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.
Remixes, 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 » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] JAZZ IS DEAD, Remixes [/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 3 décembre 2021 sur Jazz Is Dead 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/2021/11/JiD-010-digital-cover-V3-scaled.jpg » alt= »Remixes de Jazz Is Dead » title_text= »Jazz Is Dead Remixes » _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= »{} »]Remixes JID010 by Various Artists[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Deads Don’t Die, said Jarmusch in his last film. Dead Jazz never walks alone, now complete Adrian Younge and Ali Shaheed Muhammad. 10th round for their Jazz Is Dead. Kinda masterclass in transgenerational ways and moves. JID is more than a matter of very talented and astute producers. Above all a radical and mellow descent into the cellar of the jazz family, into the very DNA of this music. And in this DNA, there is a fierce resolution to live together. Better than the best of threesomes or hippie communities. 9 albums to gather the prestige and the invention, to rediscover the pleasureful syncopations of some figures, heavy champs in the jazz field as Gary Bartz, Marcos Valle or Roy Ayers. For this Round 10, Younge & Muhammad hang the perfect names of Kaidi Tatham, Cut Chemist, Georgia Anne Muldrow or Pink Siifu to the hype of the roster. This Remixes is fascinating. Behind the little fib of the title, there is a truth. 9 producers and artists reconnect jazz to the energy of current world. Absolutely no remixes here but the very reinvention and re-imaginings of emblematic titles, drawn with the love of a detail, the happiness of a pattern. Just one example, Brian Jackson’s Nancy Wilson revisited by the triad Shigeto, Ahya Simone and Dez Andres. A small sensual story out of time, happiness in long play mode thrown in the face of jazz that has become a little more obedient on some other stages. Hard Again, sang Muddy Waters. » content_phone= » ENGLISH / FRANÇAIS Deads Don’t Die, said Jarmusch in his last film. Dead Jazz never walks alone, now complete Adrian Younge and Ali Shaheed Muhammad. 10th round for their Jazz Is Dead. Kinda masterclass in transgenerational ways and moves. JID is more than a matter of very talented and astute producers. Above all a radical and mellow descent into the cellar of the jazz family, into the very DNA of this music. And in this DNA, there is a fierce resolution to live together. Better than the best of threesomes or hippie communities. 9 albums to gather the prestige and the invention, to rediscover the pleasureful syncopations of some figures, heavy champs in the jazz field as Gary Bartz, Marcos Valle or Roy Ayers. For this Round 10, Younge & Muhammad hang the perfect names of Kaidi Tatham, Cut Chemist, Georgia Anne Muldrow or Pink Siifu to the hype of the roster. This Remixes is fascinating. Behind the little fib of the title, there is a truth. 9 producers and artists reconnect jazz to the energy of current world. Absolutely no remixes here but the very reinvention and re-imaginings of emblematic titles, drawn with the love of a detail, the happiness of a pattern. Just one example, Brian Jackson’s Nancy Wilson revisited by the triad Shigeto, Ahya Simone and Dez Andres. A small sensual story out of time, happiness in long play mode thrown in the face of jazz that has become a little more obedient on some other stages. Hard Again, sang Muddy Waters. » 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 » global_colors_info= »{} »] ENGLISH Deads Don’t Die, said Jarmusch in his last film. Dead Jazz never walks alone, now complete Adrian Younge and Ali Shaheed Muhammad. 10th round for their Jazz Is Dead. Kinda masterclass in transgenerational ways and moves. JID is more than a matter of very talented and astute producers. Above all a radical and mellow descent into the cellar of the jazz family, into the very DNA of this music. And in this DNA, there is a fierce resolution to live together. Better than the best of threesomes or hippie communities. 9 albums to gather the prestige and the invention, to rediscover the pleasureful syncopations of some figures, heavy champs in the jazz field as Gary Bartz, Marcos Valle or Roy Ayers. For this Round 10, Younge & Muhammad hang the perfect names of Kaidi Tatham, Cut Chemist, Georgia Anne Muldrow or Pink Siifu to the hype of the roster. This Remixes is fascinating. Behind the little fib of the title, there is a truth. 9 producers and artists reconnect jazz to the energy of current world. Absolutely no remixes here but the very reinvention and re-imaginings of emblematic titles, drawn with the love of a detail, the happiness of a pattern. Just one example, Brian Jackson’s Nancy Wilson revisited by the triad Shigeto, Ahya Simone and Dez Andres. A small sensual story out of time, happiness in long play mode thrown in the face of jazz that has become a little more obedient on some other stages. Hard Again, sang Muddy Waters. [/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″] Deads Don’t Die, clamait Jarmusch dans son dernier film. Dead Jazz never walks alone, complètent désormais Adrian Younge et Ali Shaheed Muhammad. 10ème round pour leur Jazz Is Dead. Masterclass de production transgénérationnelle, transpartisane. JID, c’est plus qu’une affaire de producteurs très doués au nez très creux. C’est surtout une descente radicale et moelleuse dans le caveau de la famille jazz, dans l’ADN même de cette musique. Et dans cet ADN, il y a une résolution féroce de vivre à plusieurs. Mieux que le meilleur des trouples ou
Spectre, 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 » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] SHELDON, Spectre [/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= »{} »] sorti le 5 novembre 2021 par 75ème Session [/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/SheldonSpectre.jpg » alt= »Spectre de Sheldon » title_text= »Spectre de Sheldon » _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_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/11/Sheldon-Fumee.mp3″ title= »Fumée » artist_name= »par Sheldon » album_name= »Spectre » _builder_version= »4.13.1″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Sheldon is a child of the street kid and their matrix. City as his playground. Now he’s a big guy who weaves in and out of the Châtelet quarter’s crowd under an invisibility cloak. On November 5th, however, he materializes in the form of Spectre, his second album, built in a year and a half with a lot of love and kindness. Above all, kindness of his public via the Kisskissbank French platform and a totally crazy Discord chat. Then and this is the most important thing here, love and kindness of his collective La 75ème session. Spectre is home-made, co-produced by Vidji Stratega and Epektase. As for the feats, it’s a full family affair with Zinée, Shien, M le Maudit, Damlif and Isha, the Belgian guest.In fact, as a listener, you feel like you’re part of the thing. St of his Sheldon told us as if we’re part of his family. No need for spectacular punchlines, the words are accurate, direct, effective, touching. On Top Boy, he builds it too easily with Isha and a production as heavy as nonchalant. It’s almost insolence there. Then, on No Go Zone and Inunaki, Sheldon waves his sceptre in an egotrip pod. Finally, the milestone of the rapper, his mega-assumed regressive touch. This results in beautiful songs such as Mon amoureuse. Or the music both dark and sunny of Docu. This track is highly melancholic but makes you want to rise up. Beautiful. Sheldon has traded his Play pad for an introspective story. A way of sowing fragments of life in which everyone can find themselves. The path closes on Caverne, the last track of the album. A nice way to end it. » content_phone= » ENGLISH / FRANÇAIS Sheldon is a child of the street kid and their matrix. City as his playground. Now he’s a big guy who weaves in and out of the Châtelet quarter’s crowd under an invisibility cloak. On November 5th, however, he materializes in the form of Spectre, his second album, built in a year and a half with a lot of love and kindness. Above all, kindness of his public via the Kisskissbank French platform and a totally crazy Discord chat. Then and this is the most important thing here, love and kindness of his collective La 75ème session. Spectre is home-made, co-produced by Vidji Stratega and Epektase. As for the feats, it’s a full family affair with Zinée, Shien, M le Maudit, Damlif and Isha, the Belgian guest.In fact, as a listener, you feel like you’re part of the thing. St of his Sheldon told us as if we’re part of his family. No need for spectacular punchlines, the words are accurate, direct, effective, touching. On Top Boy, he builds it too easily with Isha and a production as heavy as nonchalant. It’s almost insolence there. Then, on No Go Zone and Inunaki, Sheldon waves his sceptre in an egotrip pod. Finally, the milestone of the rapper, his mega-assumed regressive touch. This results in beautiful songs such as Mon amoureuse. Or the music both dark and sunny of Docu. This track is highly melancholic but makes you want to rise up. Beautiful. Sheldon has traded his Play pad for an introspective story. A way of sowing fragments of life in which everyone can find themselves. The path closes on Caverne, the last track of the album. A nice way to end it. » content_last_edited= »on|desktop » _builder_version= »4.13.1″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Sheldon is a child of the street kid and their matrix. City as his playground. Now he’s a big guy who weaves in and out of the Châtelet quarter’s crowd under an invisibility cloak. On November 5th, however, he materializes in the form of Spectre, his second album, built in a year and a half with a lot of love and kindness. Above all, kindness of his public via the Kisskissbank French platform and a totally crazy Discord chat. Then and this is the most important thing here, love and kindness of his collective La 75ème session. Spectre is home-made, co-produced by Vidji Stratega and Epektase. As for the feats, it’s a full family affair with Zinée, Shien, M le Maudit, Damlif and Isha, the Belgian guest.In fact, as a listener, you feel like you’re part of the thing. St of his Sheldon told us as if we’re part of his family. No need for spectacular punchlines, the words are accurate, direct, effective, touching. On Top Boy, he builds it too easily with Isha and a production as heavy as nonchalant. It’s almost insolence there. Then, on No Go Zone and Inunaki, Sheldon waves his sceptre in an egotrip pod. Finally, the milestone of the rapper, his mega-assumed regressive touch. This results in beautiful songs such as Mon amoureuse. Or the music both dark and sunny of Docu. This track is highly melancholic but makes you want to rise up. Beautiful. Sheldon has traded his Play pad for an introspective story. A way of sowing fragments of life in which everyone can find themselves. The path closes on Caverne, the last track of the album. A nice way to end it. [/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″ global_colors_info= »{} »] Sheldon, c’est un môme des rues et de leur matrice. La ville, son terrain de jeux. Maintenant, c’est un
Open The Gates, chronique
Liminal Space, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.16″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] ILL CONSIDERED, Liminal Space [/et_pb_text][et_pb_text _builder_version= »4.16″ 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 12 novembre 2021 chez New Soil [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/11/a3345063251_10.jpg » alt= »Ill Considered – Liminal Space » title_text= »Ill Considered – Liminal Space » _builder_version= »4.16″ _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= »4.22.2″ _module_preset= »default » custom_margin= »4em||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Liminal Space de ILL CONSIDERED[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Definitiveley Insane. Ill Considered doesn’t get better and its health status hasn’t improve yet. After 9 high temperatures albums, the trio of DIY Britons knows a new onset of fever. Liminal Space comes out of the damaged brains of Emre Ramazanoglu and Idris Rahman, joined from now on by Liran Dorin come to close the hardcore of the combo. Far from being neat, Dorin imposes handy and venomous bass lines, ultra fast and downright devious. The core of Ill Considered is still sick but becomes even more contagious. Scathing crazy. Sneaky as hell. The liminal space, this very subtle zone of the trio, is downright erogenous. Fever, shivers and more if affinities. At a time when the English jazz scene is starting to show some signs of fatigue here and there, the trio is still standing, reinventing a studio sound and allowing itself the luxury of a few feats. Not of the advertising kind, but definitely prolonging the desires of the record. Among them, Tamar Osborn, Kaidi Akinnibi or Theon Cross melt in the desires and found the basis of the pleasure of the 9 monomaniacal tracks. Pearls plays the foreplay, Dust assures the delicate tension and Dervish lets spout out all that it will suit. In a dance where the head looses down to the hips. A fucking feverish dance. A dance of sickness. » content_phone= » ENGLISH / FRANÇAIS Definitiveley Insane. Ill Considered doesn’t get better and its health status hasn’t improve yet. After 9 high temperatures albums, the trio of DIY Britons knows a new onset of fever. Liminal Space comes out of the damaged brains of Emre Ramazanoglu and Idris Rahman, joined from now on by Liran Dorin come to close the hardcore of the combo. Far from being neat, Dorin imposes handy and venomous bass lines, ultra fast and downright devious. The core of Ill Considered is still sick but becomes even more contagious. Scathing crazy. Sneaky as hell. The liminal space, this very subtle zone of the trio, is downright erogenous. Fever, shivers and more if affinities. At a time when the English jazz scene is starting to show some signs of fatigue here and there, the trio is still standing, reinventing a studio sound and allowing itself the luxury of a few feats. Not of the advertising kind, but definitely prolonging the desires of the record. Among them, Tamar Osborn, Kaidi Akinnibi or Theon Cross melt in the desires and found the basis of the pleasure of the 9 monomaniacal tracks. Pearls plays the foreplay, Dust assures the delicate tension and Dervish lets spout out all that it will suit. In a dance where the head looses down to the hips. A fucking feverish dance. A dance of sickness. » content_last_edited= »on|phone » _builder_version= »4.16″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Definitiveley Insane. Ill Considered doesn’t get better and its health status hasn’t improve yet. After 9 high temperatures albums, the trio of DIY Britons knows a new onset of fever. Liminal Space comes out of the damaged brains of Emre Ramazanoglu and Idris Rahman, joined from now on by Liran Dorin come to close the hardcore of the combo. Far from being neat, Dorin imposes handy and venomous bass lines, ultra fast and downright devious. The core of Ill Considered is still sick but becomes even more contagious. Scathing crazy. Sneaky as hell. The liminal space, this very subtle zone of the trio, is downright erogenous. Fever, shivers and more if affinities. At a time when the English jazz scene is starting to show some signs of fatigue here and there, the trio is still standing, reinventing a studio sound and allowing itself the luxury of a few feats. Not of the advertising kind, but definitely prolonging the desires of the record. Among them, Tamar Osborn, Kaidi Akinnibi or Theon Cross melt in the desires and found the basis of the pleasure of the 9 monomaniacal tracks. Pearls plays the foreplay, Dust assures the delicate tension and Dervish lets spout out all that it will suit. In a dance where the head looses down to the hips. A fucking feverish dance. A dance of sickness. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.16″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Complètement malades. Ill Considered n’arrange rien de son état clinique. Après 9 albums à forte température, le trio de britons DIY se paie une nouvelle poussée de fièvre. Liminal Space sort des cerveaux ravagés d’Emre Ramazanoglu et Idris Rahman, rejoints désormais par Liran Dorin venu fermer le hardcore du combo. Loin d’être soin, Dorin impose ses mains et des lignes de basses vénéneuses, ultra rapides et carrément sournoises. Le noyau dur d’Ill Considered est donc toujours malade mais devient même encore un peu plus contagieux. Cinglants cinglés. Sneaky as hell. Le liminal space, la zone subtile du trio, est carrément érogène. Fièvre, frissons et plus si affinités. À l’heure où la scène jazz angliche commence à montrer certains signes de fatigue ici ou là, le trio tient toujours debout, se réinvente un son de studio et se paie le luxe de quelques feats. Pas du genre publicitaires, mais carrément prolongateurs des envies du disque. Parmi eux, Tamar Osborn, Kaidi Akinnibi ou encore Theon Cross se fondent dans les désirs et
The Brkn Record, 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= »4.13.0″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] THE BRKN RECORD, The Architecture Of Oppression part 1 [/et_pb_text][et_pb_text _builder_version= »4.13.0″ 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= »{} »] sortie le 5 novembre 2021 chez Mr Bongo [/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/a1817283021_10.jpg » alt= »The Brkn Record – The Architecture of Oppression part 1″ title_text= »The Brkn Record – The Architecture of Oppression part 1″ _builder_version= »4.13.0″ _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_code _builder_version= »4.13.0″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]The Architecture Of Oppression Part 1 by The Brkn Record[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Want to broke some mugs ? Yes but not enough. Firmly not enough. Here the need to break everything takes the lead. Scream until you lose your voice. And devastate the world. And pull out some weapons. That’s the effect of listening to The Architecture of Oppression part 1 from The Brkn Record. Jake Ferguson, a.k.a. the project architect, shakes the guts of those who listen and upsets the hearts of those who understand. Heliocentrics’ bassist rightly breaks the ice. From musical textures to lyrics, the sincerity of The Architecture… sounds heavy. Everything is there. Psych, jazz and groove. It transcends your mug. It shakes your ego. First bullet in the brain with Assimilation. That feeling of oppression. Why ? The keyboards tighten the stomach. Malcolm Cotto’s mastered power makes his drums suffocate. Dylema’s unpleasant but truthful poetry pierces your belly. Second stab with Hackney Ain’T Innocent. “This blood on the streets from the hands of the police. Remember the name ? Rashan Charles. %91…%93 The brother couldn’t breathe”. Nothing more to say. Witness the Whiteness sounds as the death sentence. The police siren mingles with a violin and destroys all hope. The dissonance echoes reality. It makes you retch Heart and stomach crumbled. And now, who’d say I can’t breathe? » content_phone= » ENGLISH / FRANÇAIS Want to broke some mugs ? Yes but not enough. Firmly not enough. Here the need to break everything takes the lead. Scream until you lose your voice. And devastate the world. And pull out some weapons. That’s the effect of listening to The Architecture of Oppression part 1 from The Brkn Record. Jake Ferguson, a.k.a. the project architect, shakes the guts of those who listen and upsets the hearts of those who understand. Heliocentrics’ bassist rightly breaks the ice. From musical textures to lyrics, the sincerity of The Architecture… sounds heavy. Everything is there. Psych, jazz and groove. It transcends your mug. It shakes your ego. First bullet in the brain with Assimilation. That feeling of oppression. Why ? The keyboards tighten the stomach. Malcolm Cotto’s mastered power makes his drums suffocate. Dylema’s unpleasant but truthful poetry pierces your belly. Second stab with Hackney Ain’T Innocent. “This blood on the streets from the hands of the police. Remember the name ? Rashan Charles. %91…%93 The brother couldn’t breathe”. Nothing more to say. Witness the Whiteness sounds as the death sentence. The police siren mingles with a violin and destroys all hope. The dissonance echoes reality. It makes you retch Heart and stomach crumbled. And now, who’d say I can’t breathe? » content_last_edited= »on|phone » _builder_version= »4.13.0″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Want to broke some mugs ? Yes but not enough. Firmly not enough. Here the need to break everything takes the lead. Scream until you lose your voice. And devastate the world. And pull out some weapons. That’s the effect of listening to The Architecture of Oppression part 1 from The Brkn Record. Jake Ferguson, a.k.a. the project architect, shakes the guts of those who listen and upsets the hearts of those who understand. Heliocentrics’ bassist rightly breaks the ice. From musical textures to lyrics, the sincerity of The Architecture… sounds heavy. Everything is there. Psych, jazz and groove. It transcends your mug. It shakes your ego. First bullet in the brain with Assimilation. That feeling of oppression. Why ? The keyboards tighten the stomach. Malcolm Cotto’s mastered power makes his drums suffocate. Dylema’s unpleasant but truthful poetry pierces your belly. Second stab with Hackney Ain’T Innocent. “This blood on the streets from the hands of the police. Remember the name ? Rashan Charles. […] The brother couldn’t breathe”. Nothing more to say. Witness the Whiteness sounds as the death sentence. The police siren mingles with a violin and destroys all hope. The dissonance echoes reality. It makes you retch Heart and stomach crumbled. And now, who’d say I can’t breathe? [/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= »4.13.0″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Envie de casser des gueules ? Yes but it’s not enough. Clearly not enough. Là, c’est le besoin de tout casser qui prend le dessus. Hurler à en perdre la voix. Ravager le monde. Dégainer les armes. Ça, c’est l’effet The Brkn Record et son The Architecture of Oppression part 1. Jake Ferguson aka le chef de projet malmène les entrailles de ceux qui écoutent et bouscule le cœur de ceux qui comprennent. Le bass player de The Heliocentrics brise la glace avec justesse. Des textures musicales aux lyrics, la sincérité de The Architecture of Oppression part 1 alourdit. Tout est là. Du psyché, du jazz et du groove. Ça transcende la gueule. Ça bouscule l’ego. Première balle au fond de la cervelle avec Assimilation. Un sentiment d’oppression. Pourquoi ça ? Les claviers serrent l’estomac. La puissance maîtrisée de Malcolm Cotto et sa batterie étouffent. La poésie désagréable mais véridique de Dylema transperce le ventre. Deuxième coup de poignard avec Hackney Ain’T Innocent. Les mots de Yolanda Lear frappent “This blood on the streets from the hands of the police. Remember the name ? Rashan Charles. […] The brother couldn’t breathe”. Rien de plus
Deux, chronique
Paradia, 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= »4.12.1″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] ROLAND BOCQUET, Paradia [/et_pb_text][et_pb_text _builder_version= »4.12.1″ 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 11 octobre 2021 chez WRWTFWW 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/2021/11/a3871766345_10.jpg » alt= »Roland Bocquet – Paradia » title_text= »Roland Bocquet – Paradia » _builder_version= »4.12.1″ _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= »4.12.1″ _module_preset= »default » custom_margin= »4em||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Paradia by Roland Bocquet[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS 1977. When some lads babbled like punks and glued their hair with beer gushes, others were adjusting their ties and plugging in their synthesizers. They were inventing the future while the first ones were trying to block it. And that same future is present in every measure of this Paradia, chiseled with great class and accuracy by Roland Bocquet. With some French puns too, slipped into the titles and some melodies. The Ducks play pocket choral symphonies, we dance on T’aime Libanais and on Bee Flat. Bocquet, as a good punk with a suit, doesn’t deny himself anything. This reissue, also very classy, shows it from head to tail. 10 tracks to take in disorder, according to the mood or the direction of the wind. That blows in Djerba or L’Allumette. The one that just shakes the branches of a burning bush, unclassifiable. As strange as feel-good. The beautiful bizarre deployed by Roland Bocquet has the sense of the break of climate, of the effects of style and sleeve. In short the sense of the catharsis, with a capital letter even for the group of which Bocquet occupied the keyboards. Here, in the heart of this small sonic purge, the disinhibited comfort. We said it, nothing is forbidden. Not even the small minimal and futuristic dancefloor of Exotique. Nothing. Nada. » content_phone= » ENGLISH / FRANÇAIS 1977. When some lads babbled like punks and glued their hair with beer gushes, others were adjusting their ties and plugging in their synthesizers. They were inventing the future while the first ones were trying to block it. And that same future is present in every measure of this Paradia, chiseled with great class and accuracy by Roland Bocquet. With some French puns too, slipped into the titles and some melodies. The Ducks play pocket choral symphonies, we dance on T’aime Libanais and on Bee Flat. Bocquet, as a good punk with a suit, doesn’t deny himself anything. This reissue, also very classy, shows it from head to tail. 10 tracks to take in disorder, according to the mood or the direction of the wind. That blows in Djerba or L’Allumette. The one that just shakes the branches of a burning bush, unclassifiable. As strange as feel-good. The beautiful bizarre deployed by Roland Bocquet has the sense of the break of climate, of the effects of style and sleeve. In short the sense of the catharsis, with a capital letter even for the group of which Bocquet occupied the keyboards. Here, in the heart of this small sonic purge, the disinhibited comfort. We said it, nothing is forbidden. Not even the small minimal and futuristic dancefloor of Exotique. Nothing. Nada. » content_last_edited= »on|phone » _builder_version= »4.12.1″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH 1977. When some lads babbled like punks and glued their hair with beer gushes, others were adjusting their ties and plugging in their synthesizers. They were inventing the future while the first ones were trying to block it. And that same future is present in every measure of this Paradia, chiseled with great class and accuracy by Roland Bocquet. With some French puns too, slipped into the titles and some melodies. The Ducks play pocket choral symphonies, we dance on T’aime Libanais and on Bee Flat. Bocquet, as a good punk with a suit, doesn’t deny himself anything. This reissue, also very classy, shows it from head to tail. 10 tracks to take in disorder, according to the mood or the direction of the wind. That blows in Djerba or L’Allumette. The one that just shakes the branches of a burning bush, unclassifiable. As strange as feel-good. The beautiful bizarre deployed by Roland Bocquet has the sense of the break of climate, of the effects of style and sleeve. In short the sense of the catharsis, with a capital letter even for the group of which Bocquet occupied the keyboards. Here, in the heart of this small sonic purge, the disinhibited comfort. We said it, nothing is forbidden. Not even the small minimal and futuristic dancefloor of Exotique. Nothing. Nada. [/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= »4.12.1″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] 1977. Quand des zozos faisaient les punks en se collant les cheveux à la bière, d’autres ajustaient leurs cravates et branchaient leurs synthétiseurs. Eux inventaient le futur quand les premiers tentaient de lui compliquer l’avenir. Et du futur, il y en a à tous les mesures de ce Paradia, ciselé avec grande classe et super justesse par Roland Bocquet. Avec quelques jeux de mots aussi, glissés dans les titres et quelques mélodies. Les Canards jouent des symphonies chorales de poche, on danse sur T’aime Libanais et sur Bee Flat. Bocquet, en bon punk à costard, ne se refusent rien et s’en interdit pas moins. Cette réédition, très classe elle-aussi, le montre de la tête à la queue. 10 titres à prendre dans le désordre, selon l’humeur ou le sens du vent. Celui souffle à Djerba ou L’Allumette. Celui qui bouscule tout juste les rameaux d’un buisson ardent, inclassable. Aussi étrange que feel-good. Le beau bizarre déployé par Roland Bocquet a le sens de la rupture de climat, des effets de style et de manche. Bref le sens de de la catharsis, avec une majuscule même pour le groupe dont
Code Of Being, 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= »4.12.1″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] JAMES BRANDON LEWIS QUARTET,Code Of Being [/et_pb_text][et_pb_text _builder_version= »4.12.1″ 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 16 octobre 2021 chez Intakt 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/2021/11/CodeOfBeing_JamesBrandonLewis.jpg » alt= »Code Of Being du James Brandon Lewis Quartet » title_text= »Code Of Being James Brandon Lewis Quartet » _builder_version= »4.12.1″ _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= »4.12.1″ _module_preset= »default » custom_margin= »3em||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Code of Being by JAMES BRANDON LEWIS QUARTET with Aruán Ortiz, Brad Jones and Chad Taylor[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Square thang. This quartet is bring to its squaring and, on Code Of Being, the stability remains the same as the one we left in Molecular. Perfectly unstable. Reptilian pulse, clarity of the showed teeth, implicit and soulful jerks. We persists here, James Brandon prolongs the worried lyricism of a Sonny Rollins. Per 5 sounds with this personal urgency, this necessity to say things that have to. James Brandon Lewis exposes on tenor a holly heritage with a maverick side in its soft power. Sacred music? We Insist! The small litanies in crescendo say a lot about the saxophonist, about a love of the World, renewed every morning, we bet. The same goes for the whole quartet. A combo less concerned with the rage of wanting to find how to say things than with the energy of experimenting a common way to do it. Each one of these 4 has the keys of the Code Of Being together and united. Hear at Chad Taylor drilling holes in his pals’ language on Archimedean and the eponymous track. Look at Aruán Ortiz and the Latin clusters of Where Is Hela where Lewis plays unstoppable and stirring, displays his skills for balanced notes. Without surprise, nothing is free in this record, classy compositions and terrific interplay. The energy to fraternize even offers itself the delicate luxury to be able to ease angers for some time. » content_phone= » ENGLISH / FRANÇAIS Square thang. This quartet is bring to its squaring and, on Code Of Being, the stability remains the same as the one we left in Molecular. Perfectly unstable. Reptilian pulse, clarity of the showed teeth, implicit and soulful jerks. We persists here, James Brandon prolongs the worried lyricism of a Sonny Rollins. Per 5 sounds with this personal urgency, this necessity to say things that have to. James Brandon Lewis exposes on tenor a holly heritage with a maverick side in its soft power. Sacred music? We Insist! The small litanies in crescendo say a lot about the saxophonist, about a love of the World, renewed every morning, we bet. The same goes for the whole quartet. A combo less concerned with the rage of wanting to find how to say things than with the energy of experimenting a common way to do it. Each one of these 4 has the keys of the Code Of Being together and united. Hear at Chad Taylor drilling holes in his pals’ language on Archimedean and the eponymous track. Look at Aruán Ortiz and the Latin clusters of Where Is Hela where Lewis plays unstoppable and stirring, displays his skills for balanced notes. Without surprise, nothing is free in this record, classy compositions and terrific interplay. The energy to fraternize even offers itself the delicate luxury to be able to ease angers for some time. » content_last_edited= »on|phone » _builder_version= »4.12.1″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Square thang. This quartet is bring to its squaring and, on Code Of Being, the stability remains the same as the one we left in Molecular. Perfectly unstable. Reptilian pulse, clarity of the showed teeth, implicit and soulful jerks. We persists here, James Brandon prolongs the worried lyricism of a Sonny Rollins. Per 5 sounds with this personal urgency, this necessity to say things that have to. James Brandon Lewis exposes on tenor a holly heritage with a maverick side in its soft power. Sacred music? We Insist! The small litanies in crescendo say a lot about the saxophonist, about a love of the World, renewed every morning, we bet. The same goes for the whole quartet. A combo less concerned with the rage of wanting to find how to say things than with the energy of experimenting a common way to do it. Each one of these 4 has the keys of the Code Of Being together and united. Hear at Chad Taylor drilling holes in his pals’ language on Archimedean and the eponymous track. Look at Aruán Ortiz and the Latin clusters of Where Is Hela where Lewis plays unstoppable and stirring, displays his skills for balanced notes. Without surprise, nothing is free in this record, classy compositions and terrific interplay. The energy to fraternize even offers itself the delicate luxury to be able to ease angers for some time. [/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= »4.12.1″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] C’est carré. Ce quartet est renvoyé à sa quadrature et, sur Code Of Being, l’équilibre reste le même que celui des particules de Molecular. Parfaitement instable. Pulse reptilien, clarté des incisives montrée, saccades implicites et pleines de soul. On persiste ici, James Brandon prolonge le lyrisme inquiet d’un Sonny Rollins. Per 5 résonne de cette urgence personnelle, de cette nécessité à dire les choses. James Brandon Lewis, au ténor expose un héritage soul toujours un peu contestataire dans son soft power. Musique sacrée ? We Insist! Les petites litanies en crescendo en disent long sur le saxophoniste, sur un amour du Monde, renouvelé chaque matin. Idem pour l’ensemble du quartet. Quartet moins porté sur la rage de vouloir trouver comment dire les choses que sur l’énergie d’expérimenter un commun pour le