Gannon Knight ArtsLeisure

     French singer Charlotte Gainsbourg has shown her excellent taste in album producers as well as her lack of artistic individuality on her third album, “IRM.”
     Gainsbourg’s 2006 album “5:55” sounded just like the handiwork of producer Nigel Godrich and Air, who essentially carried the album. It is not very surprising that her latest, the Beck-helmed “IRM,” sounds a lot like this producer’s most recent record, last year’s “Modern Guilt.” There are a few times when, like on “5:55,” the producer is more in charge than Gainsbourg herself. Regardless, the album still holds true to Gainsbourg’s signature, mellow sound.
     “IRM,” imagerie par résonance magnétique, is a French term for the medical MRI procedure, which Gainsbourg experienced after suffering a massive head injury as a result of a water skiing incident in 2007. During her time of recovery and healing, Gainsbourg and Beck started to create the music that would eventually became “IRM.” The two collaborated in writing lyrics and producing the mixed recordings. This is the first time ever that the Grammy- nominated producer, Beck, has been so involved and influential in another artist’s work.
     Even though “IRM” is the first release from the London-born Gainsbourg in four years, she still delivers smoky music and unique lyrics.
     Beck’s eccentric and vibrant production blends perfectly with

Gainsbourg’s quirky vocals. The album perfectly catches the gut-wrenching pain of the skiing accident in the songs “Time of the Assassins” and “Heaven Can Wait.”
     Beck’s influence is apparent on “Master’s Hands,” with the instrumental chorus, progressing passion and plodding introduction sounding very much like “Modern Guilt,” as does “Heaven Can Wait,” a track on which Beck shares his vocal talent as well.
     There is somewhat of a pardon from Beck on the track “Voyage,” which is heavily influenced by string instruments and not overpowered by Beck’s vocals.
     The next track, “La Collectionneuse,” is also distinctly Gainsbourg (pictured right - Smokeye.wordpress.com), with a spare piano topped by random other elements and her soothing voice guiding listeners through the song. The track’s closing is incessantly interesting musically.
     “In the End,” too, sounds very similar to “5:55,” though with a stroke of indie pop; it sounds bound for a quirky indie film’s soundtrack.
     Gainsbourg’s success in music is overshadowed by her all-inclusive success in film and television. For one of her more recent films, “Antichrist,” she received the Best Actress award at the 2009 Cannes Film festival. The movie was criticized as misogynistic and portrayed women in a demeaning way and romanticized sexual violence. The somewhat dark undertones of “La Collectionneuse” and “Trick Pony” could be attributed to Gainsbourg’s filming of “Antichrist” while writing for “IRM.”