P!nk has never been afraid to speak her mind, bare her soul, and share her deepest feelings in her songs. As she casually confers, “I have no choice. It’s what I do.” Indeed, it is what P!nk does. And, her 23 million in album sales, two Grammy Awards, five MTV Video Music Awards, and eight top 10 hit singles are proof that the tattooed badass with the heart of a pussycat does what she does well. Very well. But, with her fifth studio album, Funhouse (Oct. 28 via LaFace/Zomba), P!nk gets even more personal, more exposed, and more revealing.
Pink n'a jamais été effrayée de faire parler son esprit, de mettre à nu son ame, et de partager ses plus profonds sentiments dans ses chansons. Comme elle l'a simplement délcaré, "Je n'ai pas le choix. C'est ce que je fais." Bien sûr, c'est ce que Pink fait. Et ses 23 millioons d'albums vendu, ses 2 Grammy Awards, 5 MTV video music awards, et ses 8 top10 de vente de singles sont les preuves que la débrouillarde tattouée avec un coeur de minou [de petit chat quoi xD ] fait bien ce qu'elle fait. très bien. Mais, avec son 5eme album studio, Funhouse (28 oct, Laface/Zomba), Pink devient encore plus personnelle, plus exposée, et plus révélatrice[ plus profond quoi].----
“This is my most vulnerable album to date,” says P!nk, 29, who has no problem fessing up to the fact that the split from her husband, motocross star Carey Hart, earlier this year is the subject of some songs on Funhouse. “On my first record, Can’t Take Me Home (2000), I was pissed off at a guy and that was cathartic for me. M!ssundaztood (2001) was very personal and even more cathartic. I remember talking about the song ‘Family Portrait’ in interviews and just crying. Each record got a little deeper and more cathartic than the last. In two years I will probably have worked through all of my issues.”
"C'est l'album le plus vulnerable que j'ai fait en date", dit Pink, 29 ans, qui n'a aucun probleme [fessing up] le fait que sa rupture avec son mari, la star de motocross Carey Hart, plus tôt cette année est le sujet principal de beaucoup de chansons dans Funhouse. "Sur mon premier album, Can't take me home (2000) j'étais en colère contre un gars, et ça a été libérateur pour moi. M!ssundaztood (2001) était très perso et encore plus liberateur. Je me souviens avoir parlé de Family Portrait dans des interviews et juste pleurer. Chaque album est devenu un peu plus profond et plus liberateur que le dernier. Dans 2 ans j'aurai probablement surmonté tout mes problèmes." But, for now, one issue that P!nk is still working through is heartbreak. “Heartbreak is a Motherfucker is what I originally wanted to name the album,” laughs the singer. “But this album is not all about that. It’s not just a breakup album. There is a lot of that, but there is fun happening too and that’s why I named it Funhouse in the end.”
Mais, pour le moment, un probleme sur lequel Pink se penche est le coeur brisé ['fin rupture quoi]. "La rupture est un motherfucker [ nous on a fils de pute, mais pas enculeur de mère... xD *ahem* ] ,c'est comme ça que j'ai voulu nommé l'album à l'origine" plaisante la chanteuse. "Mais cet album n'est pas entierement consacré à ça. Ce n'est pas juste un albumde rupture. Il y a beaucoup de ça, mais il aussi de l'amusement et c'ets pour ça que je l'ai appellé Funhouse à la fin."P!nk admits that it felt as “scary” as it felt “great” to reach new depths of vulnerability on such tracks as “Please Don’t Leave Me,” a painfully honest love song disguised by upbeat, cheerful, and happy instrumentation with sing-along “da da da da”s in the background, and “I Don’t Believe You,” the heart-wrenching ballad featuring P!nk’s raw vocals over simple piano and strings. (Both songs were co-written with Max Martin.)
Pink admet que c'était à la fois "effrayant" et "génial" d'atteindre les nouvelles profondeurs de la vulnerabilité [ooouuuuh profond la phrase 
] sur des pistes comme "Please don't leave me", une chanson d'amour honnete et pleine de peine camouflée par une instrumentation joyeuse, et entrainante avec les "da da da da" en fond, et "I don't believe you", la ballade qui devaste le coeur avec simplement sa voix "crue" sur un piano et des cordes [ sauf erreur, "strings" c'est AUSSI une catégorie d'instrument de musique 
merci Oh my P!nk 
]. (les deux chansons étant co écrite avec Maw Martin)“It’s like letting down the armor and admitting I’m human. I’m a girl. We all want to be loved and love. That’s all we want,” she explains. “‘Please Don’t Leave Me’ is also kind of funny though. It’s like, ‘Okay, I’m an asshole, but love me anyway.’ I’m trying to be better. We’re all a work in progress. And, ‘I Don’t Believe You’ is one of my favorite songs because it’s just so naked. It’s like taking a deep breathe and saying, ‘Here I am. Take me. Take your best shot.’ ‘Mean’ is a country-Aerosmith-rock song that asks, ‘How did we get so mean?’ Everything starts out so yummy. ‘Where did we lose the plot? How is it that you once were holding the door for me and now I’m slamming it in your face?’”
"C'est comme laisser tomber l'armure est admettre que je suis humaine. Je suis une fille [naaan?? xD ]. On veut tous être aimé et aimer. C'est tout ce qu'on veut," explique t-elle. "Please don't leave me" est aussi assez drôle. C'est comme dire 'Okay, j'suis un trouduc', mais aime moi quand même'.J'essaye d'être meilleure. Nous sommes tous en train de nous améliorer. Et "I don't believe you" est une de mes chansons preferée car elle juste tellement dénudée [ enfin Pink met son coeur a nu, on va dire ça comme ça]C'est comme prendre une grande inspiration et dire "Je suis là. Prend moi. Tente ta chance. "Mean" est une chanson rock dans le genre d'Aerosmith qui demande "Comment sommes nous descendu si bas?" [pas sûre car 'mean' ça peut vouloir dire plein de truc...faut le contexte de la chanson] Tout commençait si bien. "Où avons nous foiré?" Comment en sommes nous arrivé à ce que je te claque la porte dans la geule alors qu'avant tu me tenais la porte?" P!nk also pulls no punches tackling the breakup issue on the first single, the infectious pop-rocker “So What,” which hit No. 1 on The Billboard Hot 100 on September 18, 2008 making it the singer’s first No. 1 solo hit song in her career. (She previously shared the top spot on the Hot 100 with Christina Aguilera, Lil’ Kim, and Mya on 2001’s “Lady Marmalade” from the Moulin Rouge soundtrack.)
Pink n'a pris aucun coup en confrontant[<----j'ai traduit ça trop à l'arrache >_<] le sujet de la rupture sur son premier single, la chanson pop-rock communicative/contagieuse "So what", qui a été propulsé n°1 du Billboard Hot 100 le 18sept 2008 en faisant de cette chanson la n°1 des entrées de toute la carrière de la chanteuse. (Elle avait auparavant partagé le Hot 100 avec Xtina, Lil' kim et Mya pour "Lady marmelade" de la BO du Moulin Rouge en 2001.) SUITE PLUS TARD (faut que j'me mette à la philo T_T )On “So What,” P!nk gets real once again but this time it’s infused with her trademark humor as evidenced by such funny-honest lyrics as “I guess I just lost my husband/I don’t know where he went/So I’m gonna drink my money/I’m not gonna pay his rent.” Having her ex, Carey Hart, in the Dave Meyers-directed video diffused some of the reaction to the lyrical content. “At first I was kind of irked because everyone was like, ‘Well, wait. I thought the split was amicable and now she’s talking shit about him?! What the fuck?’ It’s hypocritical.’ But once everyone saw the video and saw that Carey was in it, it shut everybody up, which was lovely,” explains P!nk, who collaborated with Martin once again for this track. “Carey hadn’t heard the song before he did the video. That’s how much he trusts and loves me. He pretty much just rolls his eyes, throws his hands up in the air, and hugs me. He gets it. He gets me. It’s nice.”
Although P!nk expanded her emotional and musical horizons on this new collection, the one song she is most proud of is “Crystal Ball,” an acoustic guitar ballad written with Billy Mann, who worked on such past hits as “Stupid Girls,” “Dear Mr. President,” and “I’m Not Dead,” among others. “I am proud of the songwriting, melody, and vocals on that song,” she says. “I recorded it in one take and we didn’t mix it. It just went straight to master. It was all about a vibe and not about perfection or being polished. I just love that song and I loved recording it. Me and Billy got in a room and lit some candles, had some wine, and threw up a guitar mike and two vocal mikes and just went with it.”
Other revealing tracks include “It’s All Your Fault,” in which she proclaims in the lyrics “I conjure up the thought of being gone, but I’d probably even do that wrong.” While in “Glitter in the Air,” P!nk asks a lot of questions such as, “Have you ever looked fear in the face and said I just don’t care?” and “Have you ever hated yourself for staring at the phone?” P!nk admits, “I still don’t have some of the answers to the questions I pose on this record. I’m still figuring it all out.”
But as P!nk said, Funhouse isn’t just a breakup album. “Bad Influence” (written with Billy Mann and Butch Walker) is a straight up rock chick party song that makes no apologies for wilding out with your gal pals once in a while. “I’m with the Hindus on that one,” laughs P!nk. “Pleasure for pleasure’s sake is not a guilty sin.” “Sober” is another song that has nothing to do with heartbreak. It’s a dark ditty with strings about how one wishes they could be fearless and lose their inhibitions without having a vice.
The bluesy “One Foot Wrong” is about an acid trip gone bad. “I used to be into a lot of crazy shit,” says P!nk. “Acid’s the most awful drug ever. Don’t take it. But, that song is also about losing control and how easy it is to lose the plot in life and teeter on the edge.” Meanwhile, “Ave Mary A” takes on the world and social issues, asking for help in letting go from “the chaos around me” and dealing with a “world gone mad.”
As for the title, Funhouse, P!nk explains, “I look at life like a carnival. Clowns are supposed to be happy, but they are really scary. Carnivals are supposed to be fun, but really they are kind of creepy. But, we go and we buy cotton candy and we force our laughter and we get on rides and we strap ourselves in and we do it. And that’s like life to me, and love. Love is supposed to be fun, but it can sometimes be really scary. And the funhouse mirrors that make you look so distorted that you don’t recognize yourself and you ask yourself, ‘How did I get here? How do I get out of here?’ But, you think that you want to do it again. That is the same as love and life. It’s a metaphor for being in love and for life.”
The title track itself is a funky rocker with the fists-in-the-air refrain of “This used to be our funhouse/But now it’s full of evil clowns/It’s time to start the countdown/I’m gonna burn it down.” “It’s about when the box you’re in doesn’t fit anymore, burn that fucker down and start a new one,” says P!nk. “This was the first song I did with Tony Kanal of No Doubt and his writing partner Jimmy Harry. I fell in love with working with them. We wrote fun fucking songs together. We did ‘Funhouse’ and ‘Sober.’”
P!nk stepped out of her comfort zone in the recording of Funhouse by working away from her usual stomping grounds of Los Angeles and New York for the first time. She recorded “One Foot Wrong,” a bluesy slow-cooked rocker showcasing the grittier side of the singer’s vocal talents, with British musician/writer/producer Eg White (Francis Anthony “Eg” White, who has worked on No. 1 albums by British singers Duffy and Adele) in his home studio in London. And, she headed to Stockholm, Sweden to work with Max Martin, who previously co-penned such hits as “Who Knew,” “U + Ur Hand,” and “Cuz I Can” from 2006’s I’m Not Dead.
“It was really good to get out of my house and get away from my life. No distractions. No phones,” explains P!nk of her overseas sessions. “It was my first time working with Eg White and I just adore him. He’s eccentric and messy and fucking awesome. We worked in his basement while his wife would be cooking dinner upstairs with their three babies and I just loved it. It was really inspiring and a great change of pace – different people, different energy.”
With its mix of sad, thoughtful love songs and fun, upbeat, feisty rock anthems. P!nk achieved exactly what she wanted to on Funhouse. “It feels good to get people not just emoting and releasing all that energy, but getting angry and motivated too. It’s group therapy.”
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Lun 6 Oct - 22:29
