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Glowing in the darkness like a faint light at the end of a tunnel, we find a smooth vocal harmony that starts and ends with Giorgia Fumanti in her cover of “I Won’t Light a Candle,” one of twenty such tracks to be included in her new album Cinema Collection. In this song and the other nineteen that join it in Cinema Collection, there isn’t a thing in the world that could distract us from Fumanti’s profound crooning. The bells and whistles are on the sidelines while the natural charm has been turned up to eleven, and whether you’re ready for the sensuous vibes to come or not, they slip through the air one after another in every song here.
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Tone tends to be a bigger element of communication than the specific lyrical content in the compositions Giorgia Fumanti has selected for this cover record, but I think that, given she didn’t write any of these songs herself, this was the right way to go about the project. There’s little that annoys me as much as an artist who tries to play someone else’s music in the same style as the original – it’s the most unique interpretations in pop music, and every genre there is, that provoke the biggest response in people, and to this effect, “Over the Rainbow,” “La Plus Bella Chose Au Monde” and every bit of Cinema Collection is a win for the LP’s star performer.
Surprisingly enough, there’s not nearly as much of a component to this record as I had thought there would be when taking into account just how much confidence Fumanti could have brought into these sessions, especially through the lens of what her competition has been doing on both sides of the radio dial in the last few years. This isn’t a problem of course, but more of an observation; it’s almost as though she’s being intentionally hesitant in some of her melodic lashing here, and within the context of the pop aesthetic, it makes the entire album sound a little more intimate as a result.
Although Fumanti is quick to play it safe with the harmonies in “Places,” her most conceptual listens (“Un Jour Tu Reviendras” and “Now We Are Free”) and “Stranger in Paradise,” her virtuosity as a vocalist still shines through amidst the otherwise minimalist-influenced setting. It took some serious work behind the board to make these songs sound as positively overbearing as they did from an instrumental perspective, and in giving my man something to break through to find catharsis with each of these hooks, embracing contrast was a cornerstone of making Cinema Collection a reality.
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I’ve been a fan of this player’s music since I first had the chance to sample from her collection, and she does not disappoint in this latest effort by any measurement. Cinema Collection has a bit in common with some of its stylistic contemporaries in the American indie scene when it comes to being a little eccentric structurally, but I don’t know that you’re going to find another cover album that has as firm a performance foundation as Giorgia Fumanti has given this LP.
Jennifer Munoz
