Happy Collapse, 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 »] ÉLISE CARON & EDWARD PERRAUD,Happy Collapse [/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 chez Quark 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/HappyColl.jpg » alt= »Happy Collapse de Edward Perraud & Elise Caron » title_text= »Happy Collapse de Edward Perraud & Elise Caron » _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_text content_tablet= » ENGLISH / FRANÇAIS There is a plant called saxifrage here in France. A plant with a fierce willpower that does not bypass the stone, but surrounds it, pierces and splits. Here, the music goes like this, as we know from the ‘shop suey’ experiments of Bitter Sweet (Quark records, 2012). This duo is made up of a vocalist-flutist and an electronic drummer. Elise Caron is also a drill for shrewd folklore, while Edward Perraud also dances with that a touch of flamboyance drilled in the dandy tradition. The junction, the arrangement of these two personalities pushes the common on shores of infinite tenderness. Of jostled tenderness, where stubborn miniatures (La Guerre), always a little strange, always a little disturbing, are chiselled. And this is the very pretty inspiration, made with two heads. Caron and Perraud know how to get lost and even lose your ear on territories criss-crossed by the tangent. Electros, intimate language, shattering improvisations. It hits the stone, common sense (Madrigal) and your eardrum. The paradox seems to be part of the Perraud/Caron pair, a paradox which, beneath its little face of oxymoron, will look for a familiar, stinking, with the same care that one used to stink of shirts, of something new. Silence and the digging of the sound matter play an equal part, the public thing invites itself here (La Meute et le troupeau), thought is heavily active while remaining hidden. Happy Collapse plays his happy collages, with this trick of the gardeners collecting splinters of split stones. » content_phone= » ENGLISH / FRANÇAIS There is a plant called saxifrage here in France. A plant with a fierce willpower that does not bypass the stone, but surrounds it, pierces and splits. Here, the music goes like this, as we know from the ‘shop suey’ experiments of Bitter Sweet (Quark records, 2012). This duo is made up of a vocalist-flutist and an electronic drummer. Elise Caron is also a drill for shrewd folklore, while Edward Perraud also dances with that a touch of flamboyance drilled in the dandy tradition. The junction, the arrangement of these two personalities pushes the common on shores of infinite tenderness. Of jostled tenderness, where stubborn miniatures (La Guerre), always a little strange, always a little disturbing, are chiselled. And this is the very pretty inspiration, made with two heads. Caron and Perraud know how to get lost and even lose your ear on territories criss-crossed by the tangent. Electros, intimate language, shattering improvisations. It hits the stone, common sense (Madrigal) and your eardrum. The paradox seems to be part of the Perraud/Caron pair, a paradox which, beneath its little face of oxymoron, will look for a familiar, stinking, with the same care that one used to stink of shirts, of something new. Silence and the digging of the sound matter play an equal part, the public thing invites itself here (La Meute et le troupeau), thought is heavily active while remaining hidden. Happy Collapse plays his happy collages, with this trick of the gardeners collecting splinters of split stones. » 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 There is a plant called saxifrage here in France. A plant with a fierce willpower that does not bypass the stone, but surrounds it, pierces and splits. Here, the music goes like this, as we know from the ‘shop suey’ experiments of Bitter Sweet (Quark records, 2012). This duo is made up of a vocalist-flutist and an electronic drummer. Elise Caron is also a drill for shrewd folklore, while Edward Perraud also dances with that a touch of flamboyance drilled in the dandy tradition. The junction, the arrangement of these two personalities pushes the common on shores of infinite tenderness. Of jostled tenderness, where stubborn miniatures (La Guerre), always a little strange, always a little disturbing, are chiselled. And this is the very pretty inspiration, made with two heads. Caron and Perraud know how to get lost and even lose your ear on territories criss-crossed by the tangent. Electros, intimate language, shattering improvisations. It hits the stone, common sense (Madrigal) and your eardrum. The paradox seems to be part of the Perraud/Caron pair, a paradox which, beneath its little face of oxymoron, will look for a familiar, stinking, with the same care that one used to stink of shirts, of something new. Silence and the digging of the sound matter play an equal part, the public thing invites itself here (La Meute et le troupeau), thought is heavily active while remaining hidden. Happy Collapse plays his happy collages, with this trick of the gardeners collecting splinters of split stones. [/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 cette plante qu’on appelle saxifrage. Un végétal à la volonté farouche qui ne contourne pas la pierre, mais l’enserre, la perce et la fend. Ici, la musique, on le sait depuis les expérimentations ‘shop suey’ de Bitter Sweet (Quark records, 2012), va ainsi. Dans ce duo, on compte une vocaliste-flûtiste et un batteur-electronicien. Elise Caron est aussi foreuse de folklore rigolard, Edward Perraud, lui, verse également dans la tradition dandy un rien flambeuse. La jonction, l’agencement des deux personnalités pousse le commun sur des rivages de tendresse infinie. De tendresse bousculée, où se cisèlent des miniatures entêtantes (La Guerre), toujours un peu étranges, toujours un peu perturbantes. Et c’est là, la trouvaille jolie, faite à
Travelling Minds, 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 »] ARK, Travelling Minds [/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 avec L’Arrosoir, Chalon-sur-Saône, 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/2021/01/cover-2.jpg » alt= »Travelling Minds de ARK » title_text= »Travelling Minds de ARK » _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 »]Travelling Minds by ARK[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS First Steps. Some will have made giant steps, others will have chosen slidings for their first important engravings. Thus, ARK trio will have taken its three steps to the side. Walking on the beacons of a jazz tempted by Americana and its famous & glorious representatives such as Bill Frisell, John Zorn or Marc Ribot, this Burgundian triad quickly takes the ditch. Perfectly. That is to say, by forgetting to get stuck in it. It’s triple jump, Nordic walk. With great strides, you enter in this Travelling Minds. In spite of the rhythm the opening Waltz. The care of the melody quickly imposes itself. Simple, clear and reactive as in the jolts of People Square. It’s square, yes and voluble, too. Here we talk ’bout Joseph Bijon, Clément Drigon and Benoit Keller. We’ll very quickly pass over the relatives of the first two, taking just enough time to understand that clarity rarely comes from nowhere. For the Third Thief, it’s a ideafair. Weiged fair, as usual, with an economy of speech that does a great deal of good in the communicational bustles of the last few months. The Bijon-style guitar doesn’t take on long jazzy cowboy solos but pierces its protrusions with enough space for the promising science of brooms according to Drigon. ARK thus advances with the clarity of big steps made by stubborn mini-giants. » content_phone= » ENGLISH / FRANÇAIS First Steps. Some will have made giant steps, others will have chosen slidings for their first important engravings. Thus, ARK trio will have taken its three steps to the side. Walking on the beacons of a jazz tempted by Americana and its famous & glorious representatives such as Bill Frisell, John Zorn or Marc Ribot, this Burgundian triad quickly takes the ditch. Perfectly. That is to say, by forgetting to get stuck in it. It’s triple jump, Nordic walk. With great strides, you enter in this Travelling Minds. In spite of the rhythm the opening Waltz. The care of the melody quickly imposes itself. Simple, clear and reactive as in the jolts of People Square. It’s square, yes and voluble, too. Here we talk ’bout Joseph Bijon, Clément Drigon and Benoit Keller. We’ll very quickly pass over the relatives of the first two, taking just enough time to understand that clarity rarely comes from nowhere. For the Third Thief, it’s a ideafair. Weiged fair, as usual, with an economy of speech that does a great deal of good in the communicational bustles of the last few months. The Bijon-style guitar doesn’t take on long jazzy cowboy solos but pierces its protrusions with enough space for the promising science of brooms according to Drigon. ARK thus advances with the clarity of big steps made by stubborn mini-giants. » 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 First Steps. Some will have made giant steps, others will have chosen slidings for their first important engravings. Thus, ARK trio will have taken its three steps to the side. Walking on the beacons of a jazz tempted by Americana and its famous & glorious representatives such as Bill Frisell, John Zorn or Marc Ribot, this Burgundian triad quickly takes the ditch. Perfectly. That is to say, by forgetting to get stuck in it. It’s triple jump, Nordic walk. With great strides, you enter in this Travelling Minds. In spite of the rhythm the opening Waltz. The care of the melody quickly imposes itself. Simple, clear and reactive as in the jolts of People Square. It’s square, yes and voluble, too. Here we talk ’bout Joseph Bijon, Clément Drigon and Benoit Keller. We’ll very quickly pass over the relatives of the first two, taking just enough time to understand that clarity rarely comes from nowhere. For the Third Thief, it’s a ideafair. Weiged fair, as usual, with an economy of speech that does a great deal of good in the communicational bustles of the last few months. The Bijon-style guitar doesn’t take on long jazzy cowboy solos but pierces its protrusions with enough space for the promising science of brooms according to Drigon. ARK thus advances with the clarity of big steps made by stubborn mini-giants. [/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″] First Steps. D’aucuns auront fait des pas de géants, d’autres des pas chassés pour leurs premières gravures d’importance. Le trio ARK, lui, pour la sienne (sorti en décembre dernier) aura fait ses trois pas sur le côté. Marchant sur les balises d’un jazz tenté par l’Americana et de ses représentants famous & glorieux comme Bill Frisell, John Zorn et Marc Ribot, cette triade bourguignonne prend vite le fossé. Parfaitement. C’est-à-dire en oubliant de s’y embourber. C’est du triple saut, de la marche nordique. À grande enjambées, on entre dans ce Travelling Minds. Malgré le rythme la Waltz d’ouverture. Le soin de la mélodie s’impose rapidement, la cohérence du combo s’affiche. Simple, claire et réactive comme dans les soubresauts de People Square. C’est carré, volubile. Bien entendu, c’est le début du chemin mais c’est déjà quart de tour et compagnie. Ici, la compagnie, c’est Joseph Bijon, Clément Drigon et Benoit Keller. On passera très vite sur la parentèle des deux premiers, en prenant tout juste le temps pour piger que la clarté vient rarement de nulle part. Pour le Troisième Larron, c’est la foire. Aux idées. Pesées, as usual, avec une économie de discours qui fait un bien
Parabole, Als das Kind Kind war, 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 »] GRÉGORY OTT, Parabole, Als das Kind Kind war [/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 sur Jazzdor Series [/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/2021/02/cover.jpg » alt= »Parabole, Als das Kind Kind war de Grégory Ott » title_text= »Parabole, Als das Kind Kind war de Grégory Ott » _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 » box_shadow_style= »preset3″ box_shadow_vertical= »9px »]Grégory Ott – Parabole, Als das Kind Kind war by Grégory Ott[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Let’s go. Cinema, action, splitscreen. Wenders versus Strasbourg. Jazzdor in Berlin, a familiar ground. Two angels on a wall on the left, on the right two pianists chating. A film strip to unite them all. Das Himmel Über Berlin. Read The Wings of Desire. Wenders almost intangible, poured into an immense fraternity, filmed first in black and white and then in the flesh of colour. Wenders in surges of love, the almost nothing of everyday life. Handke took him at his word. Sublimated naivety. Als das Kind Kind war, the child wondered why I am me and not you. Grégory Ott and Philippe Ochem also wanted a lot, like Damiel and Cassiel babbling on the leather of a Mercedes. The first, the skin facing the piano. And it is Ott who strikes on this new opus signed Jazzdor Séries. By constant offsets, by precise improvisations, by echo chambers. As in Perpetual Blues. For example, in Perpetual Blues. The left hand is thick, slumps when the right tries to break the martingale. Blues impossible, injunction a la Tatum, basses screwed to the ground. There are a thousand impossible balances in this record. A thousand discreet faults from which a light melancholy shines through. A limping angel. Two wings screwed on the spine. » content_phone= » ENGLISH / FRANÇAIS Let’s go. Cinema, action, splitscreen. Wenders versus Strasbourg. Jazzdor in Berlin, a familiar ground. Two angels on a wall on the left, on the right two pianists chating. A film strip to unite them all. Das Himmel Über Berlin. Read The Wings of Desire. Wenders almost intangible, poured into an immense fraternity, filmed first in black and white and then in the flesh of colour. Wenders in surges of love, the almost nothing of everyday life. Handke took him at his word. Sublimated naivety. Als das Kind Kind war, the child wondered why I am me and not you. Grégory Ott and Philippe Ochem also wanted a lot, like Damiel and Cassiel babbling on the leather of a Mercedes. The first, the skin facing the piano. And it is Ott who strikes on this new opus signed Jazzdor Séries. By constant offsets, by precise improvisations, by echo chambers. As in Perpetual Blues. For example, in Perpetual Blues. The left hand is thick, slumps when the right tries to break the martingale. Blues impossible, injunction a la Tatum, basses screwed to the ground. There are a thousand impossible balances in this record. A thousand discreet faults from which a light melancholy shines through. A limping angel. Two wings screwed on the spine. » 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 Let’s go. Cinema, action, splitscreen. Wenders versus Strasbourg. Jazzdor in Berlin, a familiar ground. Two angels on a wall on the left, on the right two pianists chating. A film strip to unite them all. Das Himmel Über Berlin. Read The Wings of Desire. Wenders almost intangible, poured into an immense fraternity, filmed first in black and white and then in the flesh of colour. Wenders in surges of love, the almost nothing of everyday life. Handke took him at his word. Sublimated naivety. Als das Kind Kind war, the child wondered why I am me and not you. Grégory Ott and Philippe Ochem also wanted a lot, like Damiel and Cassiel babbling on the leather of a Mercedes. The first, the skin facing the piano. And it is Ott who strikes on this new opus signed Jazzdor Séries. By constant offsets, by precise improvisations, by echo chambers. As in Perpetual Blues. For example, in Perpetual Blues. The left hand is thick, slumps when the right tries to break the martingale. Blues impossible, injunction a la Tatum, basses screwed to the ground. There are a thousand impossible balances in this record. A thousand discreet faults from which a light melancholy shines through. A limping angel. Two wings screwed on the spine. [/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″] Allez hop, cinéma, splitscreen. Wenders versus Strasbourg. Jazzdor à Berlin, terrain connu. Deux anges sur un mur sur la gauche, sur la droite deux pianistes qui devisent. Un fond de pelloche pour les unir, tous. Das Himmel Über Berlin. en VF, Les Ailes du désir. Wenders presque intangible, versé dans une fraternité immense, filmée d’abord en noir et blanc puis dans la chair de la couleur. Wenders dans des envolées sur l’amour, le presque rien du quotidien. Handke l’a pris aux mots. Naïveté sublimée. Als das Kind Kind war, l’enfant se demandait pourquoi je suis moi et non pas toi. Grégory Ott et Philippe Ochem ont beaucoup désiré eux aussi, comme Damiel et Cassiel babillant sur le cuir d’une Mercedes. Les premiers, le cuir face au piano. Et c’est Ott qui frappe sur ce nouvel opus siglé Jazzdor Séries. Par décentrements constants, par improvisations précises, par chambres d’écho. Comme dans Perpetual Blues. Par exemple. La main gauche est épaisse, s’affale quand la droite tente de rompre la martingale. Blues impossible, injonction à la Tatum, basses vissées au sol. Il y a mille équilibres impossibles dans ce disque. Mille failles discrètes d’où luit une mélancolie légère. Un ange boitillant. Deux ailes vissées sur l’échine. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Jazzdor Series : bandcampJazzdor : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Sound Ancestors, 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 »] MADLIB, Sound Ancestors [/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 janvier 2021 chez Madlib Invazion [/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/2021/02/cover-1.jpg » alt= »Sound Ancestors de Madlib » title_text= »Sound Ancestors de Madlib » _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 »]Sound Ancestors by Madlib[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Ask and you shall receive. Four Tet tried this old philo-precept and was rewarded. Loops, samples, bits of sounds barely calibrated by Madlib. Two years of work for Kieran Hebden and the producer with a thousand pseudonyms to release this Sound Ancestors, last January. In a way, it’s the great-grand cousin of Barney Wilem’s Moshi. A personal assessment, a very calm f*** finger, a compilation on a world scale. 16 tracks to follow with a serious concern of chronology. Everything mixes with a strong sense of collage. Everything is deliberately linked together, echoing each other. Dirtnock‘s playboy bass to Duumbiyay‘s vocal hypnoses, Terry Britten’s filthy pop reconstructed on The Call to the phoned blah blah blah on Hang Out (Phone Off). Sound Ancestors is a record you can listen to. An LP to be played sitting down on the floor, with a soft and delicate head-banging. Then play the Ancestors in all their scoundrel class, the closest like Quasimoto or J-Dilla himself, the farthest, Afro-Latino. Madlib, arranged by Four Tet, it’s clear, it’s a heavenly genealogy. Stubborn, sexy, literate. » content_phone= » ENGLISH / FRANÇAIS Ask and you shall receive. Four Tet tried this old philo-precept and was rewarded. Loops, samples, bits of sounds barely calibrated by Madlib. Two years of work for Kieran Hebden and the producer with a thousand pseudonyms to release this Sound Ancestors, last January. In a way, it’s the great-grand cousin of Barney Wilem’s Moshi. A personal assessment, a very calm f*** finger, a compilation on a world scale. 16 tracks to follow with a serious concern of chronology. Everything mixes with a strong sense of collage. Everything is deliberately linked together, echoing each other. Dirtnock‘s playboy bass to Duumbiyay‘s vocal hypnoses, Terry Britten’s filthy pop reconstructed on The Call to the phoned blah blah blah on Hang Out (Phone Off). Sound Ancestors is a record you can listen to. An LP to be played sitting down on the floor, with a soft and delicate head-banging. Then play the Ancestors in all their scoundrel class, the closest like Quasimoto or J-Dilla himself, the farthest, Afro-Latino. Madlib, arranged by Four Tet, it’s clear, it’s a heavenly genealogy. Stubborn, sexy, literate. » 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 Ask and you shall receive. Four Tet tried this old philo-precept and was rewarded. Loops, samples, bits of sounds barely calibrated by Madlib. Two years of work for Kieran Hebden and the producer with a thousand pseudonyms to release this Sound Ancestors, last January. In a way, it’s the great-grand cousin of Barney Wilem’s Moshi. A personal assessment, a very calm f*** finger, a compilation on a world scale. 16 tracks to follow with a serious concern of chronology. Everything mixes with a strong sense of collage. Everything is deliberately linked together, echoing each other. Dirtnock‘s playboy bass to Duumbiyay‘s vocal hypnoses, Terry Britten’s filthy pop reconstructed on The Call to the phoned blah blah blah on Hang Out (Phone Off). Sound Ancestors is a record you can listen to. An LP to be played sitting down on the floor, with a soft and delicate head-banging. Then play the Ancestors in all their scoundrel class, the closest like Quasimoto or J-Dilla himself, the farthest, Afro-Latino. Madlib, arranged by Four Tet, it’s clear, it’s a heavenly genealogy. Stubborn, sexy, literate. [/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″] Demande et tu auras. Four Tet a tenté ce vieux philo-précepte et a été récompensé. Des boucles, des samples, des bouts de sons à peine calibrés par Madlib. Deux ans de boulot entre Kieran Hebden et le hip hop prod’ aux mille pseudos sortir ce Sound Ancestors, fin janvier dernier. D’une certaine façon, c’est l’arrière-petit cousin du Moshi de Barney Wilem. Un bilan perso, un fuck finger très calme, une compile à l’échelle de la planète. 16 plages comme 16 petites cellules-mondes. 16 plages à enchainer avec un sérieux souci de la chronologie. Tout se mélange avec un sens aigu du collage. Tout s’enchaine à dessein, se répond en écho. La basse playboy de Dirtnock aux hypnoses vocales de Duumbiyay, la pop crasse de Terry Britten reconstruite sur The Call aux blabla téléphonés sur Hang Out (Phone Off). Sound Ancestors est un disque qui s’écoute. Un LP à passer assis en tailleur, avec un head-banging soft et délicat. Alors passent les Ancestors dans toute leur classe canaille, les plus proches comme Quasimoto ou J-Dilla himself, les plus lointains, afro-latino. Madlib, arrangé par Four Tet, c’est clair, c’est une généalogie paradisiaque. Têtue, sexy, lettrée. « En pleine possession de ses moyens », ajouterait Robert Chapatte. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Madlib : bandcampMadlib Invazion : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Marcos Resende & Index, 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 »] MARCOS RESENDE & Index [/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 janvier 2021 chez Far Out [/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||| » width__hover_enabled= »off|desktop »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/02/cover-2.jpg » alt= »Marcos Resende & Index par Marcos Resende & Index » title_text= »Marcos Resende & Index par Marcos Resende & Index » _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 »]Marcos Resende & Index by Marcos Resende & Index[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Silk. A fashionable nugget for diggers in a bunch. Judge its parts. Brazilian funk-prog from the good old days, an album that has remained in the boxes of its leader, a leader who has become a studio musician, a quality label that has taken it over. Far Out releases the eponymous album Marcos Resende & Index. Dissmissed, precisely, since it was put on tapes in 1976 by Resende himself because of his exigency in front of the provided work. Joe Davis, Far Out’s boss, released the LP last January. Silkness. Round and swift bass without being perp. Percussions lost in the background but ensuring the race to happiness (Nergal) and free rein to Resende’s keyboards, prodigal son of the 88 keys and cousins. That’s prog, yes. That’s built in the length, it makes detours. Never free though. The sax calls everyone to order just before the thin red (Martina). It’s funk, too. Yes. The bass is there, omnipresent, omnipotent. A bass that sends the keyboards towards unexpected and velvety climates. Marcos Resende is the kind of prolific astronaut without being talkative. Silky and soulful. » content_phone= » ENGLISH / FRANÇAIS Silk. A fashionable nugget for diggers in a bunch. Judge its parts. Brazilian funk-prog from the good old days, an album that has remained in the boxes of its leader, a leader who has become a studio musician, a quality label that has taken it over. Far Out releases the eponymous album Marcos Resende & Index. Dissmissed, precisely, since it was put on tapes in 1976 by Resende himself because of his exigency in front of the provided work. Joe Davis, Far Out’s boss, released the LP last January. Silkness. Round and swift bass without being perp. Percussions lost in the background but ensuring the race to happiness (Nergal) and free rein to Resende’s keyboards, prodigal son of the 88 keys and cousins. That’s prog, yes. That’s built in the length, it makes detours. Never free though. The sax calls everyone to order just before the thin red (Martina). It’s funk, too. Yes. The bass is there, omnipresent, omnipotent. A bass that sends the keyboards towards unexpected and velvety climates. Marcos Resende is the kind of prolific astronaut without being talkative. Silky and soulful. » 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 Silk. A fashionable nugget for diggers in a bunch. Judge its parts. Brazilian funk-prog from the good old days, an album that has remained in the boxes of its leader, a leader who has become a studio musician, a quality label that has taken it over. Far Out releases the eponymous album Marcos Resende & Index. Dissmissed, precisely, since it was put on tapes in 1976 by Resende himself because of his exigency in front of the provided work. Joe Davis, Far Out’s boss, released the LP last January. Silkness. Round and swift bass without being perp. Percussions lost in the background but ensuring the race to happiness (Nergal) and free rein to Resende’s keyboards, prodigal son of the 88 keys and cousins. That’s prog, yes. That’s built in the length, it makes detours. Never free though. The sax calls everyone to order just before the thin red (Martina). It’s funk, too. Yes. The bass is there, omnipresent, omnipotent. A bass that sends the keyboards towards unexpected and velvety climates. Marcos Resende is the kind of prolific astronaut without being talkative. Silky and soulful. [/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″] De la soie. De la pépite en vogue pour diggers en goguette. Jugez sur pièce. Du funk-prog brésilien belle époque, un album resté dans les cartons de son pilote, un pilote passé au statut de musicien de studio, un label dénicheur de qualité qui s’en empare. Far Out sort l’album éponyme Marcos Resende & Index. Mis à l’index, justement, depuis sa mise sur bandes en 1976 par Resende himself becoz exigence face au boulot fourni et temps qui passe. Joe Davis, le taulier de Far Out sort le LP en janvier dernier. De la soie. Basse ronde et véloce sans être graveleuse. Percus en retrait mais assurant la course au bonheur (Nergal) et libre cours aux claviers de Resende, prodigal son du 88 touches et cousins. C’est prog, oui. Ça se construit dans la longueur, ça fait des détours. Jamais gratuits pourtant. Le sax rappelle son petit monde juste avant la ligne à ne pas franchir (Martina). C’est funk, aussi. La basse est là, omniprésente, omnipotente. Basse qui lance les claviers vers des climats inespérés et veloutés. Marcos Resende est le genre de spationaute prolixe sans être bavard. L’anti-Thomas Pesquet, en sorte. Soulful et soyeux. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Marcos Resende & Index : bandcampFar Out Recordings : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Le Pollen, 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 »] PIERRE BAROUH, Le Pollen [/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 mars 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 »][/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/2021/02/cover-1-1.jpg » alt= »Le Pollen de Pierre Barouh » title_text= »Le Pollen de Pierre Barouh » _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 »]Le Pollen by Pierre Barouh[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Pierrot went to Japan. Quest for a golden ball. Not the mimosa one, is there even mimosa in Japan? Nope, talkin’ here ‘bout a smaller ball. Le Pollen. This little trick with is perfect for sportsmen’s change of season changes. And listening this record Pollen is also perfect for growing up. The Pollen, the record, was released in 1982 by Columbia Japan. It will be released next month on WRWTFWW Records, Geneva label. This Pollen is a kind of fragile and sensitive beauty, a morning sweetness. Pierre Barouh, an international dreamer, rubs shoulders here with the Japanese ambient-jazz avant-garde. The miracle works, easy. It is the grafting of the Yellow Magic Orchestra of Yukihiro Takahashi and Ryuichi Sakamoto on the Saravah philosophy, a house of music founded by Pierre Barouh. This house welcomed Brigitte Fontaine, Alfred Panou, Barney Wilen, Steve Lacy, Michel Roques among other creative diagonals. Is it oldschool? Yes, probably a little in front of Billie Eillish. Not so much thus listening to this production. Let’s say rather timeless, absolutely free, the music of this Pollen. Bitter-sweet, full of light melancholy in its lyrics, quite sensual in its rhythm and arrangements. One crosses there Françis Laï and David Sylvian. Pierre Barouh, who recorded this record on a simple invitation from the Japanese label, delivers a heady collection of lapidary and brilliant visions. De L’Autre Rive until Tomorrow. A journey on two sides. Long as a happy day. Spent doing nothing. » content_phone= » ENGLISH / FRANÇAIS Pierrot went to Japan. Quest for a golden ball. Not the mimosa one, is there even mimosa in Japan? Nope, talkin’ here ‘bout a smaller ball. Le Pollen. This little trick with is perfect for sportsmen’s change of season changes. And listening this record Pollen is also perfect for growing up. The Pollen, the record, was released in 1982 by Columbia Japan. It will be released next month on WRWTFWW Records, Geneva label. This Pollen is a kind of fragile and sensitive beauty, a morning sweetness. Pierre Barouh, an international dreamer, rubs shoulders here with the Japanese ambient-jazz avant-garde. The miracle works, easy. It is the grafting of the Yellow Magic Orchestra of Yukihiro Takahashi and Ryuichi Sakamoto on the Saravah philosophy, a house of music founded by Pierre Barouh. This house welcomed Brigitte Fontaine, Alfred Panou, Barney Wilen, Steve Lacy, Michel Roques among other creative diagonals. Is it oldschool? Yes, probably a little in front of Billie Eillish. Not so much thus listening to this production. Let’s say rather timeless, absolutely free, the music of this Pollen. Bitter-sweet, full of light melancholy in its lyrics, quite sensual in its rhythm and arrangements. One crosses there Françis Laï and David Sylvian. Pierre Barouh, who recorded this record on a simple invitation from the Japanese label, delivers a heady collection of lapidary and brilliant visions. De L’Autre Rive until Tomorrow. A journey on two sides. Long as a happy day. Spent doing nothing. » 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 Pierrot went to Japan. Quest for a golden ball. Not the mimosa one, is there even mimosa in Japan? Nope, talkin’ here ‘bout a smaller ball. Le Pollen. This little trick with is perfect for sportsmen’s change of season changes. And listening this record Pollen is also perfect for growing up. The Pollen, the record, was released in 1982 by Columbia Japan. It will be released next month on WRWTFWW Records, Geneva label. This Pollen is a kind of fragile and sensitive beauty, a morning sweetness. Pierre Barouh, an international dreamer, rubs shoulders here with the Japanese ambient-jazz avant-garde. The miracle works, easy. It is the grafting of the Yellow Magic Orchestra of Yukihiro Takahashi and Ryuichi Sakamoto on the Saravah philosophy, a house of music founded by Pierre Barouh. This house welcomed Brigitte Fontaine, Alfred Panou, Barney Wilen, Steve Lacy, Michel Roques among other creative diagonals. Is it oldschool? Yes, probably a little in front of Billie Eillish. Not so much thus listening to this production. Let’s say rather timeless, absolutely free, the music of this Pollen. Bitter-sweet, full of light melancholy in its lyrics, quite sensual in its rhythm and arrangements. One crosses there Françis Laï and David Sylvian. Pierre Barouh, who recorded this record on a simple invitation from the Japanese label, delivers a heady collection of lapidary and brilliant visions. De L’Autre Rive until Tomorrow. A journey on two sides. Long as a happy day. Spent doing nothing. [/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″] Pierrot part au Japon. Quête de la boule d’or. Pas le mimosa, d’ailleurs y-a-t-il du mimosa au Japon ? Nope, une boule encore plus petite. Le Pollen. Ce petit truc parfait pour les changements de saison des sportifs. Et, à bien entendre ce disque, parfait aussi pour se construire des échafaudages et grandir. Le Pollen, le disque, est sorti en 1982 chez Columbia Japan. Il ressort le mois prochain sur WRWTFWW Records, label genevois. C’est une beauté fragile, sensible, une douceur du matin, ce Pollen. Soit Pierre Barouh, rêveur international, qui se frotte ici à l’avant-garde ambient-jazz japonaise. Le miracle opère, facile. C’est la greffe du Yellow Magic Orchestra de Yukihiro Takahashi et Ryuichi Sakamoto sur la philosophie Saravah, maison de musique fondée par Pierre Barouh. Cette maison accueillit Brigitte Fontaine, Alfred Panou, Barney Wilen, Steve Lacy, Michel
Faulkner 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 »] FORÊT, Faulkner 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||| »] sortie en février 2021 chez Mr Morezon [/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/2021/03/cover-2-scaled.jpg » alt= »Faulkner Songs de Forêt » title_text= »Faulkner Songs de Forêt » _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 »]Faulkner Songs by Forêt[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Nicolas Lafourest is a kind of jailbird. After Ma Walki carved on the same label in 2019, the guitarist sticks his head out of the bush a second time. Forêt is releasing his Faulkner Songs. Well almost. Faulkner invited himself along the way in these 10 miniatures, fallen from an impression of friendly listening. And that’s the nice thing about this album. What makes it an album free of any reference, of any concept of music-literary translation, a bit overdosed these days. No Gambit, no Noise nor Fury. Just some tracks titled Untitled and numbered. Or not. Raw music to put on your ear, to consume on the rocks. And the music of Faulkner Songs is pretty raw. Guitar connected to the amp without any effects or tricks. What remains is the playing technique, the intention of each note pressed or slid. Above all, what remains is a fuckin’ landscape where you are free. Free to add the Light of August, sycamore trees and wide fields of short grass if you like. Nicolas Lafourest seems to be one step ahead of you. You still in the nimbes of Untitled#5 that Forêt has gone to play chess with Bill Orcutt. You can even hear’em on the banks of some thick river. » content_phone= » ENGLISH / FRANÇAIS Nicolas Lafourest is a kind of jailbird. After Ma Walki carved on the same label in 2019, the guitarist sticks his head out of the bush a second time. Forêt is releasing his Faulkner Songs. Well almost. Faulkner invited himself along the way in these 10 miniatures, fallen from an impression of friendly listening. And that’s the nice thing about this album. What makes it an album free of any reference, of any concept of music-literary translation, a bit overdosed these days. No Gambit, no Noise nor Fury. Just some tracks titled Untitled and numbered. Or not. Raw music to put on your ear, to consume on the rocks. And the music of Faulkner Songs is pretty raw. Guitar connected to the amp without any effects or tricks. What remains is the playing technique, the intention of each note pressed or slid. Above all, what remains is a fuckin’ landscape where you are free. Free to add the Light of August, sycamore trees and wide fields of short grass if you like. Nicolas Lafourest seems to be one step ahead of you. You still in the nimbes of Untitled#5 that Forêt has gone to play chess with Bill Orcutt. You can even hear’em on the banks of some thick river. » 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 » content__hover_enabled= »off|desktop »] ENGLISH Nicolas Lafourest is a kind of jailbird. After Ma Walki carved on the same label in 2019, the guitarist sticks his head out of the bush a second time. Forêt is releasing his Faulkner Songs. Well almost. Faulkner invited himself along the way in these 10 miniatures, fallen from an impression of friendly listening. And that’s the nice thing about this album. What makes it an album free of any reference, of any concept of music-literary translation, a bit overdosed these days. No Gambit, no Noise nor Fury. Just some tracks titled Untitled and numbered. Or not. Raw music to put on your ear, to consume on the rocks. And the music of Faulkner Songs is pretty raw. Guitar connected to the amp without any effects or tricks. What remains is the playing technique, the intention of each note pressed or slid. Above all, what remains is a fuckin’ landscape where you are free. Free to add the Light of August, sycamore trees and wide fields of short grass if you like. Nicolas Lafourest seems to be one step ahead of you. You still in the nimbes of Untitled#5 that Forêt has gone to play chess with Bill Orcutt. You can even hear’em on the banks of some thick river. [/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″] Nicolas Lafourest est un récidiviste. Après Ma Walkidébardé sur le même label en 2019, le guitariste sort une seconde fois du bois et Forêt sort ses Faulkner Songs. Enfin presque. Faulkner s’est invité en cours de route dans ces 10 miniatures, tombé d’une impression d’écoute amie. Et c’est la jolie chose de cet album. Ce qui en fait un album libre de toute référence, de tout concept de traduction musico-littéraire un poil en overdose ces temps-ci. Pas de Gambit, pas de Bruit ni de Fureur que des tracks intitulés Untitled et numérotés. Ou non. Du brut à se mettre sur l’oreille, à consommer on the rocks. Et brute, la musique de Faulkner Songs l’est carrément. Guitare branchée à l’ampli sans effet, ni combine. Reste alors la technique de jeu, l’intention de chaque note appuyée ou glissée. Reste surtout de sacrés paysages où vous êtes libres. Libres d’y ajouter la lumière d’août, des sycamore trees et de grands champs d’herbe rase si bon vous semble. Nicolas Lafourest, lui, semble avoir un coup d’avance sur vous. Vous encore dans les nimbes de Untitled#5 que Forêt est parti jouer aux échecs avec Bill Orcutt, sans doute au bord d’un fleuve épais. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Mr Morezon : bandcampForêt : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
JVLIVS II
[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|phone » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] SCH, JVLIVS II [/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 Rec. 118 [/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/IMG_8306.PNG.jpeg » alt= »JVLIVS II de SCH » title_text= »JVLIVS II de SCH » _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_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/04/SCH-Marche-Noir-Paroles-Lyrics.mp3″ title= »Marché Noir » artist_name= »SCH » album_name= »JVLIVS II » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS JVLIVS II, surely the most anticipated French rap album of 2021. After a year more than productive that popularized the artist from Marseille thanks to 13 Organized, SCH delivers a well put together product. Straight out of a container bound for the Mediterranean coast. This is the fragment of a narrative story begun in 2018 with the first opus, JVLIVS. It’s cinema that you can listen to. This gangster film is led by interludes scratched by the murderous paw of the Toulousan rapper, Furax Barbarossa. A voice worthy of the greatest bandits, normal it’s interpreted by the French voice of Al Pacino, José Luccioni. They bring a poignant dimension to the album, especially with the incredible sequence between La battue and Zone à Danger. It is listened in one go. The tracks answer each other and deliver each one a facet of the mafia universe romanticized by the artist. JVLIVS II is an album in which we are immersed from the beginning to the end. We enter in something strong, heavy, black. It’s a musical story that embarks us in the thoughts, the drifts and the ambitions of a young wolf of the Sicilian mafia. If this object is partly fictional, there is no doubt that it comes from the rapper’s guts.Unlike the first JVLIVS, the record is not entirely produced by Katrina Squad, a beatmakers collective used to SCH’s universe. Some new things were tested, especially in the sounds, flows and ambiances, but it works. Only possible shadow in the picture, Mode Akimbo with Jul which is a stain in the universe of the tracklist, but it would have a place outside a narrative album. We do not demonize the featuring on JVLIVS, the one with Freeze Corleone on the second or with Ninho on the first are totally in the theme.JVLIVS is a trilogy in progress. Between now and the release of the last opus, everything is possible. There was a before and after 13 Organized, will there be a before and after JVLIVS? » content_phone= » ENGLISH / FRANÇAIS JVLIVS II, surely the most anticipated French rap album of 2021. After a year more than productive that popularized the artist from Marseille thanks to 13 Organized, SCH delivers a well put together product. Straight out of a container bound for the Mediterranean coast. This is the fragment of a narrative story begun in 2018 with the first opus, JVLIVS. It’s cinema that you can listen to. This gangster film is led by interludes scratched by the murderous paw of the Toulousan rapper, Furax Barbarossa. A voice worthy of the greatest bandits, normal it’s interpreted by the French voice of Al Pacino, José Luccioni. They bring a poignant dimension to the album, especially with the incredible sequence between La battue and Zone à Danger. It is listened in one go. The tracks answer each other and deliver each one a facet of the mafia universe romanticized by the artist. JVLIVS II is an album in which we are immersed from the beginning to the end. We enter in something strong, heavy, black. It’s a musical story that embarks us in the thoughts, the drifts and the ambitions of a young wolf of the Sicilian mafia. If this object is partly fictional, there is no doubt that it comes from the rapper’s guts.Unlike the first JVLIVS, the record is not entirely produced by Katrina Squad, a beatmakers collective used to SCH’s universe. Some new things were tested, especially in the sounds, flows and ambiances, but it works. Only possible shadow in the picture, Mode Akimbo with Jul which is a stain in the universe of the tracklist, but it would have a place outside a narrative album. We do not demonize the featuring on JVLIVS, the one with Freeze Corleone on the second or with Ninho on the first are totally in the theme.JVLIVS is a trilogy in progress. Between now and the release of the last opus, everything is possible. There was a before and after 13 Organized, will there be a before and after JVLIVS? » 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 JVLIVS II, surely the most anticipated French rap album of 2021. After a year more than productive that popularized the artist from Marseille thanks to 13 Organized, SCH delivers a well put together product. Straight out of a container bound for the Mediterranean coast. This is the fragment of a narrative story begun in 2018 with the first opus, JVLIVS. It’s cinema that you can listen to. This gangster film is led by interludes scratched by the murderous paw of the Toulousan rapper, Furax Barbarossa. A voice worthy of the greatest bandits, normal it’s interpreted by the French voice of Al Pacino, José Luccioni. They bring a poignant dimension to the album, especially with the incredible sequence between La battue and Zone à Danger. It’s listened in one go. The tracks answer each other and deliver each one a facet of the mafia universe romanticized by the artist. JVLIVS II is an album in which we are immersed from the beginning to the end. We enter in something strong, heavy, black. It’s a musical story that embarks us in the thoughts, the drifts and the ambitions of a young wolf of the Sicilian mafia. If this object is partly
Live in Berlin, 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 »] BEDMAKERS, Live in Berlin [/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 sur Jazzdor Series [/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/2021/03/BEDMAKERS-1.jpg » alt= »Live in Berlin de Bedmakers » title_text= »Live in Berlin de Bedmakers » _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= »7px »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]BedMakers, Tribute to an Imaginary Folk Band — Live in Berlin by Jazzdor Series[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS It had been written for a set of the group at the Météo festival in Mulhouse (August 2019), we sure would say it again with this LP, new born of the Jazzdor Séries engraved after a live in Berlin (june 2018). In short, the rule of the game that this quartet is ultra simple: assert an energy in a single and precise shot, never looking back, come back on the pattern at will but later. Bedmakers and its lead rider, Robin Fincker, plays with folk more than they play folk music. It even replays the tracks from the combo’s first record (Mr Morezon, 2018), but dispatching them, rebuilding them. In a more cubist, more broken way, even in a more charged with humanity path. Moreover, this pretty thing is baselined ‘Tribute to an imaginary Folk band‘. Imaginary, we were warned. And in this imaginary, there is much more than a deference to Anglo-Celtic reels, much better than a resurgence of pub tunes. There is certainly some essence. Alcohol, and coal too. But above all spirit, liquor, if you like. Rupture, obsessive patterns and fragments of melody. It all comes down to listening. Everything contributes to make us run with both feet in the mud, in the dust of the paths or in a substance which nobility leaves us stunned. If there is darkness, it is luminous. If there is vernacular temptation, it is diverted towards an invented life. Organic and moving as much as possible. » content_phone= » ENGLISH / FRANÇAIS It had been written for a set of the group at the Météo festival in Mulhouse (August 2019), we sure would say it again with this LP, new born of the Jazzdor Séries engraved after a live in Berlin (june 2018). In short, the rule of the game that this quartet is ultra simple: assert an energy in a single and precise shot, never looking back, come back on the pattern at will but later. Bedmakers and its lead rider, Robin Fincker, plays with folk more than they play folk music. It even replays the tracks from the combo’s first record (Mr Morezon, 2018), but dispatching them, rebuilding them. In a more cubist, more broken way, even in a more charged with humanity path. Moreover, this pretty thing is baselined ‘Tribute to an imaginary Folk band‘. Imaginary, we were warned. And in this imaginary, there is much more than a deference to Anglo-Celtic reels, much better than a resurgence of pub tunes. There is certainly some essence. Alcohol, and coal too. But above all spirit, liquor, if you like. Rupture, obsessive patterns and fragments of melody. It all comes down to listening. Everything contributes to make us run with both feet in the mud, in the dust of the paths or in a substance which nobility leaves us stunned. If there is darkness, it is luminous. If there is vernacular temptation, it is diverted towards an invented life. Organic and moving as much as possible. » 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 It had been written for a set of the group at the Météo festival in Mulhouse (August 2019), we sure would say it again with this LP, new born of the Jazzdor Séries engraved after a live in Berlin (june 2018). In short, the rule of the game that this quartet is ultra simple: assert an energy in a single and precise shot, never looking back, come back on the pattern at will but later. Bedmakers and its lead rider, Robin Fincker, plays with folk more than they play folk music. It even replays the tracks from the combo’s first record (Mr Morezon, 2018), but dispatching them, rebuilding them. In a more cubist, more broken way, even in a more charged with humanity path. Moreover, this pretty thing is baselined ‘Tribute to an imaginary Folk band‘. Imaginary, we were warned. And in this imaginary, there is much more than a deference to Anglo-Celtic reels, much better than a resurgence of pub tunes. There is certainly some essence. Alcohol, and coal too. But above all spirit, liquor, if you like. Rupture, obsessive patterns and fragments of melody. It all comes down to listening. Everything contributes to make us run with both feet in the mud, in the dust of the paths or in a substance which nobility leaves us stunned. If there is darkness, it is luminous. If there is vernacular temptation, it is diverted towards an invented life. Organic and moving as much as possible. [/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″] On l’avait noté pour un set du groupe au festival Météo de Mulhouse (août 2019), on aurait la redite facile avec ce LP, nouveau-né des Jazzdor Séries gravé d’après un live à Berlin en juin 2018. En bref, la règle du jeu de ce quartet est ultra distincte. Soit, assener une énergie d’un coup unique et précis, jamais se retourner, revenir sur le motif à l’envi mais plus tard et pratiquer, sans cesse, la politique de la terre brûlée. Bedmakers et son cavalier leader, Robin Fincker, joue avec le folk plus qu’il ne joue folk. Ça rejoue même les plages du premier disque du combo (Mr Morezon, 2018), mais en les dispatchant, les reconstruisant. En plus cubistes, en plus cassées,
Fantômes, 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 »] SEGMENT, Fantômes [/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 avec L’Arrosoir, Chalon-sur-Saône, en mars 2021 [/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/SEGMENT_fantomes_carre.jpg » alt= »Fantômes de Segment » title_text= »Fantômes de Segment » _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= »7px »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Fantômes by Trio Segment[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS First draft for little guys who are not yet rookies. First draf. Some kind of stone’s throw from which ricochets are born. Over and over. Ricochets, echoes locked up by happiness in the echo box that is this first album of the Segment trio. Even if here the only visible vector remains the energy, supple and simple, with which each of the musicians makes the two others move forward, the maths is at work. See Diminished Mad Walk’s quiet theorem, Les Anneaux de Saturne’s quadrature, Continuum’s impossible equation. But, beyond these tricks, in Fantômes, there is also music. Antonin Néel, Jean Waché and Victor Prost play balanced. As others eat balanced. By weighing, reducing, compensating. Without losing generosity, listen to the progression of Continuum, nor inventiveness, listen to the jumps of Fosbury in Orbit. Taken out of the boxes of formations with variable geometry like Discord_ or Cosmos, the inspis have the class of their greatness, displaying a promising face of enchanted tomorrows. It is undoubtedly classic in the invoice, but it knows perfectly how to make the small side step which decenters the expected speech. As a lindy hop step done by an ideal son-in-law in the middle of a benchmark symposium. Delightful, in the very first sense of the word. » content_phone= » ENGLISH / FRANÇAIS First draft for little guys who are not yet rookies. First draf. Some kind of stone’s throw from which ricochets are born. Over and over. Ricochets, echoes locked up by happiness in the echo box that is this first album of the Segment trio. Even if here the only visible vector remains the energy, supple and simple, with which each of the musicians makes the two others move forward, the maths is at work. See Diminished Mad Walk’s quiet theorem, Les Anneaux de Saturne’s quadrature, Continuum’s impossible equation. But, beyond these tricks, in Fantômes, there is also music. Antonin Néel, Jean Waché and Victor Prost play balanced. As others eat balanced. By weighing, reducing, compensating. Without losing generosity, listen to the progression of Continuum, nor inventiveness, listen to the jumps of Fosbury in Orbit. Taken out of the boxes of formations with variable geometry like Discord_ or Cosmos, the inspis have the class of their greatness, displaying a promising face of enchanted tomorrows. It is undoubtedly classic in the invoice, but it knows perfectly how to make the small side step which decenters the expected speech. As a lindy hop step done by an ideal son-in-law in the middle of a benchmark symposium. Delightful, in the very first sense of the word. » content_last_edited= »on|desktop » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH First draft for little guys who are not yet rookies. First draf. Some kind of stone’s throw from which ricochets are born. Over and over. Ricochets, echoes locked up by happiness in the echo box that is this first album of the Segment trio. Even if here the only visible vector remains the energy, supple and simple, with which each of the musicians makes the two others move forward, the maths is at work. See Diminished Mad Walk’s quiet theorem, Les Anneaux de Saturne’s quadrature, Continuum’s impossible equation. But, beyond these tricks, in Fantômes, there is also music. Antonin Néel, Jean Waché and Victor Prost play balanced. As others eat balanced. By weighing, reducing, compensating. Without losing generosity, listen to the progression of Continuum, nor inventiveness, listen to the jumps of Fosbury in Orbit. Taken out of the boxes of formations with variable geometry like Discord_ or Cosmos, the inspis have the class of their greatness, displaying a promising face of enchanted tomorrows. It is undoubtedly classic in the invoice, but it knows perfectly how to make the small side step which decenters the expected speech. As a lindy hop step done by an ideal son-in-law in the middle of a benchmark symposium. Delightful, in the very first sense of the word. [/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″] Premier jet pour des petits gars qui ne sont pourtant pas des bleus. Premier jet de pierre, du genre de ceux dont naissent les ricochets, ad libitum, à l’envi. Des ricochets, des échos enfermés par bonheur dans la boîte à échos qu’est ce premier disque du trio Segment. Même si ici le seul vecteur visible reste l’énergie, souple et simple, avec laquelle chacun des musiciens fait avancer les deux autres, les maths sont à l’œuvre. Théorème tranquille de Diminished Mad Walk, quadrature de Les Anneaux de Saturne, équation impossible de Continuum. Mais, au-delà de ces combines, dans Fantômes, il y a surtout la musique. Antonin Néel, Jean Waché et Victor Prost jouent équilibré. Comme d’autres mangent équilibré. En pesant, en réduisant, en compensant. Sans pour autant perdre en générosité, écouter la progression de Continuum, ni en inventivité, écouter les sauts de Fosbury en Orbite. Sorti des caisses de formations à géométrie variable comme Discord_ ou Cosmos, les inspis ont la classe de leur grandeur, affichent une gueule prometteuse de lendemains enchantés. C’est sans doute classique dans la facture, mais ça sait parfaitement faire le petit pas de côté qui décentre le discours attendu. Pour la métaphore, un pas de lindy hop fait par un gendre idéal en plein symposium de benchmark. Ravissant, au sens premier du terme. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Segment : bandcampL’Arrosoir : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]