Kemo Sabe, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.6″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] MASAO NAKAJIMA QUARTET,Kemo Sabe [/et_pb_text][et_pb_text _builder_version= »4.17.5″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] réédition le 5 août 2022 chez BBE Music [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/07/a2502609218_16.jpg » alt= »Kemo Sabe de Masao Nakajima Quartet » title_text= »Kemo Sabe de Masao Nakajima Quartet » _builder_version= »4.17.5″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2022/07/Kemo-Sabe.mp3″ title= »Kemo-sabe » artist_name= »Masao Nakajima 4tet » album_name= »Kemo Sabe (1979) » _builder_version= »4.18.0″ _module_preset= »default » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS A brilliant facet of J Jazz, Kemo Sabe has fun with its roots and possible inventions. On saxophone, Toshiyuki Honda, leader of the popular fusion band Burning Waves, blows on the embers. On drums, it’s Donald Bailey, regular American drummer for Jimmy Smith’s classic-boogaloo sessions on Blue Note. Even though it was recorded in an era when electric fusion was in full swing, Kemo Sabe remains squarely on its acoustic slope. The delicacy of the leader equals his power, all audible in the care taken in the production of the record. The Kirin runner of the cover will be able to do some laps, but this record is far from going in circles. Everything moves forward, within this classical invoice, this jazz does not reproduce anything that has been played before. It prolongs, propels and protects. Its roots and possible inventions. It remains to melt on each of the two sides of Kemo Sabe, to put on a helmet and to start a sprint to put in the ditch a Peter Sagan Sensei. » content_phone= » ENGLISH / FRANÇAIS A brilliant facet of J Jazz, Kemo Sabe has fun with its roots and possible inventions. On saxophone, Toshiyuki Honda, leader of the popular fusion band Burning Waves, blows on the embers. On drums, it’s Donald Bailey, regular American drummer for Jimmy Smith’s classic-boogaloo sessions on Blue Note. Even though it was recorded in an era when electric fusion was in full swing, Kemo Sabe remains squarely on its acoustic slope. The delicacy of the leader equals his power, all audible in the care taken in the production of the record. The Kirin runner of the cover will be able to do some laps, but this record is far from going in circles. Everything moves forward, within this classical invoice, this jazz does not reproduce anything that has been played before. It prolongs, propels and protects. Its roots and possible inventions. It remains to melt on each of the two sides of Kemo Sabe, to put on a helmet and to start a sprint to put in the ditch a Peter Sagan Sensei. » content_last_edited= »on|phone » _builder_version= »4.17.6″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH A brilliant facet of J Jazz, Kemo Sabe has fun with its roots and possible inventions. On saxophone, Toshiyuki Honda, leader of the popular fusion band Burning Waves, blows on the embers. On drums, it’s Donald Bailey, regular American drummer for Jimmy Smith’s classic-boogaloo sessions on Blue Note. Even though it was recorded in an era when electric fusion was in full swing, Kemo Sabe remains squarely on its acoustic slope. The delicacy of the leader equals his power, all audible in the care taken in the production of the record. The Kirin runner of the cover will be able to do some laps, but this record is far from going in circles. Everything moves forward, within this classical invoice, this jazz does not reproduce anything that has been played before. It prolongs, propels and protects. Its roots and possible inventions. It remains to melt on each of the two sides of Kemo Sabe, to put on a helmet and to start a sprint to put in the ditch a Peter Sagan Sensei. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.6″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Facette brillante du J Jazz, Kemo Sabe s’amuse de ses racines et et des inventions possibles. Au saxophone, Toshiyuki Honda, leader du populaire groupe de fusion Burning Waves, souffle sur la braise. À la batterie, c’est Donald Bailey, batteur américain régulier des sessions classico-boogaloo de Jimmy Smith sur Blue Note. Même s’il est enregistré à l’ère où la fusion électrique est en pleine bourre, Kemo Sabe reste carrément sur sa pente acoustique. La délicatesse du leader égale sa puissance, tout est audible dans le soin pris à la production du disque. Le coureur de Kirin de la pochette aura beau faire des tours de piste, ce disque est loin de tourner en rond. Tout avance, au sein de cette facture classique, ce jazz ne reproduit rien de ce qui a peu être joué auparavant. Il prolonge, propulse et protège. Ses racines et les inventions possibles. Reste à se fondre sur chacune des deux faces de Kemo Sabe, enfiler un casque et déclencher un sprint à mettre dans le fossé un Peter Sagan Sensei. [/et_pb_text][et_pb_text _builder_version= »4.17.5″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Masao Nakajima Quartet : DiscogsBBE Music : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Machine, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] MACHINE, S/T [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] réédition le 2 septembre 2022 par WeWantSounds [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/07/0028979019_10.jpg » alt= »Machine » title_text= »Machine » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2022/07/2A-Machine_Only-People-Can-Save-the-World.mp3″ title= »Only People Can Save The World » artist_name= »Machine » album_name= »(1972) » _builder_version= »4.17.4″ _module_preset= »default » background_color= »rgba(50,7,76,0.35) » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Machines are usually square. Engine, pistons, belts. Everything fits together nicely and works like a French clock gone in Switzerland. This Machine, however, remains shrouded in mystery. It works perfectly, with the Comté and the Swiss too. But with a little extra soul. The one heard from the first bars of Only People Can Save The World. Choirs of skinny cats a bit disillusioned, worried melody played with oboe, and bass of a distressed laconism. Machine is a funk album. At least, that’s what 1972 proclaimed at its release. Disappeared, and never reissued before, the funk of this ultra rare record is ultra rare, too. Percussive as a grenade in Kiev, violent and full of disillusions but also of jolts to pleasures, this music delivered by 3 young session sharks is conscious funk. Of itself and of the world in distress at the time. Directed and put together by Michael Watson, Curtis McTeer and Donald McCoy, the album Machine comes out of the All Platinum studios located in New Jersey where the label was based and then disappears immediately despite the presence of a pair of cult musicians like Sammy Lowe, magical arranger for Sam Cooke or Nina Simone’s happiness throats. Disappearance of a Machine, resurrected here with its original gears. Not a fart of play, not a wheel tooth missing. And mystery in spades. To listen again urgently and forever. » content_phone= » ENGLISH / FRANÇAIS Machines are usually square. Engine, pistons, belts. Everything fits together nicely and works like a French clock gone in Switzerland. This Machine, however, remains shrouded in mystery. It works perfectly, with the Comté and the Swiss too. But with a little extra soul. The one heard from the first bars of Only People Can Save The World. Choirs of skinny cats a bit disillusioned, worried melody played with oboe, and bass of a distressed laconism. Machine is a funk album. At least, that’s what 1972 proclaimed at its release. Disappeared, and never reissued before, the funk of this ultra rare record is ultra rare, too. Percussive as a grenade in Kiev, violent and full of disillusions but also of jolts to pleasures, this music delivered by 3 young session sharks is conscious funk. Of itself and of the world in distress at the time. Directed and put together by Michael Watson, Curtis McTeer and Donald McCoy, the album Machine comes out of the All Platinum studios located in New Jersey where the label was based and then disappears immediately despite the presence of a pair of cult musicians like Sammy Lowe, magical arranger for Sam Cooke or Nina Simone’s happiness throats. Disappearance of a Machine, resurrected here with its original gears. Not a fart of play, not a wheel tooth missing. And mystery in spades. To listen again urgently and forever. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH Machines are usually square. Engine, pistons, belts. Everything fits together nicely and works like a French clock gone in Switzerland. This Machine, however, remains shrouded in mystery. It works perfectly, with the Comté and the Swiss too. But with a little extra soul. The one heard from the first bars of Only People Can Save The World. Choirs of skinny cats a bit disillusioned, worried melody played with oboe, and bass of a distressed laconism. Machine is a funk album. At least, that’s what 1972 proclaimed at its release. Disappeared, and never reissued before, the funk of this ultra rare record is ultra rare, too. Percussive as a grenade in Kiev, violent and full of disillusions but also of jolts to pleasures, this music delivered by 3 young session sharks is conscious funk. Of itself and of the world in distress at the time. Directed and put together by Michael Watson, Curtis McTeer and Donald McCoy, the album Machine comes out of the All Platinum studios located in New Jersey where the label was based and then disappears immediately despite the presence of a pair of cult musicians like Sammy Lowe, magical arranger for Sam Cooke or Nina Simone’s happiness throats. Disappearance of a Machine, resurrected here with its original gears. Not a fart of play, not a wheel tooth missing. And mystery in spades. To listen again urgently and forever. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] C’est carré d’habitude une machine. Moteur, pistons, courroies. Tout s’agence au cordeau et fonctionne comme une horloge comtoise exilée en Suisse. Ce Machine-là, pourtant reste nimbé de mystère. Ça fonctionne nickel, avec la Comté et le suisse lui-aussi. Mais avec un petit supplément d’âme. Celui entendu dès les premières mesures de Only People Can Save The World. Choeurs de chats maigres un poil désabusés, mélodie inquiète jouée au hautbois, et basse d’un laconisme affligé. Machine est un album de funk. Enfin, c’est que 1972 proclamait à sa sortie. Disparu, et jamais réédité auparavant, la funk de ce disque ultra rare est ultra rare, elle aussi. Percutante comme une grenade à Kiev, violente et pleine de désillusions mais aussi de secousses à plaisirs, cette musique livrée par 3 jeunes requins de session est de la funk consciente. D’elle-même et du monde en galère d’alors. Dirigée et ficelée par Michael Watson, Curtis McTeer et Donald McCoy, l’album Machine
Olá de Novo, chronique
Pierre Barouh and The Saravah Sound, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] Pierre Barouh and The Saravah Sound, Jazz, Samba and other Hallucinatory Grooves [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 22 juillet 2022 chez WeWantSounds [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/07/a0478988799_16.jpg » alt= »Pierre Barouh and the Saravah Sound » title_text= »Pierre Barouh and the Saravah Sound » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » global_colors_info= »{} »]Pierre Barouh and the Saravah Sound by Various[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS There are years when you just feel like doing nothing. No better statement, no better baseline for a music label. This is the motto of Saravah, the label created by Pierre Barouh in 1966. Do nothing. Not out of laziness, but to do nothing and let it happen. And that’s how the thousands of experimental songs from one of the most exploratory musical catalogs of the modern world came about. Brigitte Fontaine with the Art Ensemble, Pierre Barouh and Francis Lai for Lelouch, Higelin’s antics, Alfred Panou’s anticolo mischief. Then Maurice Vander, the Baroque Jazz Trio, Brazil, Africa and the groove that has become worldwide. It is beautiful, the stable Saravah. It is powerful and sensitive. This compilation, Pierre Barouh and the Saravah Sound offers one of the best possible panels of what this stakhanovism of pleasure has gathered, tested, allowed and promoted between 1965 and 1976. It is Benjamin, son of and learned guardian of the treasure, who pilots this synthesis, necessarily reducing but exciting in demon in front of all the colors posted in these 2 LP. 2 good reasons to stop everything and to do nothing more. Definitely. » content_phone= » ENGLISH / FRANÇAIS There are years when you just feel like doing nothing. No better statement, no better baseline for a music label. This is the motto of Saravah, the label created by Pierre Barouh in 1966. Do nothing. Not out of laziness, but to do nothing and let it happen. And that’s how the thousands of experimental songs from one of the most exploratory musical catalogs of the modern world came about. Brigitte Fontaine with the Art Ensemble, Pierre Barouh and Francis Lai for Lelouch, Higelin’s antics, Alfred Panou’s anticolo mischief. Then Maurice Vander, the Baroque Jazz Trio, Brazil, Africa and the groove that has become worldwide. It is beautiful, the stable Saravah. It is powerful and sensitive. This compilation, Pierre Barouh and the Saravah Sound offers one of the best possible panels of what this stakhanovism of pleasure has gathered, tested, allowed and promoted between 1965 and 1976. It is Benjamin, son of and learned guardian of the treasure, who pilots this synthesis, necessarily reducing but exciting in demon in front of all the colors posted in these 2 LP. 2 good reasons to stop everything and to do nothing more. Definitely. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH There are years when you just feel like doing nothing. No better statement, no better baseline for a music label. This is the motto of Saravah, the label created by Pierre Barouh in 1966. Do nothing. Not out of laziness, but to do nothing and let it happen. And that’s how the thousands of experimental songs from one of the most exploratory musical catalogs of the modern world came about. Brigitte Fontaine with the Art Ensemble, Pierre Barouh and Francis Lai for Lelouch, Higelin’s antics, Alfred Panou’s anticolo mischief. Then Maurice Vander, the Baroque Jazz Trio, Brazil, Africa and the groove that has become worldwide. It is beautiful, the stable Saravah. It is powerful and sensitive. This compilation, Pierre Barouh and the Saravah Sound offers one of the best possible panels of what this stakhanovism of pleasure has gathered, tested, allowed and promoted between 1965 and 1976. It is Benjamin, son of and learned guardian of the treasure, who pilots this synthesis, necessarily reducing but exciting in demon in front of all the colors posted in these 2 LP. 2 good reasons to stop everything and to do nothing more. Definitely. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Il y a des années où l’on a envie de ne rien faire. Pas meilleure décla, pas meilleure baseline pour un label de musique. C’est celle que Saravah, label monté par Pierre Barouh en 1966, s’est choisie comme devise. Ne rien faire. Pas par fainéantise, mais ne rien rien faire pour laisser venir. Et c’est ainsi que déboulent les milles trouvailles de chansons expérimentales d’un des plus exploratoires catalogues musicaux du monde moderne. Brigitte Fontaine avec l’Art Ensemble, Pierre Barouh et Francis Lai pour Lelouch, les frasques d’Higelin, les malices anticolo d’Alfred Panou. Puis Maurice Vander, le Baroque Jazz Trio, le Brésil, l’Afrique et le groove devenu mondial. C’est beau, l’écurie Saravah. C’est puissant et sensible. Cette compilation, Pierre Barouh and the Saravah Sound offre un des meilleurs panels possibles de ce que ce stakhanovismes du plaisir a regroupé, testé, permis et promu entre 1965 et 1976. C’est Benjamin, fils de et savant gardien du trésor, qui pilote cette synthèse, forcément réductrice mais excitante en démon devant toutes les couleurs affichées dans ce double LP. 2 bonnes raisons de tout arrêter et de ne plus rien faire. Définitivement. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Les Editions Saravah : Site WebWeWantSounds : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Group Theory : Black Music, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] TUMI MOGOROSI,Group Theory : Black Music [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 8 juillet 2022 chez Mushroom Hour et New Soil [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/a3689232991_16.jpg » alt= »Group Theory de Tumi Mogorosi » title_text= »Group Theory de Tumi Mogorosi » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Group Theory: Black Music by Tumi Mogorosi[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. » content_phone= » ENGLISH / FRANÇAIS Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH And yet again spoke the Ancestors in a loud voice. Through the mouth of Tumi Mogorosi. The South African drummer, with his Group Theory: Black Music puts a foot deeper into the history of the Great Black Music and follows in the footsteps of great names of the same geographical point as Louis Moholo-Moholo. Mogorosi, voluntary exile here of the combo Shabaka and The Ancestors of Shabaka Hutchings, hits hard, hits soft and hits powerful. Result, 11 haunted tracks. By the history, Sometimes I Feel Like a Motherless Child or the Wadada tribute, by the human brothers, the antinazi scansion of Where Are The Keys, the almost permanent choirs, full of ancestral tensions, hope and worried future. We are pretty close to the sacro-pagan masterclasses of Bobby Hutcherson on The Creator (Now, Blue Note, 1969) and from Andrew Hill’s Lift Every Voice (Blue Note, 1969). But, attention, with a modernity and a South Africanism without appeal, listen to the drumming of Mogorosi, all in call and velocity on Panic Manic. Transational without possible transaction, these colors burn. Everything. The heart and the soul finally joined. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Et les Ancestors parlèrent d’une voix haute. Par la bouche de Tumi Mogorosi. Le batteur sud-africain, avec son Group Theory : Black Music pose un pied plus profond dans l’histoire de la Great Black Music et emboîte le pas à la lignée de grands noms de la même pointe géographique comme Louis Moholo-Moholo. Mogorosi, exilé volontaire ici du combo Shabaka and The Ancestors de Shabaka Hutchings, frappe fort, frappe souple et frappe puissant. Résultat, 11 titres hantés. Hantés par l’histoire, Sometimes I Feel Like a Motherless Child ou l’hommage Wadada, hantés par les frères humains, la scansion antinazi de Where Are The Keys, les chœurs quasi permanents, pleins de tensions ancestrales, d’espoir et d’avenir inquiets. On n’est pas très loin des réussites sacro-paiennes de Bobby Hutcherson sur The Creator (Now, Blue Note, 1969) et surtout du Lift Every Voice d’Andrew Hill (Blue Note, 1969). Mais, attention, avec une modernité et une sudafricanéïté sans appel, écouter le drumming de Mogorosi, tout en appel et en vélocité sur Panic Manic. Transationales sans transaction possible, ces couleurs brûlent. Tout. Le coeur et l’âme réunis. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Tumi Mogorosi : BandcampNew Soil : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Touching Bass presents: Soon Come, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] Touching Bass presents: Soon Come [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 1er Juillet 2022 chez Touching Bass [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/a2469503410_16.jpg » alt= »Touching Bass presents Soon Come » title_text= »Touching Bass presents Soon Come » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Touching Bass presents: Soon Come by keiyaA[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS What is a compilation? A blending ? Yes Sir. As anyone can talk about blending with wine pleasure. Not a fancy mounting, not any compromise for those who have an open mouth for every liquid. We talking here ‘bout a blend of colors and grains. Touching Bass has just released a new compilation. Soon Come, with its promising paradox title, is a perfect example of what compile means. Spread over two 12 inches, two day sides and two night sides, the tracks go from the living room floor to the dancefloor. And back and forth, and back and forth, since this compilation is neither for single use, nor for compartment. Nala Sinephro & Lyle Barton swing Ada in the stars when Camille’s Daughter according to keiyaA languishes on sofa longe. Further on, it is clear and limpid. Ben Hauke turns It On. That’s it. That’s what a compilation is. As effective as an open fridge door to get the last can of RedB. No need for speeches, it’s all in the assembled products. Here, it’s Errol Anderson and Alex Rita who have organized the 22 tracks from the Touching Bass catalog, among which swims the ‘crème brûlée’ (read with french accent, pls) represented by Ego Ella May, Wu-Lu, Clever Austin or Molinaro. The TB commu has now its introduction. With sound and feeling. Neat, indeed. » content_phone= » ENGLISH / FRANÇAIS What is a compilation? A blending ? Yes Sir. As anyone can talk about blending with wine pleasure. Not a fancy mounting, not any compromise for those who have an open mouth for every liquid. We talking here ‘bout a blend of colors and grains. Touching Bass has just released a new compilation. Soon Come, with its promising paradox title, is a perfect example of what compile means. Spread over two 12 inches, two day sides and two night sides, the tracks go from the living room floor to the dancefloor. And back and forth, and back and forth, since this compilation is neither for single use, nor for compartment. Nala Sinephro & Lyle Barton swing Ada in the stars when Camille’s Daughter according to keiyaA languishes on sofa longe. Further on, it is clear and limpid. Ben Hauke turns It On. That’s it. That’s what a compilation is. As effective as an open fridge door to get the last can of RedB. No need for speeches, it’s all in the assembled products. Here, it’s Errol Anderson and Alex Rita who have organized the 22 tracks from the Touching Bass catalog, among which swims the ‘crème brûlée’ (read with french accent, pls) represented by Ego Ella May, Wu-Lu, Clever Austin or Molinaro. The TB commu has now its introduction. With sound and feeling. Neat, indeed. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH What is a compilation? A blending ? Yes Sir. As anyone can talk about blending with wine pleasure. Not a fancy mounting, not any compromise for those who have an open mouth for every liquid. We talking here ‘bout a blend of colors and grains. Touching Bass has just released a new compilation. Soon Come, with its promising paradox title, is a perfect example of what compile means. Spread over two 12 inches, two day sides and two night sides, the tracks go from the living room floor to the dancefloor. And back and forth, and back and forth, since this compilation is neither for single use, nor for compartment. Nala Sinephro & Lyle Barton swing Ada in the stars when Camille’s Daughter according to keiyaA languishes on sofa longe. Further on, it is clear and limpid. Ben Hauke turns It On. That’s it. That’s what a compilation is. As effective as an open fridge door to get the last can of RedB. No need for speeches, it’s all in the assembled products. Here, it’s Errol Anderson and Alex Rita who have organized the 22 tracks from the Touching Bass catalog, among which swims the ‘crème brûlée’ (read with french accent, pls) represented by Ego Ella May, Wu-Lu, Clever Austin or Molinaro. The TB commu has now its introduction. With sound and feeling. Neat, indeed. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] C’est quoi une compile ? Un assemblage ? Alors oui. Comme on parle d’assemblage en plaisir du vin. Pas un savant mélange, pas un compromis pour ceux qui ont la gueule à tout. Un assemblage de teintes et de grains. Touching Bass sort justement une nouvelle compile. Soon Come, au titre de paradoxe prometteur, est un exemple parfait de ce que compile veut dire. Répartis sur deux 12 pouces, deux faces de jour et deux faces de nuit, les tracks s’enchainent de la piste de salon à la piste du dancefloor. Et allers-retours, et retours-allers, puisque cette compile n’est ni à usage unique, ni à compartiment. Nala Sinephro & Lyle Barton balance Ada dans les étoiles quand la Camille’s Daughter selon keiyaA s’alanguit sur sofa lounge. Plus loin, c’est clair et limpide. Ben Hauke turns It On. Voilà. C’est ça une compile. Aussi efficace qu’une porte de frigo ouverte pour récup la der canette de RedB. Pas besoin de discours, tout est dans les
Kofū, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] MEITEI, Kofū [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] repress le 1er juillet 2022 sur Kitchen. Label [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/meitei2.jpg » alt= »Kofū de Meitei » title_text= »Kofū de Meitei » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » global_colors_info= »{} »]Kofū / 古風 by Meitei / 冥丁[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling. » content_phone= » ENGLISH / FRANÇAIS Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Vacillante et têtue. Ainsi va la musique de Meitei. Sur Kofū, dernier volet de sa trilogie japonaise comme sur les précédents, Kwaidan puis Komachi. Ces deux premiers disques explorait les histoires de fantômes au Japon puis les vents terrestres et l’électricité statique dans leur force consolatrice. Kofū creuse encore un peu plus. Dans l’ambiance et l’esthétique révolue du vieux Japon. Avec une humilité et une drôlerie affirmées, Meitei construit patiemment son arche de délicatesse, arche franchissant le pas entre une modernité absolue, Oiran I, et des sons quasi documentaires, Shōnen. Art des contraires, volonté de choc musical, Meitei ne force cependant pas les choses. Mails ils les brouillent, à renforts de bouclages, de glitch mélodiques et d’obsession sonores. La mémoire qui agit, ainsi, dans ce disque, est celle de spectres flottants superbement dans le creux du tympan. Le passé et l’imaginaire dansent ensemble sur les phases de piano, détachées et perlées, sur l’électronique dont la modestie vise la méditation et une forme de sacré parfait. Ebréché et turbulent, apaisé et férocement social. Presque une définition de ce que peut ou doit être toute musique. Ténue et frémissante. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Meitei : BandcampKitchen. Label : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Symphonic Tone Poem for Brother Yusef, chronique
Loco Burn Ad, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] NCY Milky Band, Loco Burn Ad [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] sorti du single le 29 Juin 2022 chez BMM Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/ncymilkyband.jpg » alt= »Loco Burn Ad de Ncy Milky Band » title_text= »Loco Burn Ad de Ncy Milky Band » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » hover_enabled= »0″ border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} » sticky_enabled= »0″][/et_pb_image][et_pb_audio title= »Loco Burn Ad (feat. Sr. Tumbao & Cotchei) » artist_name= »NCY Milky Band » _builder_version= »4.17.4″ _module_preset= »default » title_text= »Loco Burn Ad (feat. Sr. Tumbao & Cotchei) » audio= »https://pointbreak.fr/wp-content/uploads/2022/06/NCY-Milky-Band-Loco-Burn-Ad-01-Loco-Burn-Ad-feat.-Sr.-Tumbao-Cotchei.mp3″ hover_enabled= »0″ sticky_enabled= »0″][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Smile, it’s summer. We’ve seen it over and over again, this promotional gimmick. But still, a cliché will never prevent anyone from smiling at the first tremors of the thermometer. And it’s not this next tiny thing that will fix the deal. The NCY Milky Band releases Loco Burn Ad as an addendum to their album ‘Burn’In‘, as an addendum to the last single, ‘Le Cascadeur Fleuriste, pt.1’. This last one floated in the petals of an elegant and cottony nostalgia, ‘Loco Burn Ad’ gets 180° and leaves on the sunny roads, bare arms and rosy cheeks. It probably fell out of the ‘Burn’In’ sessions’ boxes. It burns gently the same, it’s heady the same, it’s very good the same. Flute as the one Bobbi Humphrey knew how to play, snare drum beat quite lounge, chillin’ bass. And to increase the summer vibe of this Loco, the vocals and chorus of Sr. Tumbao & Cotchei. The doors of the cabriolet are closed and the highway is just facing us baby. But this track is only 2’20. We’ll have to choose : loop to Liguria or stop in next fuckin’ town. Damn. » content_phone= » ENGLISH / FRANÇAIS Smile, it’s summer. We’ve seen it over and over again, this promotional gimmick. But still, a cliché will never prevent anyone from smiling at the first tremors of the thermometer. And it’s not this next tiny thing that will fix the deal. The NCY Milky Band releases Loco Burn Ad as an addendum to their album ‘Burn’In‘, as an addendum to the last single, ‘Le Cascadeur Fleuriste, pt.1’. This last one floated in the petals of an elegant and cottony nostalgia, ‘Loco Burn Ad’ gets 180° and leaves on the sunny roads, bare arms and rosy cheeks. It probably fell out of the ‘Burn’In’ sessions’ boxes. It burns gently the same, it’s heady the same, it’s very good the same. Flute as the one Bobbi Humphrey knew how to play, snare drum beat quite lounge, chillin’ bass. And to increase the summer vibe of this Loco, the vocals and chorus of Sr. Tumbao & Cotchei. The doors of the cabriolet are closed and the highway is just facing us baby. But this track is only 2’20. We’ll have to choose : loop to Liguria or stop in next fuckin’ town. Damn. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH Smile, it’s summer. We’ve seen it over and over again, this promotional gimmick. But still, a cliché will never prevent anyone from smiling at the first tremors of the thermometer. And it’s not this next tiny thing that will fix the deal. The NCY Milky Band releases Loco Burn Ad as an addendum to their album ‘Burn’In‘, as an addendum to the last single, ‘Le Cascadeur Fleuriste, pt.1’. This last one floated in the petals of an elegant and cottony nostalgia, ‘Loco Burn Ad’ gets 180° and leaves on the sunny roads, bare arms and rosy cheeks. It probably fell out of the ‘Burn’In’ sessions’ boxes. It burns gently the same, it’s heady the same, it’s very good the same. Flute as the one Bobbi Humphrey knew how to play, snare drum beat quite lounge, chillin’ bass. And to increase the summer vibe of this Loco, the vocals and chorus of Sr. Tumbao & Cotchei. The doors of the cabriolet are closed and the highway is just facing us baby. But this track is only 2’20. We’ll have to choose : loop to Liguria or stop in next fuckin’ town. Damn. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Souriez, c’est l’été. On l’aura vu, vu et revu, ce gimmick de promo-vente. Mais pourtant un cliché, ça n’empêchera jamais personne de sourire aux premiers tremblements de thermomètre. Et ce n’est pas cette next tiny thing qui arrangera la donne. Le NCY Milky Band sort Loco Burn Ad comme un additif à leur album Burn’In, comme un addendum au dernier simple, Le Cascadeur Fleuriste, pt.1. Ce dernier flottait dans les pétales d’une nostalgie élégante et cotonneuse, Loco Burn Ad prend un 180 et part sur les routes ensoleillées, bras nus et les joues rosies. C’est sans doute tombé des cartons des sessions de Burn’In. Ça brûle doucement pareil, c’est entêtant pareil, c’est très bon pareil. Flûte pointilleuse comme Bobbi Humphrey savait l’être, battue de caisse claire tout à fait lounge, basse en goguette. Et pour appuyer la summer vibe de ce Loco, les chants et chœurs de Sr. Tumbao & Cotchei. Les portières de la decap’ sont fermées et l’autoroute est devant nous, bébé. Reste que cette petite pépite n’aligne que 2’20. Va falloir choisir : en boucle jusqu’en Ligurie ou stopper en Plaine de Sâone. Chaud. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] —NCY Milky Band : PlaylistBMM Records : Les Tutos de PBK [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Remember Your North Star, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] YAYA BEY, Remember Your North Star [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] sorti le 17 Juin 2022 chez Big Dada [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/a1660335418_10.jpg » alt= »Remember Your North Star de Yaya Bey » title_text= »Remember Your North Star de Yaya Bey » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » hover_enabled= »0″ border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} » sticky_enabled= »0″][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » hover_enabled= »0″ sticky_enabled= »0″]Remember Your North Star by yaya bey[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. » content_phone= » ENGLISH / FRANÇAIS Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Parfois la musique provoque juste du plaisir. D’autres fois, elle permet de se défouler. Complètement cathartique. Autant pour ceux qui la font que ceux qui l’écoutent. Aristote ne pourrait pas dire le contraire. Remember Your North Star de Yaya Bey a cet effet purificateur. Le nouvel album de la storytelleuse est une thérapie. Beaucoup plus efficace qu’un livre de développement personnel de Lise Bourbeau. 18 titres parsemés de skits poétiques. En 30 secondes, libation manifeste les larmes écoulées en secret par les femmes. Les femmes et plus précisément les femmes noires. En plus d’être une conteuse troublante, Yaya Bey pose en chanson les conséquences de la misogynoir. Elle expose les faits. Des faits énoncés en toute humilité. Sans révolte, sans jugements. Juste une réalité. Une réalité soulignée avec optimisme sur big daddy ya et keisha. La chanteuse de RnB ne s’amuse pas à faire culpabiliser avec des prods sombres et solennelles. Au contraire, le tout est joyeux et apaisé. Yaya Bey cale son flow sur l’instru chill et lo-fi de nobody knows. alright réchauffe l’ambiance avec son jazz entraînant. Complètement excitant. Parfois la musique secrète de l’endorphine. D’autres fois, elle rentre dans les pensées et soulage pour toujours. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] —Yaya Bey : Site WebBig Dada : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]