamed
Who are you?
Are you that look in your eye?
Or your wildest dream?
Baby turn your back
And trust me
And let me watch you
When you don’t know I’m looking
Don’t be afraid
You’re like the wolf
In the naked tundra
You stop dead in your tracks
When you sense the invisible eye
You’re like the bird
In the hush of the woods
You choke on your song
When you sense the invisible ear
Will you trust me, pretty baby?
Let me watch you
When you don’t know I’m looking
Oh the ghost of me when it’s you, just you
Who are you?
Are you the memories you kept
Of the places you went?
Baby forget all the words they said
Let me see you before they ever spoke
Don’t even think
Who am I?
Am I my passed loves?
Or the way I kiss?
Baby wash me clean
In the ocean of your dreams
And I’ll swim there as if you ain’t looking
I’m not ashamed
I’m like the moon
Above the earth
A billion people
I sense their invisible eyes
I’m like the storm
And the whistling song
All the boys and girls
I sense their invisible ears
But I trust you, pretty baby
And I’ll let you watch me
When I don’t know your looking
Oh, the ghost of you
Can you hear this song?
Well, it’s me, just me.
Saying who are you? Who?
We’ll come, you’ll see
The spring and me
Gold and green
Sun and leaf
But not rebirth
When we coax the earth
Singing try, try again
For another season
You know we bring the sun
Now drink it, drink it, mmm
When the flowers reach
Do you reach, too?
Gold touch green
When I reach, reach, when I reach
For you, you, you
Something restless
Something river over rock
When I move like water
With the freedom spring brought
And we go where we please
The river and me
Singing try, try again
For another season
You know we bring the rain
Now drink it, drink it, mmm
When the river rise
Do you rise, too?
River touch sky
Why I rise, rise, when I rise
For you, you, you
We’ll come, you’ll see
The spring and me
The wind we’re riding
You’ve got to listen for me
And we’ll go where we please
And we’ll do what we please
Singing, “try, try again,
for another season.”
When the forest hum
Do you hum, too
Bud touch bloom
When I hum, hum, when I hum
the Birdsong, Birdsong, Birdsong
Storm tonight and this house creaks
Like a rockabye, a lullaby
Trying to scare me to sleep
I say, “Oh wind, won’t you soothe and sing
Won’t you tussle and tease as you weave through the leaves
And plant a nice dream inside a tired, tired head.”
You sound so eerie while whistling across the sea
To the highlands, to the lowlands
To my house in between
And you come to my window make it clatter and creak
No rockabye, no lullaby, trying to scare me to sleep
Well, I’ve got no one here to keep me warm
You know I almost let you in
But I was out of my mind that night
‘Cause you’re a wicked, wicked wind
And you shake my house
And you quake my house
Oh you make her groan, groan, groan, groan
Making sweet love to her
Makes me feel so alone
And I shiver and I quiver
I pull the sheets up to my chin
I was out of my mind that night
You know I almost let you in
Come out to the valley
My Tudor rose with your hair of fire
You’ve got God on your side
You’ve got God on your side
It’s been three months now, maybe more
And there are too many layers
And so much lust‘
You’ve got to rip them off,
Do what you must
When you’ve got to have the Holy
Inside, the Holy inside
And then we sing like traitors
We sing and I pray to you
We sing because it feels good
We sing now because later we may loose
Come out to the valley
You be the king and I’ll bow deeply
You scream, “Be like the star, girl, be frigid; freeze!”
You forget that I own nothing
But for the love that I claimed on your body
Where we sing like traitors
Where we sing and we’re free
Where we sing because it feels good
Where we sing now, because later we may loose
And then I left saying, “Fare thee well.”
On the hottest of nights, darkest of hells
And all that’s left is the sent on my skin
The incense of the Holy I let in
The Holy….
In through my toes, my ankles, my knees
My thighs, my hips, my belly
My breasts, my neck
And my whole body
Until we sing like traitors
We sing because we’re free
We sing because it feels good
And we sing now because later we may loose
Oh, Montmartre
Je viens à toi
Et je t’imagine en automne
Avec tes jolies filles et tes beaux garçons
Oh, Montmartre
mmm…
Oh, Montmartre
Il y a une année
où j’ai senti que je t’oubliais
Alors, j’ai imaginé tes rues en pierres
Tes ruelles d’aujourd’hui sont-elles
les mêmes qu’hier?
Et à Paris les lumières brillent
Écoutez sous le vent l’oiseau si petit
qui chante les ombres
et les amours faillis
sur les rues à Paris.
Oh, Montmartre
Parles-moi de Renoir
qui marchait tes rues
pendant les soirs
sans dîner et sans argent
lorsque les nuits deviennent
plus foncées et froides.
Et quand l’automne
passé à l’hiver
et la neige couvre
toutes tes rues en pierres
je te chanterai une chanson
comme une prière
pour le petit oiseau
qui chante sous le vent
qui chante des ombres
et des amours faillis
sur les rues à Paris.
In a blackwind
we were skywatchers
and listeners of hissing leaves
we were failures
only human
in a blackwind
that silences song.
In a blackwind
I’m a skywatcher
rocking in your body’s waves
I’m a failure
only human
in a blackwind
that silences song.
And then you say
Well you’ll fail
like you want me to
but you have dreams
and fears too black
for this song.
So here are violets
for thoughts of love
and rue for repentance
I’m no Ophelia
though I’m human
I won’t drown in song
by the willow tree.
In a blackwind
we were skywatchers
and listeners of hissing leaves
we were failures
only human
in a blackwind
that silences song.
In a blackwind
I’m a skywatcher
rocking in Ophelia’s waves
I’m a failure
only human
in a blackwind
that silences song.
A&R by Laurent Bizot & Thibaut Mullings
Artwork : Element-s
Painting : Jérôme Witz
Photo : Johann Kwan
Produced by Kyrie, Léa and Mark Kristmanson
All tracks recorded by Mark K. at the Dining Room, Ottawa
except Song X, Birdsong and Comet of Desire recorded by Kees Dekker at The Treatment Room, Montreal
and Oh, Montmartre, Eruption and Song for a Blackwind recorded by Rob Dakiniewich at Yellow Studios, Regina
Additional recordings on Birdsong and Comet of Desire by Mark K. at the Dining Room
Mixed by Mark K. at the Dining Room
except 3,10,11 by by Rob Dakiniewich at Yellow Studios, Regina
Mastering by Phil Demetro at the Lacquer Channel, Toronto
All songs written and composed by Kyrie Kristmanson and arranged by Mark K. except Eruption, Oh, Montmartre and Song for a Blackwind
All songs published by Nø Førmat!
Vocals, nylon string guitar, trumpet - Kyrie K.
Double bass - Martain Pearson (5,7), Sam McLellan (3)
Trumpet - Nigel Taylor (3)
Drums - Gordon Bintner (1,2,6)
Guitars, electric bass, flute - Mark K. (1,2,4,6,7,8,9)
With special guests Sprengjuhöllin on Comet of Desire
Kyrie plays a Jasper Senderowitz classical guitar (Lyon, France)
From time to time, a young girl with a frail body and a slim voice turn out to be the instruments of vast breath and prodigious power. Kyrie Kristmanson is one of them: at the age of twenty she has a unique way of provoking incredible collisions between the Folk of North America and the music of medieval times, pop melodies and cutting-edge jazz, and between everyday songs and the laboratory where great musical revolutions are concocted. Origin of Stars, her first album for the Nø Førmat! label, allows us to hear not only a melodic writing-style close to that of her great predecessors but, at the same time, an audacity of form that brings the paths taken by the sources, practices and aesthetics of music to interweave. The result sounds something like an acoustic meeting between Joni Mitchell and Björk…
Could her name have anything to do with this? Her first name is Kyrie, the Greek word for "Lord" which gave its name to the first acclamation in the Latin and orthodox religious Mass. And her second, Kristmanson, an Icelandic name, means "the Christian's son". Yet her previous album, self-produced in Canada, carried the title Pagan Love...
Her father, a musician, had his own home-studio, and evenings in the house had a certain ritual: the father's songs would lull the little girl to sleep. They were quickly replaced by the sounds of PJ Harvey, Sinead O’Connor and Daniel Lanois... Kyrie was born in Ottawa and travelled in her childhood, to Montreal, London, New Brunswick and Saskatchewan. There, in the heart of the Canadian wilderness, "winter is extremely cold and summer extremely hot and dry. I wondered why people lived there and it took me a while to understand. In fact, the beauty of the landscape is awesome. You are often the only vertical object in a totally horizontal landscape. You have the feeling you're naked and vulnerable, but you can yell and sing without any inhibitions because there's nobody there. You take inspiration from it..."
Her first guitar came when she was nine; her first trumpet followed at thirteen, her first songs a year later, and she produced her own first album when she was seventeen. She balks at the suggestion that she was precocious: "The writer puts the song to paper but didn't necessarily write it. A good song takes generations to suddenly spring up; it exists before the singer. If you're sensitive enough, you can feel the people and the world in the story, and concentrate it all into three minutes of song. But that's only 10% of the process."
So where does the rest come from? Kyrie Kristmanson gives a beautiful smile: "I get the impression that in Europe they don't believe in ghosts as much as they do in Canada. Our whole story isn't concentrated like yours inside old churches and old castles; it lies in the earth in the shape of raw energy." Maybe that's why her songs so often speak of the wind, the sky and the night... the folk-music of a medium in some way…
In France she came to the attention of spectators at the Printemps de Bourges Festival in 2009, and singer Emily Loizeau invited Kyrie to open for her at concerts. She's currently readying to move to Paris, where she's due to write a thesis at Sorbonne University on the trobairitz, the Occitan female troubadours of the 12th and 13th centuries. And Kyrie Kristmanson has never stopped touring, with her guitar (itself three-quarters the size of a child), her weird, white, woolly hats, her trumpet, and her songs inhabited by very ancient, powerful energies.