Victoire’s debut full-length album, Cathedral City, released on New Amsterdam Records, envelopes the listener in a tapestry of classical influences, distorted guitars, multi-layered vocals, vintage keyboard sounds and stuttering samples. Cathedral City was named one of 2010′s best classical albums by the New York Times, Time Out New York, the New Yorker and NPR, and Pitchfork praised the group for “condensing moments of focused beauty and quiet conviction from the pandemic distractions of modern life. (7.8)” In addition, NPR’s First Listen asked: “Is Victoire’s music post-rock, post-mimimalist or pseudo-post-pre-modernist indie-chamber-electronica? It doesn’t particularly matter. It’s just good music.”

A Song For Arthur Russell

A Song For Mick Kelly

The Diver

Like A Miracle

Cathedral City

I Am Coming For My Things

A Door Into The Dark

India Whiskey

http://www.victoiremusic.com/

Victoire is Missy Mazzoli (compositions, keyboards), Mellissa Hughes (voice), Olivia De Prato (violin), Eileen Mack (clarinet), Lorna Krier (keyboards), and Eleonore Oppenheim (double bass). 

This “all-star, all-female band” (Time Out New York) of voices, strings, keyboards, clarinets and electronics performs Mazzoli’s hypnotic blend of dreamy art pop and rich romanticism, enveloping the listener in a tapestry of classical influences, distorted guitars, multi-layered vocals, vintage keyboard sounds and stuttering samples.  Victoire has performed all over the world, most recently at Carnegie Hall in a collaborative performance with Wilco drummer Glenn Kotche as part of the Ecstatic Festival.  Victoire is currently working on its sophomore release of Missy's music, Vespers for a New Dark Age, a collaboration with Kotche and electronic producer Lorna Dune due out on New Amsterdam Records this spring.  Their debut album Cathedral City, was named one of 2010′s best classical albums by the New York Times, Time Out New York, the New Yorker and NPR, and Pitchfork praised the group for “condensing moments of focused beauty and quiet conviction from the pandemic distractions of modern life. (7.8)” NPR’s First Listen asks “Is Victoire’s music post-rock, post-mimimalist or pseudo-post-pre-modernist indie-chamber-electronica? It doesn’t particularly matter. It’s just good music.”

Victoire

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