Discipline Of Sun Ra, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] EABS, Discipline Of Sun Ra [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en octobre 2020 chez Astigmatic 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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/11/cover-scaled.jpg » alt= »Discipline Of Sun Ra de EABS » title_text= »Discipline Of Sun Ra de EABS » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Discipline of Sun Ra by EABS[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Damn, it can match! According to Herman Poole Blount — better known by the not-so-nicked nickname of Sun Ra — people surf the water of the world after the end of the world. And well wedged behind our blinkers, we have forgotten respect for what has been and discipline in front of what has to come. Funny pain in the ass. And looking at the current period, we don’t seem quite ready to get our noses out of the mist. What if one of the solutions came from jazz? Jazz from Poland, moreover. Always at the forefront, always at ease in half-tones as well as in various fusions, and has been for a couple of years now. And the four letters of EABS will not detract from possible solutions. The sextet is releasing its third album, a vortex where soul coexists with free music, where the energy of hip hop makes eye contact with street jazz. After rewriting the lines of Komeda for the first record, EABS now turns to the God Ra, the lil’ guy who came from Saturn to save the world in music. It’s full of space licks and cosmic metaphors. It’s urgent, political, ultra-precise and full of past glory. Perfect for reading the future. Discipline Of Sun Ra will at least save us from the greyness of past and future lockdowns. » content_phone= » ENGLISH / FRANÇAIS Damn, it can match! According to Herman Poole Blount — better known by the not-so-nicked nickname of Sun Ra — people surf the water of the world after the end of the world. And well wedged behind our blinkers, we have forgotten respect for what has been and discipline in front of what has to come. Funny pain in the ass. And looking at the current period, we don’t seem quite ready to get our noses out of the mist. What if one of the solutions came from jazz? Jazz from Poland, moreover. Always at the forefront, always at ease in half-tones as well as in various fusions, and has been for a couple of years now. And the four letters of EABS will not detract from possible solutions. The sextet is releasing its third album, a vortex where soul coexists with free music, where the energy of hip hop makes eye contact with street jazz. After rewriting the lines of Komeda for the first record, EABS now turns to the God Ra, the lil’ guy who came from Saturn to save the world in music. It’s full of space licks and cosmic metaphors. It’s urgent, political, ultra-precise and full of past glory. Perfect for reading the future. Discipline Of Sun Ra will at least save us from the greyness of past and future lockdowns. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Damn, it can match! According to Herman Poole Blount — better known by the not-so-nicked nickname of Sun Ra — people surf the water of the world after the end of the world. And well wedged behind our blinkers, we have forgotten respect for what has been and discipline in front of what has to come. Funny pain in the ass. And looking at the current period, we don’t seem quite ready to get our noses out of the mist. What if one of the solutions came from jazz? Jazz from Poland, moreover. Always at the forefront, always at ease in half-tones as well as in various fusions, and has been for a couple of years now. And the four letters of EABS will not detract from possible solutions. The sextet is releasing its third album, a vortex where soul coexists with free music, where the energy of hip hop makes eye contact with street jazz. After rewriting the lines of Komeda for the first record, EABS now turns to the God Ra, the lil’ guy who came from Saturn to save the world in music. It’s full of space licks and cosmic metaphors. It’s urgent, political, ultra-precise and full of past glory. Perfect for reading the future. Discipline Of Sun Ra will at least save us from the greyness of past and future lockdowns. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Damned, ça peut faire tilt. D’après Herman Poole Blount, plus connu sous le sobriquet pas si sobre de Sun Ra, on navigue à vue dans le monde d’après la fin du monde. Et bien calés derrière nos oeillères, on en a oublié le respect de ce qui a été et la discipline face à ce qui adviendra. Galère. Et à bien regarder l’allure de la période actuelle, on n’a pas l’air tout à fait prêts de sortir le museau de la brume. Et si une des solutions venait du jazz ? Du jazz from Poland qui plus est. Toujours à la pointe, toujours à l’aise dans les demi-teintes comme dans les fusions diverses, et ce, depuis une paire d’années maintenant. Et les quatre lettres de EABS ne viendront rien démentir de cette possible solution. Le sextet sort sont troisième album, un vortex où la soul cohabite avec le free, où l’énergie du hip hop fait des oeillades au street jazz. Après avoir réécrit quelques lignes de Komeda sur son premier disque, EABS s’adresse donc au Dieu Ra, le p’tit gars venu de Saturn pour sauver
Hijinx, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] GOOGIE & HENRY CANYONS, Hijinx [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en septembre 2020 chez Backwoodz Studiosz [/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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/11/cover-1.jpg » alt= »Hijinx de Googie & Henry Canyons » title_text= »Hijinx de Googie & Henry Canyons » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Hijinx by Googie & Henry Canyons[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Back in da game, the lil’ whithey from Brooklyn. Henry Canyons is back. This thumbnail pope of a recipe of a hip hop that would be Creole, falsely quiet but furiously fun. Two years after The Cool Side Of The Pillow, which is still running on a loop on the mag’s turntables, here is Hijinx. A classy little entresort, a little anti-rococo shack. No bend in the flows crossed here by Googie and Canyons. This LP visits a lot of places, it leaves the frenzy in the locker room and even allows itself to sound classy by approaching the Dire Straits’ Brothers In Arms sound on Galvanize Pride. This would earn them a Medal Of Honor for the risk taken. For the rest, it’s once again multiple, super sensitive, always a bit strange, the little two-headed monster that is Synonymisms, often kicked from the hips like the quasi-frenchy production of You Could Be. It could be a lot of things, indeed. But even before that, this is very, very addictive. » content_phone= » ENGLISH / FRANÇAIS Back in da game, the lil’ whithey from Brooklyn. Henry Canyons is back. This thumbnail pope of a recipe of a hip hop that would be Creole, falsely quiet but furiously fun. Two years after The Cool Side Of The Pillow, which is still running on a loop on the mag’s turntables, here is Hijinx. A classy little entresort, a little anti-rococo shack. No bend in the flows crossed here by Googie and Canyons. This LP visits a lot of places, it leaves the frenzy in the locker room and even allows itself to sound classy by approaching the Dire Straits’ Brothers In Arms sound on Galvanize Pride. This would earn them a Medal Of Honor for the risk taken. For the rest, it’s once again multiple, super sensitive, always a bit strange, the little two-headed monster that is Synonymisms, often kicked from the hips like the quasi-frenchy production of You Could Be. It could be a lot of things, indeed. But even before that, this is very, very addictive. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Back in da game, the lil’ whithey from Brooklyn. Henry Canyons is back. This thumbnail pope of a recipe of a hip hop that would be Creole, falsely quiet but furiously fun. Two years after The Cool Side Of The Pillow, which is still running on a loop on the mag’s turntables, here is Hijinx. A classy little entresort, a little anti-rococo shack. No bend in the flows crossed here by Googie and Canyons. This LP visits a lot of places, it leaves the frenzy in the locker room and even allows itself to sound classy by approaching the Dire Straits’ Brothers In Arms sound on Galvanize Pride. This would earn them a Medal Of Honor for the risk taken. For the rest, it’s once again multiple, super sensitive, always a bit strange, the little two-headed monster that is Synonymisms, often kicked from the hips like the quasi-frenchy production of You Could Be. It could be a lot of things, indeed. But even before that, this is very, very addictive. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Back in da game, le petit blanco de Brooklyn. Henry Canyons, pape miniature d’un hip hop créole, faussement tranquille mais furieusement fun, est de retour. Deux ans après The Cool Side Of The Pillow qui tourne toujours en boucle sur les platines du mag, voici Hijinx. Petit entresort très classe, petite baraque anti-rococo. Pas de détour dans les flows croisés ici par Googie et Canyons. Ça visite pas mal d’endroits, ça laisse la frénésie au vestiaire et ça se permet de sonner classe en approchant le son Brothers In Arms sur Galvanize Pride. Cela seul leur vaudrait une Medal Of Honor pour le risque pris. Pour le reste, c’est une fois de plus multiple, super sensible, toujours un peu étrange, le petit monstre bicéphale qu’est Synonymisms, souvent kické du bassin comme la prod quasi-frenchie de You Could Be. C’est pas de mal de choses, yep, mais avant cela, c’est très très addictif. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Henry Canyons : bandcampBackwoodz Studioz : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
27 Licks, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] DEVIN GRAY & GERALD CLEAVER, 27 Licks [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en octobre 2020 chez Rataplan 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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/11/cover-2-scaled.jpg » alt= »27 Licks de Devin Gray & Gerald Cleaver » title_text= »27 Licks de Devin Gray & Gerald Cleaver » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]27 Licks by feat. Gerald Cleaver & Devin Gray[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS In the review of Socialytics, his latest recording released last May, we said that even beyond breath and limits, Devin Gray is to be seen as a genuine musician. An inventor of the social bond. A sound engineer for his own communities. Here’s one more piece of evidence. In 27 licks, Gray strengthens the links that connect him with another drummer, an admired friend, Gerald Cleaver. In 27 licks, Devin devised a new way of paying tribute: by challenging, dealing with and conversing with the very subject of this tribute. 27 licks, the album, born of a long companionship and recorded in December 2019, is the mark of a moment. That moment where a double and his master become one common, at the same moment. It drills into the material being struck, it freezes solutions to shake up the sound space. It even has the luxury, of course here we’re at Mista Rataplan’s, of putting a bits of politics between two triplets. That’s how the whole project is with this drummer. Living, declaring and playing are one and the same thing. And 27 licks take the time to make you feel that in 8 tracks. Clever, seditious and fraternal. » content_phone= » ENGLISH / FRANÇAIS In the review of Socialytics, his latest recording released last May, we said that even beyond breath and limits, Devin Gray is to be seen as a genuine musician. An inventor of the social bond. A sound engineer for his own communities. Here’s one more piece of evidence. In 27 licks, Gray strengthens the links that connect him with another drummer, an admired friend, Gerald Cleaver. In 27 licks, Devin devised a new way of paying tribute: by challenging, dealing with and conversing with the very subject of this tribute. 27 licks, the album, born of a long companionship and recorded in December 2019, is the mark of a moment. That moment where a double and his master become one common, at the same moment. It drills into the material being struck, it freezes solutions to shake up the sound space. It even has the luxury, of course here we’re at Mista Rataplan’s, of putting a bits of politics between two triplets. That’s how the whole project is with this drummer. Living, declaring and playing are one and the same thing. And 27 licks take the time to make you feel that in 8 tracks. Clever, seditious and fraternal. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH In the review of Socialytics, his latest recording released last May, we said that even beyond breath and limits, Devin Gray is to be seen as a genuine musician. An inventor of the social bond. A sound engineer for his own communities. Here’s one more piece of evidence. In 27 licks, Gray strengthens the links that connect him with another drummer, an admired friend, Gerald Cleaver. In 27 licks, Devin devised a new way of paying tribute: by challenging, dealing with and conversing with the very subject of this tribute. 27 licks, the album, born of a long companionship and recorded in December 2019, is the mark of a moment. That moment where a double and his master become one common, at the same moment. It drills into the material being struck, it freezes solutions to shake up the sound space. It even has the luxury, of course here we’re at Mista Rataplan’s, of putting a bits of politics between two triplets. That’s how the whole project is with this drummer. Living, declaring and playing are one and the same thing. And 27 licks take the time to make you feel that in 8 tracks. Clever, seditious and fraternal. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Dans la chronique de Socialytics, son dernier enregistrement paru en mai dernier, nous disions que même au-delà du souffle et des limites, Devin Gray restait un musicien. Un inventeur de lien social. Un preneur de son de communauté. Voici une évidence de plus. En 27 licks, Gray renforce le lien qui l’unit à un autre batteur, ami admiré, Gerald Cleaver. En 27 licks, Devin fourbit une nouvelle façon de rendre hommage : en mettant au défi, en se frottant contre, en devisant avec l’objet même de cet hommage. 27 licks, l’album, né d’un long compagnonnage et enregistré en décembre 2019, est le témoin d’un moment. Celui où un double et son maître font corps commun, au même instant. Ça fore dans la matière frappée, ça fignole des solutions pour bousculer l’espace sonore. Ça se paie même le luxe, habituel chez Mista Rataplan, de vous balancer un peu de politique entre deux triolets. Le projet est ainsi chez ce batteur. Vivre, déclarer et jouer ne sont qu’une est même chose. Et 27 licks prend le temps de vous le faire sentir en 8 tracks. Malins, séditieux et fraternels. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Devin Gray : bandcampRataplan Records : instagram [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Vari-Colored Songs, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] LEYLA McCALLA, Vari-Colored Songs [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] réédition en octobre 2020 chez Smithsonian Folkways Recordings [/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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/04/Vari-Colored-Songs-Leyla-McCALLA.jpg » alt= »Vari-Colored Songs de Leyla McCALLA » title_text= »Vari-Colored Songs de Leyla McCALLA » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Vari-Colored Songs: A Tribute to Langston Hughes by Leyla McCalla[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Some female singers are pivots. Between two eras, between the innerlife and the outside, between the world of dreamers and reality. Leyla McCalla flies over all these labels, pays a very class tribute to the poet Langston Hughes and bets with all the shades of black that the history of the First Nations contains. From these First Nations were born the current preoccupations, most of which are stirred, shaken with fierce beauty in this Vari-Colored Songs. First released in 2014 and re-released this year by Smithsonian Folkways at a time when history is bumping again from the streets of America to the French studio of a music producer. In New Orleans, Leyla McCalla calls for 15 nuggets of American folk and Haitian Kreyòl, one of the components of African identity. Stronger than an anti-colonialist flyer, no less brutal than a spit on a supremacist face, softer than a poultice of warm milk on a wound. » content_phone= » ENGLISH / FRANÇAIS Some female singers are pivots. Between two eras, between the innerlife and the outside, between the world of dreamers and reality. Leyla McCalla flies over all these labels, pays a very class tribute to the poet Langston Hughes and bets with all the shades of black that the history of the First Nations contains. From these First Nations were born the current preoccupations, most of which are stirred, shaken with fierce beauty in this Vari-Colored Songs. First released in 2014 and re-released this year by Smithsonian Folkways at a time when history is bumping again from the streets of America to the French studio of a music producer. In New Orleans, Leyla McCalla calls for 15 nuggets of American folk and Haitian Kreyòl, one of the components of African identity. Stronger than an anti-colonialist flyer, no less brutal than a spit on a supremacist face, softer than a poultice of warm milk on a wound. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Some female singers are pivots. Between two eras, between the innerlife and the outside, between the world of dreamers and reality. Leyla McCalla flies over all these labels, pays a very class tribute to the poet Langston Hughes and bets with all the shades of black that the history of the First Nations contains. From these First Nations were born the current preoccupations, most of which are stirred, shaken with fierce beauty in this Vari-Colored Songs. First released in 2014 and re-released this year by Smithsonian Folkways at a time when history is bumping again from the streets of America to the French studio of a music producer. In New Orleans, Leyla McCalla calls for 15 nuggets of American folk and Haitian Kreyòl, one of the components of African identity. Stronger than an anti-colonialist flyer, no less brutal than a spit on a supremacist face, softer than a poultice of warm milk on a wound. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Il y a des chanteuses qui sont des charnières. Entre deux époques, entre l’intime et l’extérieur, entre les monde des dreamers et le réel. Leyla McCalla survole un peu toutes ces étiquettes, paie un classe tribute au poète Langston Hughes et joue avec toutes les nuances de noir que l’histoire des premières nations contient. De ces premières nations sont nées les préoccupations actuelles dont le plupart sont agitées, secouées avec une beauté farouche dans ce Vari-Colored Songs. Sorti d’abord en 2014 et ressorti cette année par Smithsonian Folkways à un moment où l’histoire cahote un peu, zozote carrément des rues américaines au studio français d’un producteur de musique. Leyla McCalla convoque, elle, en Nouvelle-Orléans et pour 15 pépites le folk ricain et le Kreyòl haïtien, une des composantes de l’identité africaine. Plus fort qu’un tract anticolonialiste, pas moins brutal qu’un crachat à la face du suprémacisme, plus doux qu’un cataplasme de lait chaud sur une blessure. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Leyla McCalla : bandcampSmithsonian Folkways Rec.: site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
A tort et au travers, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_phone= » FUNKY COUP:Korean Soul, Funk& Rare Groove Nuggets 1973-1980 vol. 1 » content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] JEAN-FRANÇOIS PAUVROS, À Tort et au travers [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en juillet 2020 chez Nato [/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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/04/DiskPauvrosCarre.jpg » alt= »A tort et au travers de JF Pauvros » title_text= »A tort et au travers de JF Pauvros » _builder_version= »4.9.4″ _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″][/et_pb_image][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Some could say that today’s jazz is made of syncretisms – of mixtures, if you really want an another word. But when you listen to Jean-François Pauvros‘ latest record, you can tell yourself that everything has been there for a long time. The guitarist returns to nato with this release that shamelessly mixes free, rock and song. Antonin Rayon (piano, organ) and Mark Kerr (drums) keep the shack clean. Bass on one side, low and heavy, and drums in other hand, full of various grooves and impassive. This trio had fun with the sound material. This is weaving, this is torturing and finally all of this explodes. The pauvrossian guitar, well above all, sings crazy and voluble. A bit of poetry comes to polish up the work of architects of the chaos of the three companions. Sweet, but no more than necessary. » content_phone= » ENGLISH / FRANÇAIS Some could say that today’s jazz is made of syncretisms – of mixtures, if you really want an another word. But when you listen to Jean-François Pauvros‘ latest record, you can tell yourself that everything has been there for a long time. The guitarist returns to nato with this release that shamelessly mixes free, rock and song. Antonin Rayon (piano, organ) and Mark Kerr (drums) keep the shack clean. Bass on one side, low and heavy, and drums in other hand, full of various grooves and impassive. This trio had fun with the sound material. This is weaving, this is torturing and finally all of this explodes. The pauvrossian guitar, well above all, sings crazy and voluble. A bit of poetry comes to polish up the work of architects of the chaos of the three companions. Sweet, but no more than necessary. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH Some could say that today’s jazz is made of syncretisms – of mixtures, if you really want an another word. But when you listen to Jean-François Pauvros‘ latest record, you can tell yourself that everything has been there for a long time. The guitarist returns to nato with this release that shamelessly mixes free, rock and song. Antonin Rayon (piano, organ) and Mark Kerr (drums) keep the shack clean. Bass on one side, low and heavy, and drums in other hand, full of various grooves and impassive. This trio had fun with the sound material. This is weaving, this is torturing and finally all of this explodes. The pauvrossian guitar, well above all, sings crazy and voluble. A bit of poetry comes to polish up the work of architects of the chaos of the three companions. Sweet, but no more than necessary. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default »] On pourrait dire que le jazz d’aujourd’hui est fait de syncrétismes – de mélanges, si vraiment vous préférez. Mais quand on écoute le dernier disque de Jean-François Pauvros, on se dit tout que tout était déjà là depuis longtemps. Le guitariste revient chez nato avec cet album qui mélange sans vergogne le free, le rock et la chanson. Antonin Rayon (piano, orgue) et Mark Kerr (drums) tiennent la baraque : la basse d’un côté, grave et lourde, et la batterie, pétrie de grooves divers et rentre-dedans, imperturbable. Ce trio s’amuse avec la matière sonore. On triture, on torture, on explose. La guitare pauvrossienne bien au-dessus de la mêlée, dingo et volubile. Un peu de poésie vient fignoler, voix chaude de Pauvros, le travail d’architectes du chaos des trois compères. Doux, mais pas plus qu’il ne faut. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Interview de Jean-François PauvrosJean-François Pauvros : site webNato : site web [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version= »4.9.4″ _module_preset= »default » width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone »][et_pb_column type= »4_4″ _builder_version= »4.9.4″ _module_preset= »default »][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2020/10/01.-California.mp3″ title= »Wish For Long (extrait) » artist_name= »Jean-François Pauvros » album_name= »A Tort et au travers (2020) » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f »][/et_pb_audio][/et_pb_column][/et_pb_row][/et_pb_section]
Merry Christmas & **** 2020, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] ÉLIE MARTIN-CHARRIÈRE, Merry Christmas & **** 2020 [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en décembre 2020 [/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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/12/cover-1.jpg » alt= »Merry Christmas & **** 2020 de Élie Martin-Charrière » title_text= »Merry Christmas & **** 2020 de Élie Martin-Charrière » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Merry Christmas & **** 2020 by Elie Martin-Charrière[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Unpaired but logical. 3 tracks in a long haul model, 1 Twitter-formatted solo and 1 totem pole cover. 5 tracks recorded without any link between November 2019 and July 2020. 5 reasons enough to make this record our little epiphany of the week. The solo is as fast as strong in its sensitive touch. The resucée of Monk’s Bye Ya shines as a garland singing Merry Christmas. Indolent, brassy, amusing and true to the playful spirit of the cubist pianist. We’ve known it since Elie Martin-Charrière’s hits with the H! quartet. Here EMC plays the emcee: Merry Christmas & **** 2020. This is the title of this EP. The asterisks are easy to decode. More complex, and therefore more fascinating, are the 3 long opening tracks. Impeached, Gandharvas and Garapa Gineo form a long cinematic sequence. Long and lean, as one would say in America. And in the tail of this comet ring the sound adventures of seventies jazz cinema, a headstrong prod, the fusion from Japan, the pop of Radiohead, political hopes and intimate concerns with a strong humanist tendency. A beautifully plotted comet, urgently coherent. Piloted with two hands. One hand giving a finger to these months of lockdown and the other shielding the drummer’s gaze from the strong light to see better. Far away. And beyond. » content_phone= » ENGLISH / FRANÇAIS Unpaired but logical. 3 tracks in a long haul model, 1 Twitter-formatted solo and 1 totem pole cover. 5 tracks recorded without any link between November 2019 and July 2020. 5 reasons enough to make this record our little epiphany of the week. The solo is as fast as strong in its sensitive touch. The resucée of Monk’s Bye Ya shines as a garland singing Merry Christmas. Indolent, brassy, amusing and true to the playful spirit of the cubist pianist. We’ve known it since Elie Martin-Charrière’s hits with the H! quartet. Here EMC plays the emcee: Merry Christmas & **** 2020. This is the title of this EP. The asterisks are easy to decode. More complex, and therefore more fascinating, are the 3 long opening tracks. Impeached, Gandharvas and Garapa Gineo form a long cinematic sequence. Long and lean, as one would say in America. And in the tail of this comet ring the sound adventures of seventies jazz cinema, a headstrong prod, the fusion from Japan, the pop of Radiohead, political hopes and intimate concerns with a strong humanist tendency. A beautifully plotted comet, urgently coherent. Piloted with two hands. One hand giving a finger to these months of lockdown and the other shielding the drummer’s gaze from the strong light to see better. Far away. And beyond. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Unpaired but logical. 3 tracks in a long haul model, 1 Twitter-formatted solo and 1 totem pole cover. 5 tracks recorded without any link between November 2019 and July 2020. 5 reasons enough to make this record our little epiphany of the week. The solo is as fast as strong in its sensitive touch. The resucée of Monk’s Bye Ya shines as a garland singing Merry Christmas. Indolent, brassy, amusing and true to the playful spirit of the cubist pianist. We’ve known it since Elie Martin-Charrière’s hits with the H! quartet. Here EMC plays the emcee: Merry Christmas & **** 2020. This is the title of this EP. The asterisks are easy to decode. More complex, and therefore more fascinating, are the 3 long opening tracks. Impeached, Gandharvas and Garapa Gineo form a long cinematic sequence. Long and lean, as one would say in America. And in the tail of this comet ring the sound adventures of seventies jazz cinema, a headstrong prod, the fusion from Japan, the pop of Radiohead, political hopes and intimate concerns with a strong humanist tendency. A beautifully plotted comet, urgently coherent. Piloted with two hands. One hand giving a finger to these months of lockdown and the other shielding the drummer’s gaze from the strong light to see better. Far away. And beyond. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Foutraque et cohérent. 3 plages en modèle long-courrier, 1 solo format Twitter et 1 reprise tutélaire. 5 titres enregistrés sans lien les uns aux autres par Élie Martin-Charrière entre novembre 2019 et juillet 2020. 5 raisons qui suffisent à faire de cette mini-galette notre petite épiphanie de la semaine. Le solo est aussi rapide qu’efficace dans sa touche sensible. La resucée du Bye Ya de Monk est shinny comme une guirlande chantant Merry Christmas. Indolente, cuivrée, amusée et fidèle à l’esprit ludique du pianiste cubiste. On le savait depuis les frappes du batteur au sein du quartet H!. Ici Charrière joue encore plus avec les charnières. Celle de la bascule calendaire. Merry Christmas & **** 2020. C’est le titre de ce EP autoproduit. Les astérisques se décodent easy. Plus complexes, et donc plus fascinantes, sont les 3 longues plages d’ouverture. Impeached, Gandharvas et Garapa Gineo forment une longue suite cinématique. Long and lean, diraient les ricains. Et dans la queue de cette comète résonnent les aventures sonores du ciné-jazz des seventies, une prod patiente et têtue, la fusion from Japan, la pop de Radiohead, des espoirs politiques et des préoccupations intimes à forte tendance humanistes. Une comète génialement foutraque, urgemment cohérente. Pilotée à deux mains. L’une faisant un doigt d’honneur à ces mois de confinement
Fine Anyway, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] ROGÉR FAHKR, Fine Anyway [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en 2021 chez Habibi Funk 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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/04/a2697031363_16.jpg » alt= »Fine Anyway de Rogér Fahkr » title_text= »Fine Anyway de Rogér Fahkr » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Habibi Funk 016: Fine Anyway by Rogér Fakhr[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Folk, hippie and Lebanon. Habibi Funk Records released on April 9, a golden shot gathering 18 sounds of Rogér Fahkr, Lebanese guitarist and composer who grew up in the shadow of Fairouz amongst others. Always on the job, Habibi Funk Records, releases new arabian nuggets for diggers: folk, jazz and pop jewels straight from the groove of Ali Baba’s Cave. Fine Anyway has very Californian sounds, not bad for tracks recorded between Beirut and Paris. Listening to this record, one thinks that Beirut was a bit cooler back then than in 2020. Long before the terrible explosion of the port of Beirut, Rogér Fahkr let vibrate its seventies atmospheres, wild af. Hippies vibes 100% with regulation guitar. A wish of peace and love sensation with the track Fine Anyway, to be listened to at the beach around a small campfire, watching the stars. To continue, the happiness vibe of Had to Come Back Wet, gives pep and a bunch of funk and flower power. Sad Sad Songs, everything is said in the title. The song adds its little note of melancholy and nostalgia, makes you want to be nonconformist. Just like that, in one go. Gone Away Again extends the trick with the sudden desire to leave everything behind and take refuge in a small lost village or to cry softly while wandering in the Lebanese ruins. » content_phone= » ENGLISH / FRANÇAIS Folk, hippie and Lebanon. Habibi Funk Records released on April 9, a golden shot gathering 18 sounds of Rogér Fahkr, Lebanese guitarist and composer who grew up in the shadow of Fairouz amongst others. Always on the job, Habibi Funk Records, releases new arabian nuggets for diggers: folk, jazz and pop jewels straight from the groove of Ali Baba’s Cave. Fine Anyway has very Californian sounds, not bad for tracks recorded between Beirut and Paris. Listening to this record, one thinks that Beirut was a bit cooler back then than in 2020. Long before the terrible explosion of the port of Beirut, Rogér Fahkr let vibrate its seventies atmospheres, wild af. Hippies vibes 100% with regulation guitar. A wish of peace and love sensation with the track Fine Anyway, to be listened to at the beach around a small campfire, watching the stars. To continue, the happiness vibe of Had to Come Back Wet, gives pep and a bunch of funk and flower power. Sad Sad Songs, everything is said in the title. The song adds its little note of melancholy and nostalgia, makes you want to be nonconformist. Just like that, in one go. Gone Away Again extends the trick with the sudden desire to leave everything behind and take refuge in a small lost village or to cry softly while wandering in the Lebanese ruins. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Folk, hippie and Lebanon. Habibi Funk Records released on April 9, a golden shot gathering 18 sounds of Rogér Fahkr, Lebanese guitarist and composer who grew up in the shadow of Fairouz amongst others. Always on the job, Habibi Funk Records, releases new arabian nuggets for diggers: folk, jazz and pop jewels straight from the groove of Ali Baba’s Cave. Fine Anyway has very Californian sounds, not bad for tracks recorded between Beirut and Paris. Listening to this record, one thinks that Beirut was a bit cooler back then than in 2020. Long before the terrible explosion of the port of Beirut, Rogér Fahkr let vibrate its seventies atmospheres, wild af. Hippies vibes 100% with regulation guitar. A wish of peace and love sensation with the track Fine Anyway, to be listened to at the beach around a small campfire, watching the stars. To continue, the happiness vibe of Had to Come Back Wet, gives pep and a bunch of funk and flower power. Sad Sad Songs, everything is said in the title. The song adds its little note of melancholy and nostalgia, makes you want to be nonconformist. Just like that, in one go. Gone Away Again extends the trick with the sudden desire to leave everything behind and take refuge in a small lost village or to cry softly while wandering in the Lebanese ruins. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Du folk, du hippie et du Liban. Habibi Funk Records sortait le 9 avril, une pépite compilant 18 sons de Rogér Fahkr. Guitariste libanais et compositeur grandi à l’ombre de Fairouz. Fidèle au poste, Habibi Funk Records, sort de nouvelles arabian nuggets pour diggers, des bijoux folk, jazz et pop sortis directement du groove de la Caverne d’Ali Baba. Fine Anyway cale des sonorités très californiennes, pas mal pour des morceaux enregistrés entre la capitale du Liban et Paris. A écouter ce disque, on se dit d’ailleurs que Beyrouth était un poil plus cool à l’époque qu’en 2020. Bien avant la terrible explosion du port, Rogér Fahkr laissait vibrer ses ambiances seventies à donf. Hippies vibes à 100% avec guitare réglementaire. Une envie de peace and love avec le track Fine Anyway, à écouter posé aux bords de la playa autour d’un petit feu de camp, regardant les étoiles. Pour continuer, l’happiness vibe de Had to Come Back Wet, donne du peps, funk et flower power en balle. Sad Sad Songs, tout est dit dans le titre. La chanson
Nights Enter, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] DENNIS GONZALESAtaraxia Trio + 2, Nights Enter [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en mars 2021 chez Ayler Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/04/cover-2.jpg » alt= »Nights Enter de Dennis Gonzales » title_text= »Nights Enter de Dennis Gonzales » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Nights Enter by Dennis González Ataraxia Trio+2[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Certain things quickly jump in our ear. Talking here about the John Hassel of Vernal Equinox. Proximity of the climatic breaths, care of the textures and washed out landscapes in background. Some level of comfort, that’s right. But with Dennis González, there is also much more than a simple comparison to be made. Hassel, yes, of course, but the trumpeter, at the helm of this Nights Enter, has also listened to and played with Nils-Petter Molvaer. The chiseled melodies at work here remember this, and remember others too. Without doubt. Facing these resurgences, the bass of Drew Phelps and the percussions of Jagath Lakpriya. The first, impressive of constancy, leads the dance since this inner Rain Storm until the last title, eponymous. And the nights of Nights Enter, squared, bounded to the infinity by Lakpriya’s heavy strikes, do not end up lasting. Well beyond their 6 minutes 48. Without forgetting to take care of the 2 guests of this miniature and nocturnal cenacle. With 5 people, as in Cromlech, the quintet reinvent worlds in a Dallas studio, where power remains suspended on common desire. Too bad for the Ewing family, here, the derricks only drill in quick and pretty versatile dazzles. » content_phone= » ENGLISH / FRANÇAIS Certain things quickly jump in our ear. Talking here about the John Hassel of Vernal Equinox. Proximity of the climatic breaths, care of the textures and washed out landscapes in background. Some level of comfort, that’s right. But with Dennis González, there is also much more than a simple comparison to be made. Hassel, yes, of course, but the trumpeter, at the helm of this Nights Enter, has also listened to and played with Nils-Petter Molvaer. The chiseled melodies at work here remember this, and remember others too. Without doubt. Facing these resurgences, the bass of Drew Phelps and the percussions of Jagath Lakpriya. The first, impressive of constancy, leads the dance since this inner Rain Storm until the last title, eponymous. And the nights of Nights Enter, squared, bounded to the infinity by Lakpriya’s heavy strikes, do not end up lasting. Well beyond their 6 minutes 48. Without forgetting to take care of the 2 guests of this miniature and nocturnal cenacle. With 5 people, as in Cromlech, the quintet reinvent worlds in a Dallas studio, where power remains suspended on common desire. Too bad for the Ewing family, here, the derricks only drill in quick and pretty versatile dazzles. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Certain things quickly jump in our ear. Talking here about the John Hassel of Vernal Equinox. Proximity of the climatic breaths, care of the textures and washed out landscapes in background. Some level of comfort, that’s right. But with Dennis González, there is also much more than a simple comparison to be made. Hassel, yes, of course, but the trumpeter, at the helm of this Nights Enter, has also listened to and played with Nils-Petter Molvaer. The chiseled melodies at work here remember this, and remember others too. Without doubt. Facing these resurgences, the bass of Drew Phelps and the percussions of Jagath Lakpriya. The first, impressive of constancy, leads the dance since this inner Rain Storm until the last title, eponymous. And the nights of Nights Enter, squared, bounded to the infinity by Lakpriya’s heavy strikes, do not end up lasting. Well beyond their 6 minutes 48. Without forgetting to take care of the 2 guests of this miniature and nocturnal cenacle. With 5 people, as in Cromlech, the quintet reinvent worlds in a Dallas studio, where power remains suspended on common desire. Too bad for the Ewing family, here, the derricks only drill in quick and pretty versatile dazzles. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] D’emblée on l’a dans l’oreille. Le John Hassel de Vernal Equinox, par exemple. Proximité des souffles climatiques, soin des textures et paysages de lavis délayé en arrière-plan. On est en familiarité, c’est bien. Mais chez Dennis González, ciseleur d’hymnes et génial tributeur, il y a aussi bien autre chose qu’un simple rapprochement à faire. Hassel, oui, bien entendu mais le trompettiste, à la barre de ce Nights Enter, a aussi écouté et fréquenté Nils-Petter Molvaer. Les mélodies ciselées à l’œuvre ici s’en souviennent, et se souviennent d’autres aussi. Sans doute. Face à ces résurgences, la basse de Drew Phelps et les percussions de Jagath Lakpriya. La première, impressionnante de constance, mène la danse depuis cette Rain Storm intérieure jusqu’au dernier titre, éponyme. Et les nuits de Nights Enter, quadrillées, bornées à l’infini par les frappes pesées de Lakpriya, n’en finissent pas de durer. Bien au-delà de leurs 6 minutes 48. Sans oublier de prendre soin des 2 guests de ce cénacle miniature et nocturne. À 5, comme dans Cromlech, on réinvente des mondes où le pouvoir individuel reste suspendu au désir commun, et ce, depuis un studio de Dallas. Tant pis pour la famille Ewing, ici, les derricks ne percent que des éblouissements rapides et carrément versatiles. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Dennis Gonzáles : bandcampAyler Records : bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Madvillainy, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 » custom_margin__hover_enabled= »off|desktop »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] MADVILLAIN, Madvillainy [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en 2004 chez Stones Throw [/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 »][/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 »][/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 »][et_pb_row column_structure= »3_5,2_5″ 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= »||0px||false|false » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/04/Madvillainy-de-Mavillain.jpg » alt= »Madvillainy de Mavillain » title_text= »Madvillainy de Mavillain » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Madvillainy by Madvillain[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS 2004, Madvillainy. Almost everything has been said, contradicted and repeated on this touchstone. ’twas done by Madlib/MF Doom Inc. for Stones Throw. In short, a double LP elevated to the rank of cult album, a stroke of genius as dense as the fog of a January morning in Burgundy, the very beat of grace descended to earth. 22 tracks of short formats, the longest one exceptionally reaches 3’59. Madvillainy is a hip hop version of elegy. A philanthropic cash drawer where sparkle a thousand of love samples. Caught in the galaxy of groove in its widest. Including jazz. Amongst others, loose and in disorder: Bill Evans, George Duke, Sun Ra, Lonnie Smith and the Mothers Of Invention. Everything has been said about Madvilainy. Nothing better to say. MF Doom has disappeared, once again. Mysteriously, always, but this time, definitively. What remains is, in particular, this intergalactic, unbreakable wafer. Curls is extracted from it. A nugget of sweetness, not reserved for hairdressers. The kind of thing that launches a day, despite the fog. Or ends it, in good company, with a Vermouth and a fire in the fireplace. Or somewhere else. There, where that damn ugly trick by Doom will have leaved you. Hang on a little longer, Madlib. » content_phone= » ENGLISH / FRANÇAIS 2004, Madvillainy. Almost everything has been said, contradicted and repeated on this touchstone. ’twas done by Madlib/MF Doom Inc. for Stones Throw. In short, a double LP elevated to the rank of cult album, a stroke of genius as dense as the fog of a January morning in Burgundy, the very beat of grace descended to earth. 22 tracks of short formats, the longest one exceptionally reaches 3’59. Madvillainy is a hip hop version of elegy. A philanthropic cash drawer where sparkle a thousand of love samples. Caught in the galaxy of groove in its widest. Including jazz. Amongst others, loose and in disorder: Bill Evans, George Duke, Sun Ra, Lonnie Smith and the Mothers Of Invention. Everything has been said about Madvilainy. Nothing better to say. MF Doom has disappeared, once again. Mysteriously, always, but this time, definitively. What remains is, in particular, this intergalactic, unbreakable wafer. Curls is extracted from it. A nugget of sweetness, not reserved for hairdressers. The kind of thing that launches a day, despite the fog. Or ends it, in good company, with a Vermouth and a fire in the fireplace. Or somewhere else. There, where that damn ugly trick by Doom will have leaved you. Hang on a little longer, Madlib. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH 2004, Madvillainy. Almost everything has been said, contradicted and repeated on this touchstone. ’twas done by Madlib/MF Doom Inc. for Stones Throw. In short, a double LP elevated to the rank of cult album, a stroke of genius as dense as the fog of a January morning in Burgundy, the very beat of grace descended to earth. 22 tracks of short formats, the longest one exceptionally reaches 3’59. Madvillainy is a hip hop version of elegy. A philanthropic cash drawer where sparkle a thousand of love samples. Caught in the galaxy of groove in its widest. Including jazz. Amongst others, loose and in disorder: Bill Evans, George Duke, Sun Ra, Lonnie Smith and the Mothers Of Invention. Everything has been said about Madvilainy. Nothing better to say. MF Doom has disappeared, once again. Mysteriously, always, but this time, definitively. What remains is, in particular, this intergalactic, unbreakable wafer. Curls is extracted from it. A nugget of sweetness, not reserved for hairdressers. The kind of thing that launches a day, despite the fog. Or ends it, in good company, with a Vermouth and a fire in the fireplace. Or somewhere else. There, where that damn ugly trick by Doom will have leaved you. Hang on a little longer, Madlib. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] 2004, Madvillainy. Tout ou presque a été dit, contredit et redit sur cette pierre de touche signée par Madvillain, aka la paire Madlib/MF Doom pour Stones Throw. En résumé, un double LP élevé au rang d’album culte, un trait de génie dense comme le brouillard d’un matin de janvier en Bourgogne, le beat même de la grâce descendue sur terre. 22 plages foisonnantes calées en format court, la plus longue atteint exceptionnellement les 3’59. Madvillainy, c’est une élégie version hip hop. Un tiroir caisse philanthrope où tinte la caillasse de mille samples amoureux. Choppés à la galaxie du groove dans son périmètre le plus large. Dont le jazz. Entre autres, en vrac et dans le désordre : Bill Evans, George Duke, Sun Ra, Lonnie Smith et les Mothers Of Invention. Tout a été dit sur Madvillainy. Rien à redire de mieux. MF Doom a disparu, une fois de plus. Mystérieusement, toujours mais, cette fois-ci, définitivement. Reste donc, notamment, cette galette intergalactique, indéboulonnable. On en extrait Curls. Une pépite de douceur, pas réservée aux coiffeurs mais posée sur un sample à plaisir. Airport Love Theme de Waldir Calmon. Le genre de truc qui lance une journée, malgré le brouillard. Ou la finit, en bonne compagnie, avec un Vermouth et un feu de cheminée. Ou ailleurs encore. Là, où ce satané vilain tour de Doom vous aura posé. Tiens bon, encore un peu, Madlib. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —MF DOOM : la playlist Samplin’Madvillain :
Glowing Life, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] SYLVAINE HÉLARY, Glowing Life [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie en octobre 2020 chez Ayler Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/01/cover-1.jpg » alt= »Glowing Life de Sylvaine Hélary » title_text= »Glowing Life de Sylvaine Hélary » _builder_version= »4.9.4″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Glowing Life by Sylvaine Hélary[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Below the surface, shimmers. Sparkling waters, emotions, egos. All contained, without modesty, in Vies Scintillantes, a Frenchy alter ego-title of the name of this combo led by Sylvaine Hélary. Accustomed to experimentation as to solid frames, the flautist is here on a adjusted field. Antonin Rayon, Benjamin Gilbert, Christophe Lavergne are some kind of deluxe back-up. This mini-list is enough to evoke the pedigree at play within this quartet. Each person’s research is poured into the commonplace and Glowing Life rustles and sounds with a fascinating class, an abounding freedom. Hélary sticks her own words to those borrowed from the library of PJ Harvey and Eric Vuillard, Lavergne propels each projection with delicacy and conviction. The result is that music that takes some time for voluptuousness and jostling. For a thickened body too, in the turmoil created by Glibert and Rayon (Après la pluie, Thinking to Dance). It crosses audacious pop with seditious experimentation, it grafts the most tenuous poem to the most explicit groove. It’s electric with a strong and agitated discipline. The kind of thing you find by taking the measure of what lives under the surface or under your skin. Simply awesome. » content_phone= » ENGLISH / FRANÇAIS Below the surface, shimmers. Sparkling waters, emotions, egos. All contained, without modesty, in Vies Scintillantes, a Frenchy alter ego-title of the name of this combo led by Sylvaine Hélary. Accustomed to experimentation as to solid frames, the flautist is here on a adjusted field. Antonin Rayon, Benjamin Gilbert, Christophe Lavergne are some kind of deluxe back-up. This mini-list is enough to evoke the pedigree at play within this quartet. Each person’s research is poured into the commonplace and Glowing Life rustles and sounds with a fascinating class, an abounding freedom. Hélary sticks her own words to those borrowed from the library of PJ Harvey and Eric Vuillard, Lavergne propels each projection with delicacy and conviction. The result is that music that takes some time for voluptuousness and jostling. For a thickened body too, in the turmoil created by Glibert and Rayon (Après la pluie, Thinking to Dance). It crosses audacious pop with seditious experimentation, it grafts the most tenuous poem to the most explicit groove. It’s electric with a strong and agitated discipline. The kind of thing you find by taking the measure of what lives under the surface or under your skin. Simply awesome. » content_last_edited= »on|tablet » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Below the surface, shimmers. Sparkling waters, emotions, egos. All contained, without modesty, in Vies Scintillantes, a Frenchy alter ego-title of the name of this combo led by Sylvaine Hélary. Accustomed to experimentation as to solid frames, the flautist is here on a adjusted field. Antonin Rayon, Benjamin Gilbert, Christophe Lavergne are some kind of deluxe back-up. This mini-list is enough to evoke the pedigree at play within this quartet. Each person’s research is poured into the commonplace and Glowing Life rustles and sounds with a fascinating class, an abounding freedom. Hélary sticks her own words to those borrowed from the library of PJ Harvey and Eric Vuillard, Lavergne propels each projection with delicacy and conviction. The result is that music that takes some time for voluptuousness and jostling. For a thickened body too, in the turmoil created by Glibert and Rayon (Après la pluie, Thinking to Dance). It crosses audacious pop with seditious experimentation, it grafts the most tenuous poem to the most explicit groove. It’s electric with a strong and agitated discipline. The kind of thing you find by taking the measure of what lives under the surface or under your skin. Simply awesome. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Sous la surface, le rayonnement. Des eaux, des émois, des égos. Le tout contenu, sans pudeur, dans Vies Scintillantes, titre-alter ego frenchy du nom du groupe piloté par Sylvaine Hélary. Habituée des expérimentations comme des cadres solides, la flûtistes est ici sur un terrain à sa main. Antonin Rayon, Benjamin Gilbert, Christophe Lavergne sont en back-up deluxe. Cette mini-liste suffit à évoquer le pédigrée en jeu au sein de ce quatuor. Les recherches de chacun sont versées dans le commun et Glowing Life bruisse et sonne avec une classe fascinante, une liberté foisonnante. Hélary colle ses propres mots à ceux empruntés à la bibli de PJ Harvey et Eric Vuillard, Lavergne propulse chaque saillie avec finesse et certitude. Naît alors une musique qui prend le temps de la volupté et de la bousculade. Du corps aussi, dans les remous fourbis par Glibert et Rayon (Après la pluie, Thinking to Dance). Ça croise la pop audacieuse à l’expé séditieuse, ça greffe le poème le plus ténu au groove le plus explicite. C’est électrique, c’est fort d’une discipline agitée. Le genre de truc qu’on trouve, en prenant le mesure de ce qui vit sous la surface ou sous la peau. Modestement parfait. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Ayler Records : bandcampSylvaine Hélary : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]