The founder of theNouvelle Vague together with the fascinating artist and muse of David Lynch
breathe new life into the songs of The Cure with Strange As Angels.

Today the Deluxe Edition version of the album “CHRYSTABELL SINGS THE CURE” (Kwaidan Records) is released digitally in Italy exclusively for (Mhodì Music Company)

16 tracks in which Marc Collin (Nouvelle Vague) together with CHRYSTA BELL, singer-songwriter, model, actress and fascinating muse of David Lynch, breathe new life into the songs of The Cure.
The video clip for “Lullaby” is now online.

The founder of theNouvelle Vague together with the fascinating artist and muse of David Lynch
breathe new life into the songs of The Cure with Strange As Angels.

Today the Deluxe Edition version of the album “CHRYSTABELL SINGS THE CURE” (Kwaidan Records) is released digitally in Italy exclusively for (Mhodì Music Company)
16 tracks in which Marc Collin (Nouvelle Vague) together with CHRYSTA BELL, singer-songwriter, model, actress and fascinating muse of David Lynch, breathe new life into the songs of The Cure.
The video clip for “Lullaby” is now online.

A musical project named Strange As Angels, in which the duo reinvents The Cure’s most classic songs, enriching them with Collin’s expert production and Chrystabell’s hypnotic, sensual vocals. The tracklist explores almost the entire discography of The Cure in chronological order, reprising the best hits of Robert Smith’s band such as “Just Like Heaven,” “Drowning Man,” “Charlotte Sometimes,” “Friday I’m In Love,” “A Forest,” and “Lullaby,” and capturing the band’s full emotional range, from optimism to melancholy, from darkness to joy, from depth to lightness.

Marc Collin found all the intensity of The Cure in Chrysta bell’s expressive performance, which lends an enigmatic and impenetrable dimension to the band’s works: “Chrysta bell chose to learn every nuance of Robert Smith before reinterpreting him. The result is a pure devotion to melody,” says Collin. “This project for me was a vision: I imagined Chrysta bell alone on stage, singing these songs. With her history of collaborations with David Lynch, Chrysta bell adds a cinematic depth to her performance. Like Lynch, who refuses to explain the mysteries of his work, her voice evokes a sense of surreal ambiguity, both organic and otherworldly, all at the same time.”

Produced, arranged and designed by Marc Collin, this collection of The Cure covers are expertly woven and illuminated in the twilight light so dear to the founder of the Nouvelle Vague. For the first time, Collin has curated the arrangements as if they were a bridge between the worlds of Lynch and The Cure, blending strings, percussion and the first electronic instrument, the Therminovox, into a splendid gothic noir (like the works of Bernhard Hermann or Edgar Varèse): the result is an orchestral sound that evokes movie soundtracks from the 1930s.

A musical project named Strange As Angels, in which the duo reinvents The Cure’s most classic songs, enriching them with Collin’s expert production and Chrystabell’s hypnotic, sensual vocals. The tracklist explores almost the entire discography of The Cure in chronological order, reprising the best hits of Robert Smith’s band such as “Just Like Heaven,” “Drowning Man,” “Charlotte Sometimes,” “Friday I’m In Love,” “A Forest,” and “Lullaby,” and capturing the band’s full emotional range, from optimism to melancholy, from darkness to joy, from depth to lightness.

Marc Collin found all the intensity of The Cure in Chrysta bell’s expressive performance, which lends an enigmatic and impenetrable dimension to the band’s works: “Chrysta bell chose to learn every nuance of Robert Smith before reinterpreting him. The result is a pure devotion to melody,” says Collin. “This project for me was a vision: I imagined Chrysta bell alone on stage, singing these songs. With her history of collaborations with David Lynch, Chrysta bell adds a cinematic depth to her performance. Like Lynch, who refuses to explain the mysteries of his work, her voice evokes a sense of surreal ambiguity, both organic and otherworldly, all at the same time.”

Produced, arranged and designed by Marc Collin, this collection of The Cure covers are expertly woven and illuminated in the twilight light so dear to the founder of the Nouvelle Vague. For the first time, Collin has curated the arrangements as if they were a bridge between the worlds of Lynch and The Cure, blending strings, percussion and the first electronic instrument, the Therminovox, into a splendid gothic noir (like the works of Bernhard Hermann or Edgar Varèse): the result is an orchestral sound that evokes movie soundtracks from the 1930s.