Nobody can begrudge David Grumel for taking his time. Unlike the countless artists who spend six months simply making a lot of noise before disappearing into public obscurity, David does not view music as a ramp to success. Before he even considered living off of music, he decided to have a go at living with music by becoming more familiar with it, mastering the science of harmonies and the art of arrangements. He completed this passionate apprenticeship on his own, discretely and humbly. For this artist, whose first experience in a band was at age 11 and who has never stopped composing since, the idea of recording BEAURIVAGE was nearly two decades in the making. It might have been longer if a few wellintentioned friends with a sound musical ear hadnt suggested a solo album. David didn't particularly mind remaining in the shadows, but thankfully he surrendered. And to think we narrowly missed an opportunity to discover a true artist! The eleven pieces on BEAURIVAGE are graced with a melodic clarity that is music to listeners ears. Davids admiration for musical instruments, flawless playing techniques and search for the perfect note explain why. This child of pops musical education was both free and rigorous. He started playing piano at the tender age of six by assiduously practicing with the scores of major classical composers. Yet he always had a soft spot for the songs of Martin Gore (Depeche Mode) and the Cocteau Twins. And when he lets loose on the piano, his playing unconsciously evokes the Joe Jackson of Steppin Out. David adopted a computer as his right-hand man a long time ago. This is not to say that he is an electro artist. Like the guys of Air, David maintains a firm grip on his computer and uses it mainly as a tool to simplify his life, when his fingers are too busy playing the keyboards or strumming his guitar. No machine will ever replace a Hammond B3 organ or a string section, he emphasizes. From his home on the shores of the Lac d'Annecy, David had already traced the outline of each and every song in its slightest detail, savouring those solitary years of discovery and writing. Whenever the secret nature of his life got to him, he overcame any doubts by setting new challenges for himself. Imagine you are gambling with time at a casino. If you lose the first round, your only option is to up the ante on the next one. Although David was able to up the bid in terms of his own expectations, his pieces still betray, despite their often-impressive depth and complexity, clear traces of spontaneity. Some are intricate in terms of harmony while others are very straightforward. As for Bardi Johannsson, the extremely talented and active member of the Icelandic group Bang Gang and the Lady & Bird project who co-produced and mixed the album, his role was crucial to inject warm tones into the pieces on Beaurivage and to perfect the whole album. After his stint at Bardis recording studio in Reykjavik, the pieces took on a new dimension, rubbing shoulders with soul (Until The End Of The Time), jazz and orchestral trip-pop. Thats because the Icelandic artist with the golden touch invited several of his fellow countrymen to join in : members of the philharmonic orchestra, bassists, contrabassists and even illuminators as well as the incredible drummer Brian Reitzell, who can be heard playing with Beck, Turin Brakes or on the soundtrack of Lost In Translation. In order to give body to his songs, David had initially wanted to work with flexible voices, to match the semitone of BEAURIVAGE. But apart from the outstanding contribution of Brian Mc Partlin, who poured all of his conviction into Overground (1971), David could not find the right people. And so he decided to overcome his own shyness by taking on the singing and carrying the melody on four tracks. Fragile and appropriate, his performance shines through as an obvious contribution: in the end, who else could have better fleshed out this elegant world composed of memories and fragrances embedded in the artists mind? The instrumental opening that gives the album its name and the piece entitled Magnolias (with Billie Holiday featuring from the beyond) link BEAURIVAGE to the world of cinema; their origins are in fact images. The title BEAURIVAGE (Beautiful Shore) thus refers to a lovely secret, that small corner of the lake that David is especially fond of, with its landing and whispery reeds. The albums background decor is influenced by the off-season landscapes from which David borrowed the natural and radiant melancholy that permeates BEAURIVAGE. And now, listen up as he throws open the doors to his secret garden.