Yellower vol.1, chronique
Feeding The Machine, chronique
Father’s Wing, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] ROB MAZUREK 4tet,Father’s Wing [/et_pb_text][et_pb_text _builder_version= »4.14.7″ 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 7 février 2022 chez Rogue Art [/et_pb_text][et_pb_divider color= »rgba(255,244,251,0.71) » divider_style= »dotted » divider_position= »center » _builder_version= »4.14.7″ width= »36% » 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/02/FathersWingCover.jpg » alt= »Father’s Wing du Rob Mazurek Quartet » title_text= »Father’s Wing » _builder_version= »4.14.7″ _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/2022/02/5.-From-here-to-there-Fathers-Wing-ROG-0115.wav » title= »From Here To There » artist_name= »Rob Mazurek Quartet » album_name= »Father’s Wing » _builder_version= »4.14.7″ _module_preset= »default » title_font_size= »40px » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS %22I’m always looking for things that can eventually surprise me,%22 says Rob Mazurek before continuing, %22That’s what keeps me going and makes me feel alive. The constant search for that thing that always seems to be out of reach.%22 Alive and out of reach, ‘Father’s Wing’s’ music is too. In its nebulous contractions, in its dynamics entrusted to light electronics or to the powerful tutti played by the quartet in unison. Four living totems of the current improvisation. Mazurek, therefore, supported by Kris Davis, Chad Taylor and Ingebrigt Håker Flaten, a classic formula for an international combo. Unrepentant traveler, it seemed logical that Mazurek would one day end up sticking wings to the title of one of his records. But here, they are those of the padre, protector, worrying and initiator. At the head of this composite quartet in its line-up as in its musical breaks, the protean trumpeter questions his filiation. Dispersed on ‘Ice Castles Of Saturn’, where Sun Ra would play the assistant father figures, weighed and lyrical lineage on the eponymous title or intense and unified genealogy on ‘From Here To There’ where the father flies and overhangs the African roots of jazz. This record, contemplates while dancing, dances while testifying. Of a living music, put out of reach with the only aim of inciting to follow it. Perfect. » content_phone= » ENGLISH / FRANÇAIS %22I’m always looking for things that can eventually surprise me,%22 says Rob Mazurek before continuing, %22That’s what keeps me going and makes me feel alive. The constant search for that thing that always seems to be out of reach.%22 Alive and out of reach, ‘Father’s Wing’s’ music is too. In its nebulous contractions, in its dynamics entrusted to light electronics or to the powerful tutti played by the quartet in unison. Four living totems of the current improvisation. Mazurek, therefore, supported by Kris Davis, Chad Taylor and Ingebrigt Håker Flaten, a classic formula for an international combo. Unrepentant traveler, it seemed logical that Mazurek would one day end up sticking wings to the title of one of his records. But here, they are those of the padre, protector, worrying and initiator. At the head of this composite quartet in its line-up as in its musical breaks, the protean trumpeter questions his filiation. Dispersed on ‘Ice Castles Of Saturn’, where Sun Ra would play the assistant father figures, weighed and lyrical lineage on the eponymous title or intense and unified genealogy on ‘From Here To There’ where the father flies and overhangs the African roots of jazz. This record, contemplates while dancing, dances while testifying. Of a living music, put out of reach with the only aim of inciting to follow it. Perfect. » content_last_edited= »on|phone » _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH « I’m always looking for things that can eventually surprise me, » says Rob Mazurek before continuing, « That’s what keeps me going and makes me feel alive. The constant search for that thing that always seems to be out of reach. » Alive and out of reach, ‘Father’s Wing’s’ music is too. In its nebulous contractions, in its dynamics entrusted to light electronics or to the powerful tutti played by the quartet in unison. Four living totems of the current improvisation. Mazurek, therefore, supported by Kris Davis, Chad Taylor and Ingebrigt Håker Flaten, a classic formula for an international combo. Unrepentant traveler, it seemed logical that Mazurek would one day end up sticking wings to the title of one of his records. But here, they are those of the padre, protector, worrying and initiator. At the head of this composite quartet in its line-up as in its musical breaks, the protean trumpeter questions his filiation. Dispersed on ‘Ice Castles Of Saturn’, where Sun Ra would play the assistant father figures, weighed and lyrical lineage on the eponymous title or intense and unified genealogy on ‘From Here To There’ where the father flies and overhangs the African roots of jazz. This record, contemplates while dancing, dances while testifying. Of a living music, put out of reach with the only aim of inciting to follow it. Perfect. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] « Je suis toujours à la recherche de choses qui peuvent éventuellement me surprendre », dit Rob Mazurek avant de poursuivre : « C’est ce qui me fait avancer et me fait me sentir vivant. La recherche constante de cette chose qui semble toujours être hors de portée. » Vivante et hors de portée, la musique de Father’s Wing l’est aussi. Dans ses contractions nébuleuses, dans ses dynamiques confiées à l’électronique légère ou au tutti puissant joué par le quartet. Quatre totems vivants issus des rangs de l’improvisation actuelle. Mazurek, donc, épaulé par Kris Davis, Chad Taylor et Ingebrigt Håker Flaten, formule classique pour un combo international. Voyageur impénitent, il semblait logique que Mazurek finisse un jour par coller des ailes au titre d’un de ses disques. Mais ici, ce sont celles du padre, protecteur, inquiétant et initiateur. À la tête de ce quartet composite dans son line-up comme dans ses ruptures musicales, le trompettiste protéïforme interroge sa filiation. Éparse sur Ice Castles Of Saturn, où Sun Ra jouerait facile les figures paternelles adjointes, lignée pesée et lyrique
Clap Clap! The Joyful Noise, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] KENNY COX,Clap Clap! The Joyful Noise [/et_pb_text][et_pb_text _builder_version= »4.14.7″ 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 4 février 2022 chez 180 Proof Records et BBE Music [/et_pb_text][et_pb_divider color= »rgba(255,244,251,0.71) » divider_style= »dotted » divider_position= »center » _builder_version= »4.14.7″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/02/kennycoxcover.jpg » alt= »clap clap! the joyful noise de Kenny Cox » title_text= »clap clap! the joyful noise de Kenny Cox » _builder_version= »4.14.7″ _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/2022/02/Kenny-Cox-Samba-De-Romance-BBE-Music.mp3″ title= »Romance de Samba » artist_name= »Kenny Cox » album_name= »Clap Clap! The Joyful Noise » _builder_version= »4.14.7″ _module_preset= »default » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS ‘Deja-vu’. We’ve already talked here about this world-label, seminal and quickly disappeared from its Detroit base. Like Nessie, it still sticks its head out of waters from time to time and delivers magical and immeasurable feats. The latest to be released is Clap Clap! The Joyful Noise, an unreleased treasure chiseled by Kenny Cox in 1975. January can finally end and February not even begin, this disc is too hot. To melt the most resistant hearts to the idea of jazz. For the others it will be just happiness. High Level. Dream team. The label 180 Proof Records of DJ Amir and BBE Music make dance the codes of the B2B for the release of this jewel. Clap Clap ! The Joyful Noise smiles with a childish pleasure and a Latin joy. South America and the Caribbean fantasized by Kenny Cox palpitates with each measure of Lost My Love or Romance Samba. It is careful on the production and the arrangements. Inexhaustible listening in the lapping to be expected. There are records of which one can regret not to have lived the exit, there are those of which one is moved by their post-mature birth. Joyful and indolent. To the point of healing the most painful of wounds, to the point of thinking the winter hours as armless anecdotes. Splendid music. » content_phone= » ENGLISH / FRANÇAIS ‘Deja-vu’. We’ve already talked here about this world-label, seminal and quickly disappeared from its Detroit base. Like Nessie, it still sticks its head out of waters from time to time and delivers magical and immeasurable feats. The latest to be released is Clap Clap! The Joyful Noise, an unreleased treasure chiseled by Kenny Cox in 1975. January can finally end and February not even begin, this disc is too hot. To melt the most resistant hearts to the idea of jazz. For the others it will be just happiness. High Level. Dream team. The label 180 Proof Records of DJ Amir and BBE Music make dance the codes of the B2B for the release of this jewel. Clap Clap ! The Joyful Noise smiles with a childish pleasure and a Latin joy. South America and the Caribbean fantasized by Kenny Cox palpitates with each measure of Lost My Love or Romance Samba. It is careful on the production and the arrangements. Inexhaustible listening in the lapping to be expected. There are records of which one can regret not to have lived the exit, there are those of which one is moved by their post-mature birth. Joyful and indolent. To the point of healing the most painful of wounds, to the point of thinking the winter hours as armless anecdotes. Splendid music. » content_last_edited= »on|phone » _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH ‘Deja-vu’. We’ve already talked here about this world-label, seminal and quickly disappeared from its Detroit base. Like Nessie, it still sticks its head out of waters from time to time and delivers magical and immeasurable feats. The latest to be released is Clap Clap! The Joyful Noise, an unreleased treasure chiseled by Kenny Cox in 1975. January can finally end and February not even begin, this disc is too hot. To melt the most resistant hearts to the idea of jazz. For the others it will be just happiness. High Level. Dream team. The label 180 Proof Records of DJ Amir and BBE Music make dance the codes of the B2B for the release of this jewel. Clap Clap ! The Joyful Noise smiles with a childish pleasure and a Latin joy. South America and the Caribbean fantasized by Kenny Cox palpitates with each measure of Lost My Love or Romance Samba. It is careful on the production and the arrangements. Inexhaustible listening in the lapping to be expected. There are records of which one can regret not to have lived the exit, there are those of which one is moved by their post-mature birth. Joyful and indolent. To the point of healing the most painful of wounds, to the point of thinking the winter hours as armless anecdotes. Splendid music. [/et_pb_text][et_pb_text _builder_version= »4.14.7″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —BBE Records : bandcamp [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Déjà-vu (à lire avec l’accent anglais, ndlr). On a déjà parlé ici de ce label-monde, séminal et trop rapidement disparu depuis sa base de Détroit. Comme Nessie, il sort encore la tête de l’eau de temps en temps et livre des prouesses magiques et incommensurables. Dernière en date à sortir, ce Clap Clap ! The Joyful Noise, trésor inédit à ce jour, ciselé par Kenny Cox en 1975. Janvier peut enfin terminer et février même pas commencer, ce disque est trop chaud. De quoi faire fondre les cœurs les plus rétifs à l’idée même de jazz. Pour les autres, ce sera le bonheur assuré. Dream team. Le label 180 Proof Records de DJ Amir et BBE Music font danser les codes du B2B pour la sortie de ce joyau. Clap Clap ! The Joyful Noise sourit d’un plaisir enfantin et d’une joie latine. Amérique du Sud et Caraïbes carrément fantasmées par Kenny Cox palpite
Murs absurdes, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] DERVICHE, murs absurdes [/et_pb_text][et_pb_text _builder_version= »4.14.7″ 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 4 février 2022 chez Ayler Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/02/Murs-Absurdes-de-Derviche.jpg » alt= »Murs Absurdes de Derviche » title_text= »Murs Absurdes de Derviche » _builder_version= »4.14.7″ _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= »4.14.7″ _module_preset= »default » hover_enabled= »0″ sticky_enabled= »0″]Murs absurdes by Derviche (Brochard & Favriou)[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS And thaaat’s funny. Building a wall of sound to break some Murs Absurdes, that is funny. But very clever, this Derviche builder. These walls are crossed in luxury but without a trumpet. It’s sonorous, hypnotic and fucking rough. Successor to the eponymous first album, the topo, here fragmented in 5 Séquences, knows some concrete guitar and solid drums. From the beginning, Eric Brochard and Fabrice Favriou dive head first in these 38 sonic minutes. Very free, these minutes. Searchin’ for fragmented melodies, pilin’ up sustains and brassy strikes, playin’ with impossible balances. It thwarts and provokes, rather. It thwarts the habits of the best post-shoegaze (Sequence VII) and provokes furious desires to have your head shake (Sequence IX). Immersive duet, Derviche puts under its skirt the best of the roots of its two henchmen. Eric Brochard is the author of a perfectly ascending double bass solo and Fabrice Favriou knows the value of silences on dance and theater floors. There is nothing absurd here in manipulating a material to excess in order to find a viable outcome. Then comes the immense sound glider that is Sequence X. We could triple this number, so much the pleasure is obvious at the top of this ephemeral wall. » content_phone= » ENGLISH / FRANÇAIS And thaaat’s funny. Building a wall of sound to break some Murs Absurdes, that is funny. But very clever, this Derviche builder. These walls are crossed in luxury but without a trumpet. It’s sonorous, hypnotic and fucking rough. Successor to the eponymous first album, the topo, here fragmented in 5 Séquences, knows some concrete guitar and solid drums. From the beginning, Eric Brochard and Fabrice Favriou dive head first in these 38 sonic minutes. Very free, these minutes. Searchin’ for fragmented melodies, pilin’ up sustains and brassy strikes, playin’ with impossible balances. It thwarts and provokes, rather. It thwarts the habits of the best post-shoegaze (Sequence VII) and provokes furious desires to have your head shake (Sequence IX). Immersive duet, Derviche puts under its skirt the best of the roots of its two henchmen. Eric Brochard is the author of a perfectly ascending double bass solo and Fabrice Favriou knows the value of silences on dance and theater floors. There is nothing absurd here in manipulating a material to excess in order to find a viable outcome. Then comes the immense sound glider that is Sequence X. We could triple this number, so much the pleasure is obvious at the top of this ephemeral wall. » content_last_edited= »on|phone » _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH And thaaat’s funny. Building a wall of sound to break some Murs Absurdes, that is funny. But very clever, this Derviche builder. These walls are crossed in luxury but without a trumpet. It’s sonorous, hypnotic and fucking rough. Successor to the eponymous first album, the topo, here fragmented in 5 Séquences, knows some concrete guitar and solid drums. From the beginning, Eric Brochard and Fabrice Favriou dive head first in these 38 sonic minutes. Very free, these minutes. Searchin’ for fragmented melodies, pilin’ up sustains and brassy strikes, playin’ with impossible balances. It thwarts and provokes, rather. It thwarts the habits of the best post-shoegaze (Sequence VII) and provokes furious desires to have your head shake (Sequence IX). Immersive duet, Derviche puts under its skirt the best of the roots of its two henchmen. Eric Brochard is the author of a perfectly ascending double bass solo and Fabrice Favriou knows the value of silences on dance and theater floors. There is nothing absurd here in manipulating a material to excess in order to find a viable outcome. Then comes the immense sound glider that is Sequence X. We could triple this number, so much the pleasure is obvious at the top of this ephemeral wall. [/et_pb_text][et_pb_text _builder_version= »4.14.7″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Ayler Records : bandcamp [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] C’est cocasse. Monter un wall of sound pour briser des murs absurdes, c’est cocasse. Mais très malin. Ce Derviche builder franchit les murailles à la hussarde et sans trumpette. C’est sonore, hypnotique et foutrement brutasse. Successeur à l’éponyme premier disque, le topo, ici fragmenté en 5 séquences, a la guitare concrète et la batterie solide. Dès l’entame, Eric Brochard et Fabrice Favriou, se lancent tête-bêches dans les 38 minutes soniques. Très libres, ces minutes. Ça cherche la mélodie par fragments, ça empile les sustains et les frappes cuivrées, ça jouent avec les équilibres impossibles. Ça déjouent et ça provoque, plutôt. Ça déjoue les habitudes du meilleur post-shoegaze (Séquence VII) et ça provoque de furieuses envies de se faire tourner la tête (Séquence IX). Duo immersif, Derviche enfile sous sa jupe le meilleur des racines de ses deux sbires. Eric Brochard est auteur d’un solo de contrebasse parfaitement ascensionnel et Fabrice Favriou connait la valeur des silences sur les parquet de danse et les planchers de théâtre. Rien d’absurde ici, à manipuler une matière à outrance pour en chercher une issue viable. C’est l’immense planeur sonore qu’est Séquence X. On pourrait tripler ce chiffre, tant le plaisir est patent au sommet de cette muraille éphémère. [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Kudu, chronique
Free Jazz For The People !, chronique
Oan Kim And The Dirty Jazz, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.6″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » header_2_text_color= »#FFFFFF » header_2_font_size= »56px » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] Oan Kim & The Dirty Jazz [/et_pb_text][et_pb_text _builder_version= »4.14.6″ 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 25 février 2022 en auto-production [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/01/DIRTY-JAZZ_cover_DEF.jpg » alt= »Oan Kim And The Dirty Jazz » title_text= »Oan Kim And The Dirty Jazz » _builder_version= »4.14.6″ _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/2022/01/yt1s.com-Oan-Kim-Wong-Kar-Why-Official-Music-Video.mp3″ title= »Wong Kar Why? » artist_name= »Oan Kim & The Dirty Jazz » album_name= »Oan Kim & The Dirty Jazz (2022) » _builder_version= »4.14.6″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Yes, you can have learned the conservatory and finish in a brothel. In a velvet couch, purple curtains and in the damn lust of this Oan Kim and The Dirty Jazz. False DIY and true one-man-band, ex-post-rocker and neo-midnight-jazzer, Oan Kim has just wedged one of the most beautiful discs of this beginning of year. Nourished by his trajectory in the images, chiseled with an unfailing love for the cinema. Aim rather for tracks like Fight Club or Funeral Waltz. Dark, retro, crafty and finally terribly current. Dirty Jazz according to Kim takes the same visual glitch as its cover, raise the Hollywood bandits on The Judge and tails big cats. Here we have Barry Adamson and his murky songs, the beautiful Agony, a wonderful little death, Nat King Cole and his nostalgic love songs taxed by Wong Kar-Wai. Elsewhere you’ll ear a sonic and referenced atmosphere, alter ego of the success of Alex Zhang’s Dirty Beaches. But, underneath the fighting rets, there is a complex personality and fantasies on the surface. Lynchean, thus. This record takes your head and your hips, licks jazz to the breast of Monk or Miles. The grain of the sax, the reverb of the voice, the magical Smoking Gun, a very classy here, make this Dirty jazz a call to pleasure, slow and voluptuous. The only regret is that a label has missed this nugget, purple and violent. ThisOanKim miniature brothel where the fluids of pleasure and black elegance flow and exchange. Black and shiny. » content_phone= » ENGLISH / FRANÇAIS Yes, you can have learned the conservatory and finish in a brothel. In a velvet couch, purple curtains and in the damn lust of this Oan Kim and The Dirty Jazz. False DIY and true one-man-band, ex-post-rocker and neo-midnight-jazzer, Oan Kim has just wedged one of the most beautiful discs of this beginning of year. Nourished by his trajectory in the images, chiseled with an unfailing love for the cinema. Aim rather for tracks like Fight Club or Funeral Waltz. Dark, retro, crafty and finally terribly current. Dirty Jazz according to Kim takes the same visual glitch as its cover, raise the Hollywood bandits on The Judge and tails big cats. Here we have Barry Adamson and his murky songs, the beautiful Agony, a wonderful little death, Nat King Cole and his nostalgic love songs taxed by Wong Kar-Wai. Elsewhere you’ll ear a sonic and referenced atmosphere, alter ego of the success of Alex Zhang’s Dirty Beaches. But, underneath the fighting rets, there is a complex personality and fantasies on the surface. Lynchean, thus. This record takes your head and your hips, licks jazz to the breast of Monk or Miles. The grain of the sax, the reverb of the voice, the magical Smoking Gun, a very classy here, make this Dirty jazz a call to pleasure, slow and voluptuous. The only regret is that a label has missed this nugget, purple and violent. ThisOanKim miniature brothel where the fluids of pleasure and black elegance flow and exchange. Black and shiny. » content_last_edited= »on|phone » _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Yes, you can have learned the conservatory and finish in a brothel. In a velvet couch, purple curtains and in the damn lust of this Oan Kim and The Dirty Jazz. False DIY and true one-man-band, ex-post-rocker and neo-midnight-jazzer, Oan Kim has just wedged one of the most beautiful discs of this beginning of year. Nourished by his trajectory in the images, chiseled with an unfailing love for the cinema. Aim rather for tracks like Fight Club or Funeral Waltz. Dark, retro, crafty and finally terribly current. Dirty Jazz according to Kim takes the same visual glitch as its cover, raise the Hollywood bandits on The Judge and tails big cats. Here we have Barry Adamson and his murky songs, the beautiful Agony, a wonderful little death, Nat King Cole and his nostalgic love songs taxed by Wong Kar-Wai. Elsewhere you’ll ear a sonic and referenced atmosphere, alter ego of the success of Alex Zhang’s Dirty Beaches. But, underneath the fighting rets, there is a complex personality and fantasies on the surface. Lynchean, thus. This record takes your head and your hips, licks jazz to the breast of Monk or Miles. The grain of the sax, the reverb of the voice, the magical Smoking Gun, a very classy here, make this Dirty jazz a call to pleasure, slow and voluptuous. The only regret is that a label has missed this nugget, purple and violent. This Oan Kim miniature brothel where the fluids of pleasure and black elegance flow and exchange. Black and shiny. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] On peut avoir fait le conservatoire et finir dans un bordel. Dans le velours, le pourpre et la luxure ce Oan Kim and The Dirty Jazz. Faux DIY et vrai one-man-band, ex-post-rocker et néo-midnight-jazzer, Oan Kim vient de caler un des plus beaux disques de ce début d’année. Nourri de sa trajectoire dans les images, ciselé avec un amour indéfectible pour le cinéma. Visez plutôt des morceaux comme Fight Club ou Funeral Waltz. Dark,
La Peuge En Mai, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.6″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » header_2_text_color= »#FFFFFF » header_2_font_size= »56px » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] La Peuge En Mai [/et_pb_text][et_pb_text _builder_version= »4.14.6″ 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 29 janvier 2022 chez COAX [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/01/a0762545117_16.jpg » alt= »La Peuge en Mai » title_text= »La Peuge en Mai » _builder_version= »4.14.6″ _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/2022/01/MONIQUE-LA-PEUGE-EN-MAI.mp3″ title= »Monique » artist_name= »La Peuge En Mai » album_name= »La Peuge En Mai (2022) » _builder_version= »4.14.6″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS It sounds like a nickname, La Peuge. The kind of name you could give to a friend, or a recurring date. Almost. Here, this is the factory. The company in the Montbéliard region, BFC, France. Where we build cars, under the lion’s claw, with the sweat of people. And one month in May, it explodes. It’s 68 and France shakes hard for a few weeks. In 2016, and without any shake Geoffroy Gesser recovers snippets and words to reconstitute the sacred month with his vision. The Peuge in May also explodes. Of sounds and meanings. The words, worked with Cécile Laffon, come and rub with music which answers him in energy. The beauty of this comes from the absence of illustration. We don’t play at faking anger, we don’t soothe the poor workers with their mouths open or broken by the police. All is sought and ends up finding itself. This live disc acquires then a sound coherence, fragile and sensitive. Thus, powerful. » content_phone= » ENGLISH / FRANÇAIS It sounds like a nickname, La Peuge. The kind of name you could give to a friend, or a recurring date. Almost. Here, this is the factory. The company in the Montbéliard region, BFC, France. Where we build cars, under the lion’s claw, with the sweat of people. And one month in May, it explodes. It’s 68 and France shakes hard for a few weeks. In 2016, and without any shake Geoffroy Gesser recovers snippets and words to reconstitute the sacred month with his vision. The Peuge in May also explodes. Of sounds and meanings. The words, worked with Cécile Laffon, come and rub with music which answers him in energy. The beauty of this comes from the absence of illustration. We don’t play at faking anger, we don’t soothe the poor workers with their mouths open or broken by the police. All is sought and ends up finding itself. This live disc acquires then a sound coherence, fragile and sensitive. Thus, powerful. » content_last_edited= »on|phone » _builder_version= »4.14.6″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH It sounds like a nickname, La Peuge. The kind of name you could give to a friend, or a recurring date. Almost. Here, this is the factory. The company in the Montbéliard region, BFC, France. Where we build cars, under the lion’s claw, with the sweat of people. And one month in May, it explodes. It’s 68 and France shakes hard for a few weeks. In 2016, and without any shake Geoffroy Gesser recovers snippets and words to reconstitute the sacred month with his vision. The Peuge in May also explodes. Of sounds and meanings. The words, worked with Cécile Laffon, come and rub with music which answers him in energy. The beauty of this comes from the absence of illustration. We don’t play at faking anger, we don’t soothe the poor workers with their mouths open or broken by the police. All is sought and ends up finding itself. This live disc acquires then a sound coherence, fragile and sensitive. Thus, powerful. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.6″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Ça sonne comme un petit nom, La Peuge. Le genre de blaze qu’on pourrait donner à un copain, ou à un rendez-vous récurent. Presque. Ici, c’est l’usine. Vraiment, l’usine. La boite de la région de Montbéliard, BFC, France. Ça construit des voitures, avec la griffe du Lion, avec la sueur du peuple. Et un certain mois de Mai, ça explose. C’est 68 et la France tremble sévère pendant quelques semaines. En 2016, et sans trembler Geoffroy Gesser récupère des bribes, il a plutôt l’habitude de cela, et des paroles pour reconstituer le mois sacré à son idée. La Peuge en mai explose elle aussi. De sons et de sens. La parole, réglée avec Cécile Laffon, vient se frotte à la musique qui lui répond en énergie. La beauté de ce travail vient de l’absence d’illustration. On ne joue pas à faire le coup de poing, on ne lénifie pas sur les pauvres ouvriers la gueule ouverte ou fracturée par les matraques et les pandores. Tout se cherche et finit par se trouver. Ce disque, trace de live, acquiert alors une cohérence sonore, fragile et sensible. Puissante, quoi. [/et_pb_text][et_pb_text _builder_version= »4.14.6″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Geoffroy Gesser : site webCollectif COAX : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Mainstream Funk, chronique
