1 	Love Will Tear Us Apart 	
2 	Just Can't Get Enough 	
3 	In A Manner Of Speaking 	
4 	Guns Of Brixton 	
5 	This Is Not A Love Song 	
6 	Too Drunk To Fuck 	
7 	Marian 	
8 	Making Plans For Nigel 	
9 	A Forest 	
10 	I Melt With You 	
11 	Teenage Kicks 	
12 	Psyche 	
13 	Friday Night Saturday Morning 	
14 	Sorry For Laughing 	
15 	Wishing (I Have A Photograph Of You)

Arranged By, Producer, Mixed By – Marc Collin, Olivier Libaux
Art Direction – Dylan Kendle
Double Bass – Nicolas Deutsch (tracks: 1 to 4)
Guitar, Bass, Keyboards [Keys] – Olivier Libaux
Keyboards, Programmed By – Marc Collin 
Vocals - Eloisia (tracks: 1, 2)
Vocals - Camille (tracks: 3, 4, 6, 8)
Vocals - Mélanie Pain (tracks: 5, 11)
Vocals - Alex (tracks: 7)
Vocals - Marina (tracks: 9, 14)
Vocals - Silja (tracks: 10)
Vocals - Sir Alice (tracks: 12)
Vocals - Daniella D'Ambrosio (tracks: 13)

The best compliment that can be paid to Nouvelle Vague's self-titled debut album: it isn't as arch and smirking as a collection of bossa nova versions of new wave classics by fetching French and Brazilian chanteuses would suggest. Based on the concept alone, Nouvelle Vague seems similar to the work of jokesters like the Mike Flowers Pops or Richard Cheese and Lounge Against the Machine, but though the album is definitely playful, it works on a sincere level enough of the time to be more than just a goof. In fact, Nouvelle Vague's best moments are a tribute to how well written the words and melodies of these songs are; that they can withstand, and even thrive in, such different arrangements is no small feat. Smooth, smoky ballads, such as the opening track, "Love Will Tear Us Apart," provide many of the album's highlights. The Cure's "A Forest" gets a tropical twist, complete with jungle sound effects, while the Sisters of Mercy's "Marian" remains as dark as ever but is now much more delicate -- call it gotha nova. On the other hand, the cover of the Dead Kennedys' "Too Drunk to Fuck" is a giggly, sassy, mischievous standout that bears virtually no resemblance to the original. Likewise, the serpentine version of Killing Joke's "Psyche" is radically different from the original, nor does it quite fit in with the rest of Nouvelle Vague's bright, breezy feeling, but its spooky vibe makes it one of the album's most interesting tracks. Two of the best covers come from a couple of the least well-known bands on the collection: Tuxedomoon's "In a Manner of Speaking" is transformed into a gorgeous, completely convincing torch song, and Josef K's "Sorry for Laughing" closes the album on a sweetly languid note. Not all of Nouvelle Vague is this inspired -- the version of Depeche Mode's "Just Can't Get Enough" is overly fussy, and while the covers of songs like "I Melt With You" and "Making Plans for Nigel" are nice enough, they don't have the spark of the album's best moments. But even at its worst, Nouvelle Vague is still pleasantly witty background music. This unlikely, but mostly happy, marriage of new wave and bossa nova will probably disappoint or displease purists who believe that every version of "Love Will Tear Us Apart" should have the brooding intensity of the original, but everyone else can enjoy the album's playful elegance. ---Heather Phares

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01 – Peut Etre Pas (Melanie Pain)
02 – Les Petroleuses (Nicole Feat. Camille)
03 – Private Meeting (Shania Halligan)
04 – Fade Out Lines (Phoebe Hilder & The Short Straws)
05 – Perfume O Caricias (Meeko Feat. Eloisia)
06 – Bui U (Karina Zeviani )							play
07 – At The Moment (Nadeah Miranda)
08 – Do You Dream (Gerald Toto)
09 – Galaxy (Jenia Lubich)								play
10 – Le Temps Elastique (Marina Celeste)
11 – My Girl (Nouvelle Vague Feat. Sophie Delila)
12 – If (Helena Noguerra)

As its title states, The Singers pays homage to the vocalists that complete Nouvelle Vague's atmospheric sound. This collection of songs from the singers' other projects just reaffirms why Marc Collin and Olivier Libaux chose these particular vocalists: tracks such as the delicate chamber folk of Melanie Pain's "Peut-Etre Pas" and Shana Halligan's lounge-y "Private Meeting" don't stray far from Nouvelle Vague territory. Indeed, the ambience is almost identical to a proper Nouvelle Vague album, minus some of the winking inherent in the band's recasting of new wave, post-punk, and synth pop into smoother sounds (although Nadeah Miranda's "At the Moment" boasts a simpatico cabaret flair).

The Singers also covers more moods than a typical Nouvelle Vague album does, spanning Karina Zeviani's festive "Buiu" to Meeko featuring Eloisia's torchy, seductive "Perfume e Caricias." Other highlights include Phoebe Killdeer & the Short Straws' "Fade Out Lines," which ventures into smoky jazz, and the trip-hop stylings of "Nicole" by les Petroluses featuring Camille, probably one of the better-known singers outside of Nouvelle Vague's confines. The Singers doesn't offer anything drastically different than what Nouvelle Vague fans have come to expect, but it's a nice companion piece that adds some depth to the project. ---Heather Phares, Rovi

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