Space Time And Mirror, chronique
Panamá 77, chronique
Depuis Longtemps, chronique
Honk If You’re Sad, 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= »4.17.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] EBI SODA, Honk If You’re Sad [/et_pb_text][et_pb_text _builder_version= »4.17.3″ 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 29 avril 2022 chez Tru Thoughts [/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/2022/05/a2683061531_10.jpg » alt= »Honk If You’re Sad de Ebi Soda » title_text= »Honk If You’re Sad de Ebi Soda » _builder_version= »4.17.3″ _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= »4.17.3″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]Honk If You're Sad by Ebi Soda[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS One more must-have on the menu of today’s jazz? Yes, Sir. Ebi Soda is picking up the bill. The British quintet arrives on the Tru Thoughts label to serve ‘Honk If You’re Sad’ on a silver platter. The five musicians innovate and experiment between drill, soul, no wave, hip-hop and electronic music. Bye, bye the conventions, hello the beautiful organised mess. The banquet of artists mixes the fundamentals with the current scene and ‘Tang of the Zest’ makes your mouth water. It’s progressive. And it’s very hype. Their speciality? Alternating between frenetic rhythms and ambient moments. Constant recipe. Constant effects. Frenetic horns, breakbeat drums and expansive soundscape. Bam. ‘Yoshi Orange’ arrives to put a second slap and push the band’s boundaries ever further. As a pillar of contraband, Yazz Ahmed, who assured the shift in 2017 with ‘La Saboteuse’, serves up an addictive solo on ‘Chandler’. It’s a pure hit, like the rest of the record. A great service. ‘Honk If You’re Sad’ is already well starred. » content_phone= » ENGLISH / FRANÇAIS One more must-have on the menu of today’s jazz? Yes, Sir. Ebi Soda is picking up the bill. The British quintet arrives on the Tru Thoughts label to serve ‘Honk If You’re Sad’ on a silver platter. The five musicians innovate and experiment between drill, soul, no wave, hip-hop and electronic music. Bye, bye the conventions, hello the beautiful organised mess. The banquet of artists mixes the fundamentals with the current scene and ‘Tang of the Zest’ makes your mouth water. It’s progressive. And it’s very hype. Their speciality? Alternating between frenetic rhythms and ambient moments. Constant recipe. Constant effects. Frenetic horns, breakbeat drums and expansive soundscape. Bam. ‘Yoshi Orange’ arrives to put a second slap and push the band’s boundaries ever further. As a pillar of contraband, Yazz Ahmed, who assured the shift in 2017 with ‘La Saboteuse’, serves up an addictive solo on ‘Chandler’. It’s a pure hit, like the rest of the record. A great service. ‘Honk If You’re Sad’ is already well starred. » content_last_edited= »on|phone » _builder_version= »4.17.3″ _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 One more must-have on the menu of today’s jazz? Yes, Sir. Ebi Soda is picking up the bill. The British quintet arrives on the Tru Thoughts label to serve ‘Honk If You’re Sad’ on a silver platter. The five musicians innovate and experiment between drill, soul, no wave, hip-hop and electronic music. Bye, bye the conventions, hello the beautiful organised mess. The banquet of artists mixes the fundamentals with the current scene and ‘Tang of the Zest’ makes your mouth water. It’s progressive. And it’s very hype. Their speciality? Alternating between frenetic rhythms and ambient moments. Constant recipe. Constant effects. Frenetic horns, breakbeat drums and expansive soundscape. Bam. ‘Yoshi Orange’ arrives to put a second slap and push the band’s boundaries ever further. As a pillar of contraband, Yazz Ahmed, who assured the shift in 2017 with ‘La Saboteuse’, serves up an addictive solo on ‘Chandler’. It’s a pure hit, like the rest of the record. A great service. ‘Honk If You’re Sad’ is already well starred. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Un must have de plus au menu du jazz actuel ? Yes, Sir. C’est Ebi Soda qui paie l’addition. Le quintet britannique débarque sur le label Tru Thoughts pour servir Honk If You’re Sad sur un plateau d’argent. Les cinq musiciens innovent et expérimentent entre drill, soul, no wave, hip-hop et musique électronique. Bye bye les conventions, hello le beau bordel organisé. Le banquet d’artistes mixe les fondamentaux jazz à la scène actuelle et Tang of the Zest met direct l’eau à la bouche. C’est progressif. Et ça hype fort. Leur spécialité ? Alterner entre rythmes frénétiques et passages ambiants. Recette constante. Effets constants. Des cuivres frénétiques, des tambours breakbeat et des bails bien expansifs. Bam. Yoshi Orange arrive pour mettre une seconde quecla et repousser toujours plus loin les frontières du groupe. En pilier de la contrebande, Yazz Ahmed qui avait assuré le shift en 2017 avec La Saboteuse, sert un solo bien addictif sur Chandler. De la pure frappe, comme le reste du disque. Du beau service. Honk If You’re Sad est déjà bien étoilé. [/et_pb_text][et_pb_text _builder_version= »4.17.3″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Ebi Soda : BandcampTru thoughts : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Precipice, 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= »4.17.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] DÄLEK, Precipice [/et_pb_text][et_pb_text _builder_version= »4.17.3″ 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 29 avril 2022 chez Ipecac Recordings [/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/2022/05/Dalek-Precipice.jpg » alt= »Precipice de Dälek » title_text= »Precipice de Dälek » _builder_version= »4.17.3″ _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= »4.17.3″ _module_preset= »default » custom_margin= »4em||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Precipice by Dälek[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS %22Tick tock motherfucker%22 ! 4 years after the release of Endangered Philosophies, dälek crew is back in the bullring. And they’re fit for the task: trash this metastasized world. The Will Brooks and Mike Mare duo, aka MC dälek and Mike Manteca, is slapping again the face of hip-hop and noise’s games. Precipice is the title of this album released at the end of April and it joined the Ipecac crew, indie label created in 1999 by Mike Patton. No less. 10 tracks that make you closely feel the asphalt. And it scratches you hard. Lest We Forget, is full instrumentation and announces the darkness of the thing. The sound masses drone deeply and The Harbingers do not deceive. dälek grabs reality by the collar and forces the landing. It’s like choking on a cup of tar. No milk, no sugar. As bitter as A Heretic’s Inheritance. The sound sweats resentment and it’s heavy. In every sense of the word. The sound sum makes hover this blood rusted warehouse background atmosphere. It gazes injustice right in the eyes, too. Doesn’t give a fuck if the gods are angered. The duo points offenders with the middle finger. And stands up loud and clear. Just to put backs against the wall and faces in front of the precipice. » content_phone= » ENGLISH / FRANÇAIS %22Tick tock motherfucker%22 ! 4 years after the release of Endangered Philosophies, dälek crew is back in the bullring. And they’re fit for the task: trash this metastasized world. The Will Brooks and Mike Mare duo, aka MC dälek and Mike Manteca, is slapping again the face of hip-hop and noise’s games. Precipice is the title of this album released at the end of April and it joined the Ipecac crew, indie label created in 1999 by Mike Patton. No less. 10 tracks that make you closely feel the asphalt. And it scratches you hard. Lest We Forget, is full instrumentation and announces the darkness of the thing. The sound masses drone deeply and The Harbingers do not deceive. dälek grabs reality by the collar and forces the landing. It’s like choking on a cup of tar. No milk, no sugar. As bitter as A Heretic’s Inheritance. The sound sweats resentment and it’s heavy. In every sense of the word. The sound sum makes hover this blood rusted warehouse background atmosphere. It gazes injustice right in the eyes, too. Doesn’t give a fuck if the gods are angered. The duo points offenders with the middle finger. And stands up loud and clear. Just to put backs against the wall and faces in front of the precipice. » content_last_edited= »on|phone » _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH « Tick tock motherfucker » ! 4 years after the release of Endangered Philosophies, dälek crew is back in the bullring. And they’re fit for the task: trash this metastasized world.The Will Brooks and Mike Mare duo, aka MC dälek and Mike Manteca, is slapping again the face of hip-hop and noise’s games. Precipice is the title of this album released at the end of April and it joined the Ipecac crew, indie label created in 1999 by Mike Patton. No less.10 tracks that make you closely feel the asphalt. And it scratches you hard. Lest We Forget, is full instrumentation and announces the darkness of the thing. The sound masses drone deeply and The Harbingers do not deceive. dälek grabs reality by the collar and forces the landing. It’s like choking on a cup of tar. No milk, no sugar. As bitter as A Heretic’s Inheritance. The sound sweats resentment and it’s heavy. In every sense of the word. The sound sum makes hover this blood rusted warehouse background atmosphere. It gazes injustice right in the eyes, too. Doesn’t give a fuck if the gods are angered. The duo points offenders with the middle finger. And stands up loud and clear. Just to put backs against the wall and faces in front of the precipice. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] « Tick tock motherfucker » ! 4 ans après la sortie d’Endangered Philosophies, le crew dälek est de retour dans l’arène. Et il est prêt à en découdre avec ce monde métastasé. Le duo composé de Will Brooks et Mike Mare, aka MC dälek et Mike Manteca, met une nouvelle claque aux games du hip-hop et du noise. Precipice, c’est le titre de cet album paru fin avril. Il s’ajoute à la collec’ de l’écurie Ipecac, le label indé créé en 1999 par Mike Patton. Rien que ça. Un total de 10 titres qui font tâter l’asphalte de très près. Et ça écorche fort. Lest We Forget, est full instru et annonce la noirceur du truc. Les masses sonores bourdonnent et les signes avant-coureurs ne trompent pas. dälek, ça chope la réalité par le col et ça force l’atterrissage. C’est comme s’asphyxier avec une tasse de marée noire. Sans lait, ni sucre. Aussi amer qu’A Heretic’s Inheritance. Le son transpire de rancœur et c’est lourd. Dans tous les sens du terme. L’agrégat sonore fait planer cette ambiance de fond d’entrepôt rouillé de sang et inculpe l’injustice droit dans les yeux. Rien à foutre que les dieux soient en colère. Le duo pointe du majeur les coupables. Et se lève bien haut
Bi Cinnete Bakar, 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= »4.17.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] LALALAR, Bi Cinnete Bakar [/et_pb_text][et_pb_text _builder_version= »4.17.3″ 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 6 mai 2022 chez Bongo Joe [/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/2022/05/Lalalar.jpg » alt= »Bi Cinnete Bakar de Lalalar » title_text= »Bi Cinnete Bakar de Lalalar » _builder_version= »4.17.3″ _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= »4.17.3″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]Bi Cinnete Bakar by Lalalar[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Pleonasm, Turkish Psychedelism? Quite possible, Sir. You may be right considering what a city like Istanbul offers in terms of diversity and cultural bubbling. And of oblique wisdoms too. This is the very principle of Lalalar’s music: %22Lala is the wise man, the teacher of the sultans in Ottoman history. And at the same time, in Turkish slang, it is the one who does not know what he is talking about. Language as opposite of brain. Genius principle indeed. That is the one that irrigates Bi Cinnete Bakar, nice stone thrown by Ali Güçlü Şimşek, Barlas Tan Özemek and Kaan Düzarat in Bosphorus waters. Fat as a loukoum, enduring as a turning dervish and to end with perfect cliché, global as the current world sound. From Isyanlar, and its electro power mixed with its small noise raining in the background, to burning Abla Deme Lazim Olur. It is the rule here, everything collides and jostles, everything is tended towards an immediate pleasure, this disc really speaks to the hips and to the perineum, towards a happiness of listening where hypnosis can fall on you on the corner of the helmet at any moment. Bi Cinnete Bakar is a direct extension of Baba Zula’s or Electro Hafiz’s discoveries and openings, but more open, more voluble. Girond, even. Political and wise, also underneath, but only under the blue glitter of a track like Kilavuz Karga. Yummy, Yam Yam, it is Yum Yum. » content_phone= » ENGLISH / FRANÇAIS Pleonasm, Turkish Psychedelism? Quite possible, Sir. You may be right considering what a city like Istanbul offers in terms of diversity and cultural bubbling. And of oblique wisdoms too. This is the very principle of Lalalar’s music: %22Lala is the wise man, the teacher of the sultans in Ottoman history. And at the same time, in Turkish slang, it is the one who does not know what he is talking about. Language as opposite of brain. Genius principle indeed. That is the one that irrigates Bi Cinnete Bakar, nice stone thrown by Ali Güçlü Şimşek, Barlas Tan Özemek and Kaan Düzarat in Bosphorus waters. Fat as a loukoum, enduring as a turning dervish and to end with perfect cliché, global as the current world sound. From Isyanlar, and its electro power mixed with its small noise raining in the background, to burning Abla Deme Lazim Olur. It is the rule here, everything collides and jostles, everything is tended towards an immediate pleasure, this disc really speaks to the hips and to the perineum, towards a happiness of listening where hypnosis can fall on you on the corner of the helmet at any moment. Bi Cinnete Bakar is a direct extension of Baba Zula’s or Electro Hafiz’s discoveries and openings, but more open, more voluble. Girond, even. Political and wise, also underneath, but only under the blue glitter of a track like Kilavuz Karga. Yummy, Yam Yam, it is Yum Yum. » content_last_edited= »on|phone » _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Pleonasm, Turkish Psychedelism? Quite possible, Sir. You may be right considering what a city like Istanbul offers in terms of diversity and cultural bubbling. And of oblique wisdoms too. This is the very principle of Lalalar’s music: « Lala is the wise man, the teacher of the sultans in Ottoman history. And at the same time, in Turkish slang, it is the one who does not know what he is talking about. Language as opposite of brain. Genius principle indeed. That is the one that irrigates Bi Cinnete Bakar, nice stone thrown by Ali Güçlü Şimşek, Barlas Tan Özemek and Kaan Düzarat in Bosphorus waters. Fat as a loukoum, enduring as a turning dervish and to end with perfect cliché, global as the current world sound. From Isyanlar, and its electro power mixed with its small noise raining in the background, to burning Abla Deme Lazim Olur. It is the rule here, everything collides and jostles, everything is tended towards an immediate pleasure, this disc really speaks to the hips and to the perineum, towards a happiness of listening where hypnosis can fall on you on the corner of the helmet at any moment. Bi Cinnete Bakar is a direct extension of Baba Zula’s or Electro Hafiz’s discoveries and openings, but more open, more voluble. Girond, even. Political and wise, also underneath, but only under the blue glitter of a track like Kilavuz Karga. Yummy, Yam Yam, it is Yum Yum. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Pléonasme, le Turkish Psychedelism ? Fort possible, à voir ce qu’une ville comme Istanbul affiche de diversité et de bouillonnements. Et de sagesses obliques aussi. C’est le principe, la base de la musique de Lalalar : « Lala, c’est le sage, le professeur des sultans dans l’histoire ottomane. Et en même temps, en argot, c’est celui qui ne sait pas de quoi il parle ». La langue à revers du cervelet. Génial principe qui irrigue Bi Cinnete Bakar, brique lancée par Ali Güçlü Şimşek, Barlas Tan Özemek et Kaan Düzarat dans les eaux du Bosphore. Fat comme un loukoum, endurant comme un derviche et pour finir en cliché parfait, global comme la sono mondiale actuelle. Dès Isyanlar, et sa puissance electro mêlée à la petite
Strata Records : The Sound of Detroit, 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= »4.17.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] JAZZANOVA X DJ AMIR, Strata Records – The Sound of Detroit – Reimagined by Jazzanova [/et_pb_text][et_pb_text _builder_version= »4.17.3″ 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 avril 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/2022/04/Strata.jpg » alt= »Strata Records The sound of Detroit reimagined by JazzaNova » title_text= »Strata Records The sound of Detroit reimagined by JazzaNova » _builder_version= »4.17.3″ _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= »4.17.3″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]Strata Records – The Sound of Detroit – Reimagined By Jazzanova by Jazzanova[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS It seems that happiness can be cultivated. That’s why we renew with the legendary label of the 70’s. A leap in time of fifty years and seven thousand kilometers under the sea. Detroit meets Berlin. DJ Amir does the spadework for the revolutionary Berlin quintet. Jackpot. A flood of artists might find it intimidating to come back with a project of this magnitude. But Jazzanova is not a flood of artists. It is rather an entity in constant evolution. To that end, 180 Proof Records and BBE have teamed up, again, to reintroduce eleven gems from the Strata catalog to the contemporary public. Away from the reef, Malauwi’s Root in 7/4 Plus and Haefeli’s voice cover a dense ten-minute span. It is meditative. And shipwreck-free with such a crew. The famous five incorporates elements of Afrobeat, Latin grooves, broken rhythm and electronic influences into the classical. The lo-fi jazz funk of Lyman Woodard’s signature tracks, Saturday Night Special and Creative Musicians, drown in Sex On The Beach. And it is without moderation, please. » content_phone= » ENGLISH / FRANÇAIS It seems that happiness can be cultivated. That’s why we renew with the legendary label of the 70’s. A leap in time of fifty years and seven thousand kilometers under the sea. Detroit meets Berlin. DJ Amir does the spadework for the revolutionary Berlin quintet. Jackpot. A flood of artists might find it intimidating to come back with a project of this magnitude. But Jazzanova is not a flood of artists. It is rather an entity in constant evolution. To that end, 180 Proof Records and BBE have teamed up, again, to reintroduce eleven gems from the Strata catalog to the contemporary public. Away from the reef, Malauwi’s Root in 7/4 Plus and Haefeli’s voice cover a dense ten-minute span. It is meditative. And shipwreck-free with such a crew. The famous five incorporates elements of Afrobeat, Latin grooves, broken rhythm and electronic influences into the classical. The lo-fi jazz funk of Lyman Woodard’s signature tracks, Saturday Night Special and Creative Musicians, drown in Sex On The Beach. And it is without moderation, please. » content_last_edited= »on|phone » _builder_version= »4.17.3″ _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 It seems that happiness can be cultivated. That’s why we renew with the legendary label of the 70’s. A leap in time of fifty years and seven thousand kilometers under the sea. Detroit meets Berlin. DJ Amir does the spadework for the revolutionary Berlin quintet. Jackpot. A flood of artists might find it intimidating to come back with a project of this magnitude. But Jazzanova is not a flood of artists. It is rather an entity in constant evolution. To that end, 180 Proof Records and BBE have teamed up, again, to reintroduce eleven gems from the Strata catalog to the contemporary public. Away from the reef, Malauwi’s Root in 7/4 Plus and Haefeli’s voice cover a dense ten-minute span. It is meditative. And shipwreck-free with such a crew. The famous five incorporates elements of Afrobeat, Latin grooves, broken rhythm and electronic influences into the classical. The lo-fi jazz funk of Lyman Woodard’s signature tracks, Saturday Night Special and Creative Musicians, drown in Sex On The Beach. And it is without moderation, please. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Askip le bonheur ça se cultive. That’s why on renouvelle avec le légendaire label des 70’s. Un bond dans le temps de cinquante ans et sept mille kilomètres sous les mers. Detroit rencontre Berlin. DJ Amir défriche le quintet révolutionnaire berlinois. Jackpot. Un flot d’artistes pourraient trouver intimidant de revenir avec un projet de cette ampleur. Mais Jazzanova n’est pas un flot d’artistes. Il s’agit plutôt d’une entité en constant devenir. Pour cela, le label 180 Proof Records et la maison BBE s’associent, again, pour réintroduire au public contemporain onze pépites du catalogue Strata. Loin du récif, Root in 7/4 Plus de Malauwi et la voix de Haefeli couvrent une étendue dense de dix minutes. C’est méditatif. Et sans naufrage avec un tel équipage. Le club des cinq incorpore des éléments d’afrobeat, de grooves latins, de rythmes brisés et d’influences éléctroniques au classique. Le jazz funk lo-fi des tracks phares, Saturday Night Special et Creative Musicians de Lyman Woodard se noient dans les Sex On The Beach. Et c’est sans modération, please. [/et_pb_text][et_pb_text _builder_version= »4.17.3″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Strata Records,Volume 1 : ChroniqueBBE Music : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Ka-Frobeat, 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= »4.17.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] MAGIC MALIK, Ka-Frobeat [/et_pb_text][et_pb_text _builder_version= »4.17.3″ 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= »{} »] sortie le 22 avril 2022 chez Onze Heures Onze [/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/2022/04/magicmalik.jpg » alt= »Ka-Frobeat de Magic Malik » title_text= »Ka-Frobeat de Magic Malik » _builder_version= »4.17.3″ _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= »4.17.3″ _module_preset= »default » custom_margin= »4em||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Magic Malik Ka-Frobeat by Magic Malik Ka-Frobeat[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Territory and language. This Magic Malik Ka-Frobeat reallocates maps out of any acquired habits. No other choice for the listener than to extend the deconstruction of the colonial-slavery past begun in France and the United Kingdom by the Caribbean diaspora, by African masters throughout the world. Language and Territory. One supplants the other. Langage is Territory. For any human. Happy cross-overs can happen, ad infinitum. Active kréol, afrobeat in juxtaposition. It’s Tony Allen and Fela visiting the land of Ka, Guadeloupe and the West Indies. This Ka, it is the traditional drum, master of story and of a music unceasingly one and several at the same time. ‘Pa Fé Nwen Jiré ManMan Zòt’ is a cristal clear example of the strength of this record. Kala on vocals, Zampieri on discreet afrodrive and the jazz-modest thrusts of the rest of the band. The Atlantic shrinks in one fell swoop. The rest of Ka-Frobeat is in unison with this perfect gesture that makes the oceans the size of a strait. ‘All Bitten Bout’, more animated stretches its bridges, ‘Flé Koulev’, sings on the crossing of a disarming simple ritornello. Language flowing, never able to be caught in none of any crack of the Territory. » content_phone= » ENGLISH / FRANÇAIS Territory and language. This Magic Malik Ka-Frobeat reallocates maps out of any acquired habits. No other choice for the listener than to extend the deconstruction of the colonial-slavery past begun in France and the United Kingdom by the Caribbean diaspora, by African masters throughout the world. Language and Territory. One supplants the other. Langage is Territory. For any human. Happy cross-overs can happen, ad infinitum. Active kréol, afrobeat in juxtaposition. It’s Tony Allen and Fela visiting the land of Ka, Guadeloupe and the West Indies. This Ka, it is the traditional drum, master of story and of a music unceasingly one and several at the same time. ‘Pa Fé Nwen Jiré ManMan Zòt’ is a cristal clear example of the strength of this record. Kala on vocals, Zampieri on discreet afrodrive and the jazz-modest thrusts of the rest of the band. The Atlantic shrinks in one fell swoop. The rest of Ka-Frobeat is in unison with this perfect gesture that makes the oceans the size of a strait. ‘All Bitten Bout’, more animated stretches its bridges, ‘Flé Koulev’, sings on the crossing of a disarming simple ritornello. Language flowing, never able to be caught in none of any crack of the Territory. » content_last_edited= »on|phone » _builder_version= »4.17.3″ _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 Territory and language. This Magic Malik Ka-Frobeat reallocates maps out of any acquired habits. No other choice for the listener than to extend the deconstruction of the colonial-slavery past begun in France and the United Kingdom by the Caribbean diaspora, by African masters throughout the world. Language and Territory. One supplants the other. Langage is Territory. For any human. Happy cross-overs can happen, ad infinitum. Active kréol, afrobeat in juxtaposition. It’s Tony Allen and Fela visiting the land of Ka, Guadeloupe and the West Indies. This Ka, it is the traditional drum, master of story and of a music unceasingly one and several at the same time. ‘Pa Fé Nwen Jiré ManMan Zòt’ is a cristal clear example of the strength of this record. Kala on vocals, Zampieri on discreet afrodrive and the jazz-modest thrusts of the rest of the band. The Atlantic shrinks in one fell swoop. The rest of Ka-Frobeat is in unison with this perfect gesture that makes the oceans the size of a strait. ‘All Bitten Bout’, more animated stretches its bridges, ‘Flé Koulev’, sings on the crossing of a disarming simple ritornello. Language flowing, never able to be caught in none of any crack of the Territory. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Le Territoire et la langue. Ce Magic Malik Ka-Frobeat recompose les cartes hors de toute habitude acquise. Pas d’autres choix pour l’auditeur que de prolonger les déconstructions du passé colonio-esclavagiste entamé en France et au Royaume-Uni par la diaspora caribéenne, par les maitres africains dans le mode entier. La langue et le Territoire. L’un supplante l’autre. La langue, c’est le territoire d’un humain. Les croisements heureux peuvent avoir lieu, indéfiniment. kréol actif, afrobeat en juxtaposition. C’est Tony Allen et Fela en visite sur les terres du Ka, Guadeloupe et Antilles. Ce Ka, c’est la tambour tradi, maitre de récit et d’une musique sans cesse une et plusieurs à la fois. Pa Fé Nwen Jiré ManMan Zòt se pose en exemple clair de la force de ce disque. Kala au chant, Zampieri à l’afrodrive discret et les poussées jazz-modestes du reste du band. L’Atlantique rétrécit d’un coup d’un seul. Le reste de Ka-Frobeat est à l’unisson de ce geste parfait qui rend les océans à la taille des détroits. Tout Bitten Bout, plus animé tend des passerelles, Flé Koulev, chantonne sur la traversée enjambée d’une ritournelle à la simplicité désarmante. La langue prise dans aucune des failles du territoire. [/et_pb_text][et_pb_text _builder_version= »4.17.3″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Magic Malik : Site WebCollectif Onze Heures Onze : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Breaking The Thermometer, 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= »4.17.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] LEYLA McCALLA, Breaking The Thermometer [/et_pb_text][et_pb_text _builder_version= »4.17.3″ 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= »{} »] sortie le 6 mai 2022 chez ANTI- [/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/2022/04/leyla-mccalla-breaking-the-thermometer-art-1.jpg » alt= »Breaking The Thermometer de Leyla McCalla » title_text= »Breaking The Thermometer de Leyla McCalla » _builder_version= »4.17.3″ _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= »4.17.3″ _module_preset= »default » custom_margin= »4em||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Breaking The Thermometer by Leyla McCalla[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Bitter-Sweet paradox. Behind the serene flow of Leyla McCalla’s voice, ‘Breaking The Thermometer’ rummages in the swamps of racial and social long-timed struggles. Haiti is the hunting ground for this album. Trad songs and trailers establish its structure, the cello/banjo doublet sets the familiar. Since the magnificent ‘Vari-Colored Songs’ reissued last year, Leyla McCalla has been deepening her perso-ethno research: %22The more I researched this project, the more I found myself examining my own relationship to Haiti. I spent a lot of time thinking about my visits to Haiti as a child, reflecting deeply on the times in my life when I felt very Haitian and the times when I didn’t.%22 A long dive into the archives and the trajectory of Radio Haiti, then back into the open air with these 13 songs, perfectly intranquil, genially compelling. ‘Dodinin’ is clearly humble, ‘Bal est Fini’ is raging and ‘Memory Song’ inevitably melancholic. But what makes the price of this McCalla’s record is the juxtaposition between a superb naivety and the fascinating complexity of Kreyol syncretism. This music stands at the crossroads of musical arrangements at the service of the subject and a unifying subject left floating at human height. Invigorating and reassuring. Fiercey paradox. » content_phone= » ENGLISH / FRANÇAIS Bitter-Sweet paradox. Behind the serene flow of Leyla McCalla’s voice, ‘Breaking The Thermometer’ rummages in the swamps of racial and social long-timed struggles. Haiti is the hunting ground for this album. Trad songs and trailers establish its structure, the cello/banjo doublet sets the familiar. Since the magnificent ‘Vari-Colored Songs’ reissued last year, Leyla McCalla has been deepening her perso-ethno research: %22The more I researched this project, the more I found myself examining my own relationship to Haiti. I spent a lot of time thinking about my visits to Haiti as a child, reflecting deeply on the times in my life when I felt very Haitian and the times when I didn’t.%22 A long dive into the archives and the trajectory of Radio Haiti, then back into the open air with these 13 songs, perfectly intranquil, genially compelling. ‘Dodinin’ is clearly humble, ‘Bal est Fini’ is raging and ‘Memory Song’ inevitably melancholic. But what makes the price of this McCalla’s record is the juxtaposition between a superb naivety and the fascinating complexity of Kreyol syncretism. This music stands at the crossroads of musical arrangements at the service of the subject and a unifying subject left floating at human height. Invigorating and reassuring. Fiercey paradox. » content_last_edited= »on|phone » _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Bitter-Sweet paradox. Behind the serene flow of Leyla McCalla’s voice, ‘Breaking The Thermometer’ rummages in the swamps of racial and social long-timed struggles. Haiti is the hunting ground for this album. Trad songs and trailers establish its structure, the cello/banjo doublet sets the familiar. Since the magnificent ‘Vari-Colored Songs’ reissued last year, Leyla McCalla has been deepening her perso-ethno research: « The more I researched this project, the more I found myself examining my own relationship to Haiti. I spent a lot of time thinking about my visits to Haiti as a child, reflecting deeply on the times in my life when I felt very Haitian and the times when I didn’t. » A long dive into the archives and the trajectory of Radio Haiti, then back into the open air with these 13 songs, perfectly intranquil, genially compelling. ‘Dodinin’ is clearly humble, ‘Bal est Fini’ is raging and ‘Memory Song’ inevitably melancholic. But what makes the price of this McCalla’s record is the juxtaposition between a superb naivety and the fascinating complexity of Kreyol syncretism. This music stands at the crossroads of musical arrangements at the service of the subject and a unifying subject left floating at human height. Invigorating and reassuring. Fiercey paradox. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Magnifique paradoxe. Derrière la sérénité de façade de la voix de Leyla McCalla, Breaking The Thermometer grenouille dans les marigots de lutte raciale et sociale. C’est Haïti qui est le terrain de chasse de cet album-brûlot. Chants trad et bandes-annonces assoient sa structure, la doublette cello/banjo pose le familier. Depuis le magnifique Vari-Colored Songs réédité l’an passé, Leyla McCalla approfondit ses recherches perso-ethno : « Plus je faisais des recherches sur ce projet, plus je me retrouvais à examiner ma propre relation à Haïti. J’ai passé beaucoup de temps à me remémorer mes visites en Haïti quand j’étais enfant, à réfléchir profondément aux moments de ma vie où je me sentais très haïtienne et aux moments où je ne l’étais pas ». Plongée au long cours dans les archives et la trajectoire de Radio Haïti, puis retour à l’air libre avec ces 13 chansons, parfaitement intranquilles, génialement convaincantes. Dodinin est clairement humble, Bal est Fini rageur et Memory Song forcément mélancolique. Mais ce qui fait le prix des disques de McCalla c’est la jonction être une naïveté superbe et la complexité fascinante du syncrétisme kréyol. Ce disque se pose à la croisée d’arrangements musicaux au service du propos et d’un propos fédérateur laissé flottant à hauteur humaine. Vivifiant et rassérénant. Paradoxe magnifique. [/et_pb_text][et_pb_text _builder_version= »4.17.3″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Leyla McCalla : Site WebANTI- : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Hold Steady, chronique
