Memoria, chronique
Dawn FM, 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= »4.14.5″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] The Weeknd, Dawn FM [/et_pb_text][et_pb_text _builder_version= »4.14.5″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sortie le 7 janvier 2022 chez XO 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/2022/01/1200×0.jpg » alt= »The Weeknd / Dawn FM » title_text= »The Weeknd / Dawn FM » _builder_version= »4.14.5″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2022/01/yt1s.com-The-Weeknd-Out-of-Time-Lyrics.mp3″ title= »Out Of Time » artist_name= »The Weeknd » album_name= »Dawn FM (2022) » _builder_version= »4.14.5″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS To have your heart broken? Theoretically, it goes on a tear for several weeks. With The Weeknd, it produces deeply brutal albums. Trilogy set the mood in 2012 with a hilarious melancholy. In 2020, After Hours gave a glimpse of Abel Tesfaye’s new bittersweet vibe. Dawn FM sounds like a sequel. It’s a radio show with a frequency, interludes, some ads and perfect transitions. In eighties mode, the nostalgia is as much in The Weeknd’s voice as in instrus. Like a toxic relationship, impossible to see the end of this album. Tracks flow with fluidity and lightness. One song passes from another without warning. Fuck, it’s already the 8th track. And Here We Go… Again, Tyler, The Creator is there, and it can be heard. Calm and determined. A well-deserved break in this emotional chaos. Don’t Break My Heart is in full synth. Psychedelic and intense. The voice is getting deeper and deeper and reminds the mood of My Dear Melancholy,. Wait what ? Already the end with Phantom Regret by Jim. On most of the songs, Carrey is in voice over. Harrowing trip back on the whole album. %22 How many grudges did you take to your grave?%22. Almost dreamlike, instru digs your guts. It is sublimely painful. Like a hypnotist, its words are immersed then remain. And they break your heart. » content_phone= » ENGLISH / FRANÇAIS To have your heart broken? Theoretically, it goes on a tear for several weeks. With The Weeknd, it produces deeply brutal albums. Trilogy set the mood in 2012 with a hilarious melancholy. In 2020, After Hours gave a glimpse of Abel Tesfaye’s new bittersweet vibe. Dawn FM sounds like a sequel. It’s a radio show with a frequency, interludes, some ads and perfect transitions. In eighties mode, the nostalgia is as much in The Weeknd’s voice as in instrus. Like a toxic relationship, impossible to see the end of this album. Tracks flow with fluidity and lightness. One song passes from another without warning. Fuck, it’s already the 8th track. And Here We Go… Again, Tyler, The Creator is there, and it can be heard. Calm and determined. A well-deserved break in this emotional chaos. Don’t Break My Heart is in full synth. Psychedelic and intense. The voice is getting deeper and deeper and reminds the mood of My Dear Melancholy,. Wait what ? Already the end with Phantom Regret by Jim. On most of the songs, Carrey is in voice over. Harrowing trip back on the whole album. %22 How many grudges did you take to your grave?%22. Almost dreamlike, instru digs your guts. It is sublimely painful. Like a hypnotist, its words are immersed then remain. And they break your heart. » content_last_edited= »on|phone » _builder_version= »4.14.5″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH To have your heart broken? Theoretically, it goes on a tear for several weeks. With The Weeknd, it produces deeply brutal albums. Trilogy set the mood in 2012 with a hilarious melancholy. In 2020, After Hours gave a glimpse of Abel Tesfaye’s new bittersweet vibe. Dawn FM sounds like a sequel. It’s a radio show with a frequency, interludes, some ads and perfect transitions. In eighties mode, the nostalgia is as much in The Weeknd’s voice as in instrus. Like a toxic relationship, impossible to see the end of this album. Tracks flow with fluidity and lightness. One song passes from another without warning. Fuck, it’s already the 8th track. And Here We Go… Again, Tyler, The Creator is there, and it can be heard. Calm and determined. A well-deserved break in this emotional chaos. Don’t Break My Heart is in full synth. Psychedelic and intense. The voice is getting deeper and deeper and reminds the mood of My Dear Melancholy,. Wait what ? Already the end with Phantom Regret by Jim. On most of the songs, Carrey is in voice over. Harrowing trip back on the whole album. » How many grudges did you take to your grave?« . Almost dreamlike, instru digs your guts. It is sublimely painful. Like a hypnotist, its words are immersed then remain. And they break your heart. [/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= »4.14.5″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Se faire briser le cœur ? Logiquement, ça part en crise de larmes pendant plusieurs semaines. Chez The Weeknd ça donne des albums profondément brutaux. Trilogy posait le mood en 2012 avec une mélancolie tordante. En 2020, After Hours faisait entrevoir la nouvelle vibe douce et amer d’Abel Tesfaye. Dawn FM sonne comme une suite. C’est une émission de radio avec une fréquence, des interludes, des pubs et des transitions parfaites. En mode eighties, la nostalgie est autant dans la voix de The Weeknd que dans les instrus. Comme une relation toxique, impossible de voir le bout de cet album. Les tracks s’écoulent avec fluidité et légèreté. Un son passe d’un autre sans prévenir. Merde, c’est déjà la 8ème track. And Here We Go…Again, Tyler, The Creator est là et ça s’entend. Calme et déterminé. Une pause bien méritée dans ce chaos émotionnel. Don’t Break My Heart est en full synthé. Psychédélique et intense. La voix est de plus en plus profonde et rappelle le mood de My Dear Melancholy. Attends,
ERRR, 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= »4.14.5″ 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 Fève, ERRR [/et_pb_text][et_pb_text _builder_version= »4.14.5″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sortie le 17 décembre 2021 sur Walone [/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/lafeverrr.jpg » alt= »La Fève / ERRR » title_text= »La Fève / ERRR » _builder_version= »4.14.5″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/12/Snoop-Doggy-Dogg-Santa-Claus-Goes-Straight-To-The-Ghetto-Official-Music-Video.mp3″ title= »OTW » artist_name= »La Fève » album_name= »ERRR (2021) » _builder_version= »4.14.5″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS La Fève, ex-rookie of the game since the release of ERRR? At the end of December, the rapper created a huge buzz with his first solo mixtape. Just when everyone is taking stock of the best albums of the year. Perfect timing. Already two months before releasing the whole monster, the rapper lets out MAUVAIS PAYEUR. Produced by Brussels beatmaker Demna, it’s solid, constructed around the sample of the video game Hollow Knight. Dark trap, haunting loop, big bass. BOUNCE! That’s what this tape is all about, in-depth production, to the point where you don’t know whether the intrumental is driving the flow or the flow is driving the instrumental. It’s thanks to a team of well-trained producers: Lyele, Gwapo, Kosei and Freakey. On the featuring side, it’s also quality, with Souley, Zamdane and S.Téban. In short, La Fève surrounds himself with talented young people for a new talented generation. This tape seems really spontaneous, it sounds like it was recorded in one shot. A big half hour of sound where the tracks follow one another without you seeing them go by. As soon as the album opens, it’s hard to dissociate BELEK and OTW because the transition is so clean. But the real masterclass is between ZAZA and MAUVAIS PAYEUR, it’s crazy. Young creator, polished flow, game changer according to some? No doubt about it, La Fève is here to leave the mark of his fangs on French rap. » content_phone= » ENGLISH / FRANÇAIS La Fève, ex-rookie of the game since the release of ERRR? At the end of December, the rapper created a huge buzz with his first solo mixtape. Just when everyone is taking stock of the best albums of the year. Perfect timing. Already two months before releasing the whole monster, the rapper lets out MAUVAIS PAYEUR. Produced by Brussels beatmaker Demna, it’s solid, constructed around the sample of the video game Hollow Knight. Dark trap, haunting loop, big bass. BOUNCE! That’s what this tape is all about, in-depth production, to the point where you don’t know whether the intrumental is driving the flow or the flow is driving the instrumental. It’s thanks to a team of well-trained producers: Lyele, Gwapo, Kosei and Freakey. On the featuring side, it’s also quality, with Souley, Zamdane and S.Téban. In short, La Fève surrounds himself with talented young people for a new talented generation. This tape seems really spontaneous, it sounds like it was recorded in one shot. A big half hour of sound where the tracks follow one another without you seeing them go by. As soon as the album opens, it’s hard to dissociate BELEK and OTW because the transition is so clean. But the real masterclass is between ZAZA and MAUVAIS PAYEUR, it’s crazy. Young creator, polished flow, game changer according to some? No doubt about it, La Fève is here to leave the mark of his fangs on French rap. » content_last_edited= »on|phone » _builder_version= »4.14.5″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH La Fève, ex-rookie of the game since the release of ERRR? At the end of December, the rapper created a huge buzz with his first solo mixtape. Just when everyone is taking stock of the best albums of the year. Perfect timing. Already two months before releasing the whole monster, the rapper lets out MAUVAIS PAYEUR. Produced by Brussels beatmaker Demna, it’s solid, constructed around the sample of the video game Hollow Knight. Dark trap, haunting loop, big bass. BOUNCE! That’s what this tape is all about, in-depth production, to the point where you don’t know whether the intrumental is driving the flow or the flow is driving the instrumental. It’s thanks to a team of well-trained producers: Lyele, Gwapo, Kosei and Freakey. On the featuring side, it’s also quality, with Souley, Zamdane and S.Téban. In short, La Fève surrounds himself with talented young people for a new talented generation. This tape seems really spontaneous, it sounds like it was recorded in one shot. A big half hour of sound where the tracks follow one another without you seeing them go by. As soon as the album opens, it’s hard to dissociate BELEK and OTW because the transition is so clean. But the real masterclass is between ZAZA and MAUVAIS PAYEUR, it’s crazy. Young creator, polished flow, game changer according to some? No doubt about it, La Fève is here to leave the mark of his fangs on French rap. [/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= »4.14.5″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] La Fève, ex-rookie du game depuis la sortie de ERRR ? Fin décembre le rappeur a suscité un engouement conséquent avec sa première mixtape solo. Pile au moment où chacun fait le bilan des meilleurs projets de l’année. Timing parfait. Déjà deux mois avant de lâcher le molosse entier, il laisse échapper MAUVAIS PAYEUR. Produit par le beatmaker bruxellois Demna, c’est solide, construit autour du sample du jeu vidéo Hollow Knight. Trap sombre, boucle envoûtante, grosses basses. BOUNCE ! La facture de la tape c’est ça, une production pointue, à tel point qu’on ne sait plus si c’est l’instru qui mène le flow ou le flow qui mène l’instru. Grâce à une équipe de producteurs bien entraînés : Lyele, Gwapo, Kosei et Freakey. Du côté des
Elastic Bricks, 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= »4.14.5″ 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= »{} »] OŪAT, Elastic Bricks [/et_pb_text][et_pb_text _builder_version= »4.14.5″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] paru le 7 janvier 2022 sur Umlaut 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/2022/01/oūat.jpg » alt= »Elastic Bricks de oūat » title_text= »oūat » _builder_version= »4.14.5″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.14.5″ _module_preset= »default » global_colors_info= »{} »]Elastic Bricks by Oùat[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Oūat Kind Of Blue? Red sir. And of all the shades of red the blue note is capable of. The Elastic Bricks are full of nuances. And versatile too, which is probably, musically, a bit the same. Smoothness of the interplay which rules here for the trio. Here the two propel the one without wanting to answer him at any cost. The piano of Simon Sieger is not master at home, not at the service but at work. See how it pushes Michael Griener’s kit to say always more, to contradict always a little more the drive of Joel Grip, quasi-native bassist of this label and besides painter of the moving cover of the disc. Beyond interplay, there is the music. Of Course. If we tend to find fragments of sixties club atmosphere, Mother And Son or Sommer, or even a rereading of 30’s bastring revue reviewed by Sun Ra in Tibia Of The Mole, the 9 tracks come from here and now. Exposure, deconstruction, without ever losing the ear of the listener in an imposed speech. Oūat plays with its sound and with its invented acronym. What The fuck is this Oūat? Once Ūpon A Time, sir. Red and blue, the stories untied by the trio. Subtle and unstoppable, deep and immediate, too. Perfect. » content_phone= » ENGLISH / FRANÇAIS Oūat Kind Of Blue? Red sir. And of all the shades of red the blue note is capable of. The Elastic Bricks are full of nuances. And versatile too, which is probably, musically, a bit the same. Smoothness of the interplay which rules here for the trio. Here the two propel the one without wanting to answer him at any cost. The piano of Simon Sieger is not master at home, not at the service but at work. See how it pushes Michael Griener’s kit to say always more, to contradict always a little more the drive of Joel Grip, quasi-native bassist of this label and besides painter of the moving cover of the disc. Beyond interplay, there is the music. Of Course. If we tend to find fragments of sixties club atmosphere, Mother And Son or Sommer, or even a rereading of 30’s bastring revue reviewed by Sun Ra in Tibia Of The Mole, the 9 tracks come from here and now. Exposure, deconstruction, without ever losing the ear of the listener in an imposed speech. Oūat plays with its sound and with its invented acronym. What The fuck is this Oūat? Once Ūpon A Time, sir. Red and blue, the stories untied by the trio. Subtle and unstoppable, deep and immediate, too. Perfect. » content_last_edited= »on|phone » _builder_version= »4.14.5″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Oūat Kind Of Blue? Red sir. And of all the shades of red the blue note is capable of. The Elastic Bricks are full of nuances. And versatile too, which is probably, musically, a bit the same. Smoothness of the interplay which rules here for the trio. Here the two propel the one without wanting to answer him at any cost. The piano of Simon Sieger is not master at home, not at the service but at work. See how it pushes Michael Griener’s kit to say always more, to contradict always a little more the drive of Joel Grip, quasi-native bassist of this label and besides painter of the moving cover of the disc. Beyond interplay, there is the music. Of Course. If we tend to find fragments of sixties club atmosphere, Mother And Son or Sommer, or even a rereading of 30’s bastring revue reviewed by Sun Ra in Tibia Of The Mole, the 9 tracks come from here and now. Exposure, deconstruction, without ever losing the ear of the listener in an imposed speech. Oūat plays with its sound and with its invented acronym. What The fuck is this Oūat? Once Ūpon A Time, sir. Red and blue, the stories untied by the trio. Subtle and unstoppable, deep and immediate, too. 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= »4.14.5″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Oūat Kind Of Blue ? Red sir. Et de toutes les nuances de rouge dont la note bleue est capable. Et des nuances, Les Elastic Bricks de ce disque en sont pétries. Et de souplesse aussi, ce qui revient sans doute, musicalement, un peu au même. Souplesse de l’interplay qui règne au sein du trio, où deux propulsent un sans vouloir lui répondre à tout prix. Le piano de Simon Sieger n’est pas maître chez lui, pas au service mais à la planche. Voir comment il pousse le kit de Michael Griener à dire toujours un peu plus, à contredire toujours un peu plus le drive de Joel Grip, bassiste quasi-natif du label et auteur par ailleurs de la pochette mouvante du disque. Hors l’interplay, il y a bien entendu la musique. Si on tend à retrouver des fragments d’ambiance de club sixties, Mother And Son ou Sommer, voire une relecture de revue bastringue 30’s revue par Sun Ra avec Tibia Of The Mole, les 9 tracks viennent d’ici et désormais. Exposition/déconstruction, sans jamais perdre l’oreille de celle ou celui qui écoute par un discours imposé. Oūat joue avec sa sonorité et avec son acronyme inventé. What The fuck is this Oūat ? Once Ūpon A
Tyler The Creator, chronique
Cool Yule, 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= »4.14.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] Louis Armstrong, Cool Yule [/et_pb_text][et_pb_text _builder_version= »4.14.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] compilé en décembre 2021 par Verve [/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/2021/12/1200×1200.jpg » alt= »Louis Armstrong / Cool Yule » title_text= »Louis Armstrong / Cool Yule » _builder_version= »4.14.4″ _module_preset= »default » box_shadow_style= »preset2″ global_colors_info= »{} »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/12/yt1s.com-Louis-Armstrong-Christmas-Night-In-Harlem-Official-Audio.mp3″ title= »Christmas Night In Harlem » artist_name= »Louis Armstrong » album_name= »Cool Yule (2021) » _builder_version= »4.14.4″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Christmas comes back every year. It is traditional, in jazz as everywhere. As always in the shape of some compilation album that helps to get over overflows of fried chicken, hello Norah Jones, upset discussions, hello Diana Krall, or even some glass of Cognac, Hey Sinatra. It has often been the right way to sell records. Anyway, there are some who stick their heads out of the hood. Louis Armstrong is one of them. At Christmas, he never needs too much of a fake beard to fill with joy whoever has put one of his records on a turntable. Compiled in all directions and every year, Pops sounds like this devil’s entertainer. In addition to being a musician far from being lost in the compromises and revolutions of his music. At Christmas, Armstrong adds joy to pleasure, and summons Solstice, Cool Yule, Little Red-Nosed Reindeer, White Christmas, and the fiery, lucid roots of Christmas in New Orleans, Christmas Night In Harlem. Here, at Verve in 2020, it is nice to hear the Pops of 1953 with the Commanders, the Big Bands brats of pure pleasure, or in a nasty-perfect duet with Velma Middleton, on Baby It’s Cold Outside, where the voices easily suggest that this Christmas will certainly not be spent on the balcony. » content_phone= » ENGLISH / FRANÇAIS Christmas comes back every year. It is traditional, in jazz as everywhere. As always in the shape of some compilation album that helps to get over overflows of fried chicken, hello Norah Jones, upset discussions, hello Diana Krall, or even some glass of Cognac, Hey Sinatra. It has often been the right way to sell records. Anyway, there are some who stick their heads out of the hood. Louis Armstrong is one of them. At Christmas, he never needs too much of a fake beard to fill with joy whoever has put one of his records on a turntable. Compiled in all directions and every year, Pops sounds like this devil’s entertainer. In addition to being a musician far from being lost in the compromises and revolutions of his music. At Christmas, Armstrong adds joy to pleasure, and summons Solstice, Cool Yule, Little Red-Nosed Reindeer, White Christmas, and the fiery, lucid roots of Christmas in New Orleans, Christmas Night In Harlem. Here, at Verve in 2020, it is nice to hear the Pops of 1953 with the Commanders, the Big Bands brats of pure pleasure, or in a nasty-perfect duet with Velma Middleton, on Baby It’s Cold Outside, where the voices easily suggest that this Christmas will certainly not be spent on the balcony. » content_last_edited= »on|phone » _builder_version= »4.14.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Christmas comes back every year. It is traditional, in jazz as everywhere. As always in the shape of some compilation album that helps to get over overflows of fried chicken, hello Norah Jones, upset discussions, hello Diana Krall, or even some glass of Cognac, Hey Sinatra. It has often been the right way to sell records. Anyway, there are some who stick their heads out of the hood. Louis Armstrong is one of them. At Christmas, he never needs too much of a fake beard to fill with joy whoever has put one of his records on a turntable. Compiled in all directions and every year, Pops sounds like this devil’s entertainer. In addition to being a musician far from being lost in the compromises and revolutions of his music. At Christmas, Armstrong adds joy to pleasure, and summons Solstice, Cool Yule, Little Red-Nosed Reindeer, White Christmas, and the fiery, lucid roots of Christmas in New Orleans, Christmas Night In Harlem. Here, at Verve in 2020, it is nice to hear the Pops of 1953 with the Commanders, the Big Bands brats of pure pleasure, or in a nasty-perfect duet with Velma Middleton, on Baby It’s Cold Outside, where the voices easily suggest that this Christmas will certainly not be spent on the balcony. [/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= »4.14.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] C’est tradi, dans le jazz comme partout, Noël revient chaque année. Et très souvent sous forme d’un album-compile qui aide à faire passer les trop-pleins de dinde, coucou Norah Jones, les discussions houleuses, hello Diana Krall, ou les fonds de Cognac, Hey Sinatra. Ça a été souvent, aussi, le bon créneau pour vendre des disques dans ce qui a toujours été un marché de niche et de dupes. Mais dans le lot, il y a forcément des cocos pour sortir la tête de la hotte. Hot, Louis Armstrong l’est, aussi. À noël, il n’a jamais trop besoin de fausse barbe pour remplir de joie qui aura posé un de ses disques sur une platine. Compilé dans tous les sens et chaque année, Pops sonne en diable d’entertainer de génie. Loin de s’être perdu dans les compromis et les révolutions de sa musique. À Noël, Armstrong joint la joie à l’agréable, et convoque solstice, Cool Yule, petits rennes au nez rouge, White Christmas et racines ardentes et lucides, Christmas in New Orleans, Christmas Night In Harlem. Ici, chez Verve, il y a beau à entendre le Pops de 1953 avec les Commanders, déglinguos des Big Bands de pur plaisir, ou encore dans un duo
Christmas On Death Row, chronique
The Sweet Spot, chronique
Watch Devil Go, chronique
Shed Session, chronique
