Nina Simone And Her Friends, chronique
Offshore, chronique
Salute To The Sun, chronique
Sons of the Sun, 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= »4.14.2″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] SONS OF THE SUN, Sons Of The Sun [/et_pb_text][et_pb_text _builder_version= »4.14.2″ 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 3 décembre 2021 chez BBE Music [/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/2021/11/cover.jpg » alt= »Sons of the Sun – Sons of the Sun » title_text= »Sons of the Sun – Sons of the Sun » _builder_version= »4.14.2″ _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= »4.14.2″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]Sons Of The Sun by Sons Of The Sun[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Sun Is Gone Rise. Alright, the sun is coming up but hips too. Fuck, it’s smooth. First album of Sons of The Sun is pretty hot. The plot ? A bridge build between Texas and London. A distance relationship between JTonius and Maverick Quest. No love letters, no. But prods. Songs. And many guests as Matt Cusson, The Brasscats, Madame Cruz or Jelani M.Brooks. A all-you-can-wish lustful soul. Prodigious hip-hop made for bed. Underwater Dreaming sets the mood, Dai Miyazaki’s guitar leads to temptation. Sax increases desire. Rhythm is dangerously sensual. Dangerous, maybe. But desperately pleasant, damn yes. Infinite Love is different states in one track. Let’s start with a delicate stimulation and and back vocals as sweet as honey. Now crescendo. That’s become compelling, flute and sax fuse to reach climax. Ubiquity is that seductive too. Much more hip-hop. Sick as fuck. Powerful and voracious, the electrified guitar barely touch the voluptuous percussion. And so, in a quiet moment of a breath, Sons Of The Sun comes to an end. » content_phone= » ENGLISH / FRANÇAIS Sun Is Gone Rise. Alright, the sun is coming up but hips too. Fuck, it’s smooth. First album of Sons of The Sun is pretty hot. The plot ? A bridge build between Texas and London. A distance relationship between JTonius and Maverick Quest. No love letters, no. But prods. Songs. And many guests as Matt Cusson, The Brasscats, Madame Cruz or Jelani M.Brooks. A all-you-can-wish lustful soul. Prodigious hip-hop made for bed. Underwater Dreaming sets the mood, Dai Miyazaki’s guitar leads to temptation. Sax increases desire. Rhythm is dangerously sensual. Dangerous, maybe. But desperately pleasant, damn yes. Infinite Love is different states in one track. Let’s start with a delicate stimulation and and back vocals as sweet as honey. Now crescendo. That’s become compelling, flute and sax fuse to reach climax. Ubiquity is that seductive too. Much more hip-hop. Sick as fuck. Powerful and voracious, the electrified guitar barely touch the voluptuous percussion. And so, in a quiet moment of a breath, Sons Of The Sun comes to an end. » content_last_edited= »on|phone » _builder_version= »4.14.2″ _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 Sun Is Gone Rise. Alright, the sun is coming up but hips too. Fuck, it’s smooth. First album of Sons of The Sun is pretty hot. The plot ? A bridge build between Texas and London. A distance relationship between JTonius and Maverick Quest. No love letters, no. But prods. Songs. And many guests as Matt Cusson, The Brasscats, Madame Cruz or Jelani M.Brooks. A all-you-can-wish lustful soul. Prodigious hip-hop made for bed. Underwater Dreaming sets the mood, Dai Miyazaki’s guitar leads to temptation. Sax increases desire. Rhythm is dangerously sensual. Dangerous, maybe. But desperately pleasant, damn yes. Infinite Love is different states in one track. Let’s start with a delicate stimulation and and back vocals as sweet as honey. Now crescendo. That’s become compelling, flute and sax fuse to reach climax. Ubiquity is that seductive too. Much more hip-hop. Sick as fuck. Powerful and voracious, the electrified guitar barely touch the voluptuous percussion. And so, in a quiet moment of a breath, Sons Of The Sun comes to an end. [/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= »4.14.2″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Sun Is Gone Rise. Okay, le soleil va se lever mais pas que. Les hanches aussi. Fuck, c’est smooth. Le first album de Sons Of The Sun est délicieusement brûlant. Le concept ? Un pont entre le Texas et Londres. Une relation à distance entre JTronius et Maverick Quest. Pas de lettres d’amour, non. Plutôt des prods. Des instrus. Pas mal de guest genre Matt Cusson, The Brasscats, Madame Cruz ou Jelani M. Brooks. De la soul lascive à souhait. Du hip-hop prodigieusement langoureux. Underwater Dreaming pose le mood, la guitare de Dai Miyazaki pousse à la tentation. Le sax presse le désir. Le rythme est dangereusement sensuel. Dangereux, maybe. Terriblement plaisant, damn yes. Infinite Love, c’est différentes step dans un même son. Un début délicatement stimulant avec des backings vocals mielleuses et sweet. Crescendo ça devient irrésistible, la flûte et le sax fusionnent pour atteindre le climax. Ubiquity est tout aussi séduisant. Beaucoup plus hip-hop. Sick as fuck. Puissante et insatiable, la guitare électrifiée caresse les percussions voluptueuses. Et comme ça, dans le creux d’un souffle, Sons Of The Sun prend fin. [/et_pb_text][et_pb_text _builder_version= »4.14.2″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Sons of The Sun : BandcampBBE Music : site internet [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
But Only After You Have Suffered, 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= »4.14.2″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] JAMIRE WILLIAMS, But Only After You Have Suffered [/et_pb_text][et_pb_text _builder_version= »4.14.2″ 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 3 décembre 2021 chez International Anthem [/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/2021/11/a1572508792_10-Copie.jpg » alt= »Jamire Williams / But Only After You Have Suffered » title_text= »Jamire Williams / But Only After You Have Suffered » _builder_version= »4.14.2″ _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= »4.14.2″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]But Only After You Have Suffered by Jamire Williams[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Sometimes albums are works of art. Some are even entire museums. But Only After You Have Suffered by Jamire Williams is the proof. The producer’s musical legacy is brought together in one place. To walk between its 12 titles, it’s to be toe to toe with a masterpiece each time. All clearly defined. All magnificently moving. Brutal ups and downs. Pieces divided all over the place to create a pure collage. Soul on the right. Jazz on the left. Hip-hop on the bottom. Avant-pop on top. And Jamire Williams’ majestic drums in the background. Terribly aesthetic. Hands Up is religiously psychedelic. An apocalyptic song that speeds up the immersion. Violently. In one shot. Just Hold On is deeply indie. The bass goes through the skin with agility. Cleanly disordered. Pause In His Presence is sumptuously lyrical. A gloomy opera. Lisa E. Harris and her voice transcend space-time accompanied by Sam Gendel’s oppressive alto. Powerful and frightening. Sometimes, albums remain in minds. Some remain tattooed. Here is the proof with But Only After You Have Suffered. » content_phone= » ENGLISH / FRANÇAIS Sometimes albums are works of art. Some are even entire museums. But Only After You Have Suffered by Jamire Williams is the proof. The producer’s musical legacy is brought together in one place. To walk between its 12 titles, it’s to be toe to toe with a masterpiece each time. All clearly defined. All magnificently moving. Brutal ups and downs. Pieces divided all over the place to create a pure collage. Soul on the right. Jazz on the left. Hip-hop on the bottom. Avant-pop on top. And Jamire Williams’ majestic drums in the background. Terribly aesthetic. Hands Up is religiously psychedelic. An apocalyptic song that speeds up the immersion. Violently. In one shot. Just Hold On is deeply indie. The bass goes through the skin with agility. Cleanly disordered. Pause In His Presence is sumptuously lyrical. A gloomy opera. Lisa E. Harris and her voice transcend space-time accompanied by Sam Gendel’s oppressive alto. Powerful and frightening. Sometimes, albums remain in minds. Some remain tattooed. Here is the proof with But Only After You Have Suffered. » content_last_edited= »on|phone » _builder_version= »4.14.2″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH Sometimes albums are works of art. Some are even entire museums. But Only After You Have Suffered by Jamire Williams is the proof. The producer’s musical legacy is brought together in one place. To walk between its 12 titles, it’s to be toe to toe with a masterpiece each time. All clearly defined. All magnificently moving. Brutal ups and downs. Pieces divided all over the place to create a pure collage. Soul on the right. Jazz on the left. Hip-hop on the bottom. Avant-pop on top. And Jamire Williams’ majestic drums in the background. Terribly aesthetic. Hands Up is religiously psychedelic. An apocalyptic song that speeds up the immersion. Violently. In one shot. Just Hold On is deeply indie. The bass goes through the skin with agility. Cleanly disordered. Pause In His Presence is sumptuously lyrical. A gloomy opera. Lisa E. Harris and her voice transcend space-time accompanied by Sam Gendel’s oppressive alto. Powerful and frightening. Sometimes, albums remain in minds. Some remain tattooed. Here is the proof with But Only After You Have Suffered. [/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= »4.14.2″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Parfois, des albums sont des œuvres d’art. Certains sont carrément des musées tout entier. But Only After You Have Suffered de Jamire Williams en est la preuve. L’héritage musical du producteur est rassemblé en un seul point. Se balader entre ses 12 titres, c’est être nez à nez avec une masterpiece à chaque fois. Toutes distinctes. Toutes magnifiquement émouvantes. Des up and down brutaux. Des morceaux éparpillés dans tous les sens pour créer un collage à l’état pur. De la soul à droite. Du jazz à gauche. Du hip-hop en bas. De l’avant-pop en haut. Et la majestueuse batterie de Jamire Williams en toile de fond. Terriblement esthétique. Hands Up est religieusement psyché. Un son apocalyptique qui précipite l’immersion. Violemment. D’un coup sec. Just Hold On est profondément indie. La basse traverse agilement l’épiderme. Proprement désordonnée. Pause In His Presence est somptueusement lyrique. Un opéra sinistre. Lisa E. Harris et sa voix transcendent l’espace-temps accompagnées de l’alto oppressant de Sam Gendel. Puissant et angoissant. Parfois, des albums restent gravés. Certains restent carrément tatoués. But Only After You Have Suffered en est la preuve. [/et_pb_text][et_pb_text _builder_version= »4.14.2″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Jamire Williams : site internetInternational Anthem : site internet [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Kind Of The Blues, chronique
Another Side, chronique
Akimbo, 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= »4.14.0″ 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 » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ZIAK, Akimbo [/et_pb_text][et_pb_text _builder_version= »4.14.0″ 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 12 novembre 2021 sur Millenium [/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/2021/11/Ziak-Akimbo-Mp3-Download.jpeg » alt= »Akimbo de Ziak » title_text= »Akimbo de Ziak » _builder_version= »4.14.0″ _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/2021/11/Ziak-Fixette-Prod.-Focus-Beatz.mp3″ title= »Fixette » artist_name= »Ziak » album_name= »Akimbo » _builder_version= »4.14.0″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Ziak, pure British product made in France. Child of the UK drill, this energetic guy who shakes up the rap game for a year has just released his first album: Akimbo. In only 13 clips on Youtube, this guy from 91 knew how to make everyone agree. But really agree. Whether you like it or not, Ziak makes a mark. No, he is not the only artist specialized in drill in France, but is he the only one to make 20k sales in the first week? Yes, and that’s thanks to the mystery that hovers around the character. Bandana on the face, raw and violent lyrics, gimmicks and voice that we could recognize between thousand, the whole on 808. That’s it, Ziak. Uhhh-Uhhh. A huge quagmire of 17 tracks with very venereal sounds that makes you want to break everything like Galerie, Gros lot, Fixette or Rhum&Machette featuring Maes. However the whole is sometimes channeled by softer sounds. Softer? We had never seen that before with this rookie. Shonen, Espace, Lloret del Mar, Prière. These %22calmer%22 sounds have nevertheless with a message just as percussive. And, in these slower prods and flows, Ziak shows that he knows how to use autotune. Surely an effect of his short experience of Mikeysem and his more pop rock style. But let’s move on. Akimbo brings a real breath of fresh air to the French rap scene and maybe even to the international drill scene. Ziak is, for me, one of the revelations of 2021. And it’s really worth a detour. Uhhh-Uhhh. » content_phone= » ENGLISH / FRANÇAIS Ziak, pure British product made in France. Child of the UK drill, this energetic guy who shakes up the rap game for a year has just released his first album: Akimbo. In only 13 clips on Youtube, this guy from 91 knew how to make everyone agree. But really agree. Whether you like it or not, Ziak makes a mark. No, he is not the only artist specialized in drill in France, but is he the only one to make 20k sales in the first week? Yes, and that’s thanks to the mystery that hovers around the character. Bandana on the face, raw and violent lyrics, gimmicks and voice that we could recognize between thousand, the whole on 808. That’s it, Ziak. Uhhh-Uhhh. A huge quagmire of 17 tracks with very venereal sounds that makes you want to break everything like Galerie, Gros lot, Fixette or Rhum&Machette featuring Maes. However the whole is sometimes channeled by softer sounds. Softer? We had never seen that before with this rookie. Shonen, Espace, Lloret del Mar, Prière. These %22calmer%22 sounds have nevertheless with a message just as percussive. And, in these slower prods and flows, Ziak shows that he knows how to use autotune. Surely an effect of his short experience of Mikeysem and his more pop rock style. But let’s move on. Akimbo brings a real breath of fresh air to the French rap scene and maybe even to the international drill scene. Ziak is, for me, one of the revelations of 2021. And it’s really worth a detour. Uhhh-Uhhh. » content_last_edited= »on|phone » _builder_version= »4.14.0″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Ziak, pure British product made in France. Child of the UK drill, this energetic guy who shakes up the rap game for a year has just released his first album: Akimbo. In only 13 clips on Youtube, this guy from 91 knew how to make everyone agree. But really agree. Whether you like it or not, Ziak makes a mark. No, he is not the only artist specialized in drill in France, but is he the only one to make 20k sales in the first week? Yes, and that’s thanks to the mystery that hovers around the character. Bandana on the face, raw and violent lyrics, gimmicks and voice that we could recognize between thousand, the whole on 808. That’s it, Ziak. Uhhh-Uhhh. A huge quagmire of 17 tracks with very venereal sounds that makes you want to break everything like Galerie, Gros lot, Fixette or Rhum&Machette featuring Maes. However the whole is sometimes channeled by softer sounds. Softer? We had never seen that before with this rookie. Shonen, Espace, Lloret del Mar, Prière. These « calmer » sounds have nevertheless with a message just as percussive. And, in these slower prods and flows, Ziak shows that he knows how to use autotune. Surely an effect of his short experience of Mikeysem and his more pop rock style. But let’s move on. Akimbo brings a real breath of fresh air to the French rap scene and maybe even to the international drill scene. Ziak is, for me, one of the revelations of 2021. And it’s really worth a detour. Uhhh-Uhhh. [/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= »4.14.0″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Ziak, pur produit britannique Made in France. Enfant de la drill UK, cet énergumène qui chamboule le rap game depuis un an vient de sortir son premier album : Akimbo. En seulement 13 clips sur Youtube, ce mec originaire du 91 a su mettre tout le monde d’accord. Mais vraiment d’accord. Qu’on aime ou non, Ziak marque les esprits. Non, ce n’est pas le seul artiste spécialisé dans la drill en France, mais est-il le seul à faire
Supreme Love, chronique
Open Arms to Open Us, 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= »4.13.1″ 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= »{} »] BEN LAMAR GAY,Open Arms to Open Us [/et_pb_text][et_pb_text _builder_version= »4.13.1″ 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 19 novembre 2021 sur International Anthem [/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/2021/11/BenLamarGay.jpg » alt= »Open Arms To Open Us de Ben Lamar Gay » title_text= »Open Arms To Open Us de Ben Lamar Gay » _builder_version= »4.13.1″ _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= »4.13.1″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]Open Arms to Open Us by Ben LaMar Gay[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS With short arms. Even when open, Ben LaMar Gay’s hands on Open Arms to Open Us hit hard. It pounds, it hammers, it brutalizes. Without precaution but with a wonderful tenderness, impolite and perfectly stirring. Bang Melody Bang. BLG says he is guided by the urgency of rhythm, the urgency of transmitting it to nowaday’s kids. It’s the rhythm that makes the rightness of a word through the silence, it’s the rhythm that creates the surprise, it’s the rhythm that makes the pleasure rise, the very one after which we all run a bit. In circles sometimes, without knowing how to get out of the loop, to pause and breathe a little bit at last. Open Arms to Open Us takes up the inventions heard on the beautiful Downtown Castles Can Never Block The Sun. Here, we move forward first, as it is done on the multiple scenes of the current Chicago Underground. Not a coincidence if we find Rob Frye, Tomeka Reid or Angel Bat Dawid, here. Here, the space precedes the walk. In rhythm. Trumpet in pocket and lyricism always screwed in head. This record is a stubborn record. A record that hammers the heads, with its cohorts of ghosts, sly or thunderous, these fanfares and copious processions on Hood Rich Happy. It is strongly question of heritage, of territories to be preserved. Here in forty minutes, the solutions are sketched, just suggested, We Gon Win. The tracks are fast and frustrate what it is necessary to create the dazzling desire. Later. After the end of the record. When the internal rhythms of the listener will explode. » content_phone= » ENGLISH / FRANÇAIS With short arms. Even when open, Ben LaMar Gay’s hands on Open Arms to Open Us hit hard. It pounds, it hammers, it brutalizes. Without precaution but with a wonderful tenderness, impolite and perfectly stirring. Bang Melody Bang. BLG says he is guided by the urgency of rhythm, the urgency of transmitting it to nowaday’s kids. It’s the rhythm that makes the rightness of a word through the silence, it’s the rhythm that creates the surprise, it’s the rhythm that makes the pleasure rise, the very one after which we all run a bit. In circles sometimes, without knowing how to get out of the loop, to pause and breathe a little bit at last. Open Arms to Open Us takes up the inventions heard on the beautiful Downtown Castles Can Never Block The Sun. Here, we move forward first, as it is done on the multiple scenes of the current Chicago Underground. Not a coincidence if we find Rob Frye, Tomeka Reid or Angel Bat Dawid, here. Here, the space precedes the walk. In rhythm. Trumpet in pocket and lyricism always screwed in head. This record is a stubborn record. A record that hammers the heads, with its cohorts of ghosts, sly or thunderous, these fanfares and copious processions on Hood Rich Happy. It is strongly question of heritage, of territories to be preserved. Here in forty minutes, the solutions are sketched, just suggested, We Gon Win. The tracks are fast and frustrate what it is necessary to create the dazzling desire. Later. After the end of the record. When the internal rhythms of the listener will explode. » content_last_edited= »on|phone » _builder_version= »4.13.1″ _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 With short arms. Even when open, Ben LaMar Gay’s hands on Open Arms to Open Us hit hard. It pounds, it hammers, it brutalizes. Without precaution but with a wonderful tenderness, impolite and perfectly stirring. Bang Melody Bang. BLG says he is guided by the urgency of rhythm, the urgency of transmitting it to nowaday’s kids. It’s the rhythm that makes the rightness of a word through the silence, it’s the rhythm that creates the surprise, it’s the rhythm that makes the pleasure rise, the very one after which we all run a bit. In circles sometimes, without knowing how to get out of the loop, to pause and breathe a little bit at last. Open Arms to Open Us takes up the inventions heard on the beautiful Downtown Castles Can Never Block The Sun. Here, we move forward first, as it is done on the multiple scenes of the current Chicago Underground. Not a coincidence if we find Rob Frye, Tomeka Reid or Angel Bat Dawid, here. Here, the space precedes the walk. In rhythm. Trumpet in pocket and lyricism always screwed in head. This record is a stubborn record. A record that hammers the heads, with its cohorts of ghosts, sly or thunderous, these fanfares and copious processions on Hood Rich Happy. It is strongly question of heritage, of territories to be preserved. Here in forty minutes, the solutions are sketched, just suggested, We Gon Win. The tracks are fast and frustrate what it is necessary to create the dazzling desire. Later. After the end of the record. When the internal rhythms of the listener will explode. [/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= »4.13.1″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] À bras raccourcis. Même ouverts, les battoirs de Ben LaMar Gay sur Open Arms to Open Us tapent dur.