Loving You George, 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 »] GEORGE OTSUKA 5tet, Loving You George [/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 Wewantsounds [/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/WWSLP38-front-2000.jpg » alt= »Loving You George de George Otsuka Quintet » title_text= »Loving You George de George Otsuka Quintet » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » hover_enabled= »0″ border_color_all= »#000000″ box_shadow_style= »preset3″ box_shadow_vertical= »9px » sticky_enabled= »0″][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Loving You George by George Otsuka Quintet[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS 1975, at the Nemu Jazz Inn. George Otsuka has just put his quintet on the shore, south of Nagoya. It’s July and the festival is in good shape. It will take more with the 4 tracks led by the drummer. Coltrane died on the other side of the globe, less than 10 years ago. But modal jazz and spirit jazz continue to blaze. Listen to the pyromaniac sparkles of the Miles Mode cover. The rest of the concert is also very raw. Finally no, cooked in the best way. Tracks are hot. Listen to the precise antics caped by Fumio Karashima on the Rhodes on Something Everywhere, signed by another Rhodes madman, Steve Kühn. It’s crazy how this album goes back and forth between the rising sun and the West. Between tradition and redefinition of codes, too. Those of the funk, for example with this Loving You pilfered from Minnie Riperton’s pocket and played flambé, there again, like a Norwegian omelette on a day of pagan baptism. Holding the matches, Otsuka’s quintet plays tight, nippon Wolfpack. No vacant space to fill, no room for the prettyness. It is effective, ultra effective, even. And magnificent. High-flying melted in one of the mottos of which the seventies were capable without blushing. It %22wood%22 be great to try this. And this Wewantsounds reissue of this gleaming jewel, follows the movement. Blazing fire. » content_phone= » ENGLISH / FRANÇAIS 1975, at the Nemu Jazz Inn. George Otsuka has just put his quintet on the shore, south of Nagoya. It’s July and the festival is in good shape. It will take more with the 4 tracks led by the drummer. Coltrane died on the other side of the globe, less than 10 years ago. But modal jazz and spirit jazz continue to blaze. Listen to the pyromaniac sparkles of the Miles Mode cover. The rest of the concert is also very raw. Finally no, cooked in the best way. Tracks are hot. Listen to the precise antics caped by Fumio Karashima on the Rhodes on Something Everywhere, signed by another Rhodes madman, Steve Kühn. It’s crazy how this album goes back and forth between the rising sun and the West. Between tradition and redefinition of codes, too. Those of the funk, for example with this Loving You pilfered from Minnie Riperton’s pocket and played flambé, there again, like a Norwegian omelette on a day of pagan baptism. Holding the matches, Otsuka’s quintet plays tight, nippon Wolfpack. No vacant space to fill, no room for the prettyness. It is effective, ultra effective, even. And magnificent. High-flying melted in one of the mottos of which the seventies were capable without blushing. It %22wood%22 be great to try this. And this Wewantsounds reissue of this gleaming jewel, follows the movement. Blazing fire. » 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 1975, at the Nemu Jazz Inn. George Otsuka has just put his quintet on the shore, south of Nagoya. It’s July and the festival is in good shape. It will take more with the 4 tracks led by the drummer. Coltrane died on the other side of the globe, less than 10 years ago. But modal jazz and spirit jazz continue to blaze. Listen to the pyromaniac sparkles of the Miles Mode cover. The rest of the concert is also very raw. Finally no, cooked in the best way. Tracks are hot. Listen to the precise antics caped by Fumio Karashima on the Rhodes on Something Everywhere, signed by another Rhodes madman, Steve Kühn. It’s crazy how this album goes back and forth between the rising sun and the West. Between tradition and redefinition of codes, too. Those of the funk, for example with this Loving You pilfered from Minnie Riperton’s pocket and played flambé, there again, like a Norwegian omelette on a day of pagan baptism. Holding the matches, Otsuka’s quintet plays tight, nippon Wolfpack. No vacant space to fill, no room for the prettyness. It is effective, ultra effective, even. And magnificent. High-flying melted in one of the mottos of which the seventies were capable without blushing. It « wood » be great to try this. And this Wewantsounds reissue of this gleaming jewel, follows the movement. Blazing fire. [/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″] 1975, au Nemu Jazz Inn. George Otsuka vient de poser son quintet sur la côte, au sud de Nagoya. C’est juillet et le festival a bon teint. Il prendra encore d’autres couleurs avec les 4 plages menées grand train par le batteur. Coltrane est mort de l’autre côté du globe, il y a moins de 10 ans, mais le jazz modal et le spirit jazz continue de flamber. Ecouter les flammèches pyromanes de la reprise de Miles Mode. Le reste du concert est du même cru. Enfin du même cuit, tant les plages sont chaudes. Ecouter les cabrioles précises de Fumio Karashima aux Rhodes sur Something Everywhere, signée par ailleurs d’un autre fou des Rhodes, Steve Kühn. C’est fou comme cet album fait des allers-retours entre soleil levant et occident. Entre tradition et redéfinition des codes, aussi. Ceux de la funk, par exemple avec ce Loving You chipé à Minnie Riperton et joué flambé, là encore, comme une omelette norvégienne un jour de baptême païen. Tenant les allumettes,
An Insight To All 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 »] KAIDI TATHAM, An Insight To All 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 en mars 2021 chez First Word 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-1.jpg » alt= »An Insight to All Minds de Kaidi Tatham » title_text= »An Insight to All Minds de Kaidi Tatham » _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 »]src= »https://bandcamp.com/EmbeddedPlayer/album=1141807083/size=large/bgcol=ffffff/linkcol=63b2cc/tracklist=false/artwork=none/track=1694559575/transparent=true/ » seamlessAn Insight To All Minds by Kaidi Tatham[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Beats broker and worshipped DJ, here is a kind of Swiss army knife made in Belfast. Multi-services, multi-instrumentalist, polygenre and studio’s polytechnician, Kaidi Tatham lays down a third album. Broken? certainly. Undisciplined? Sir, yes sir. But also a seriously in-your-face one. An Insight To All Minds is an ode to introspection, a small electro-keyed precision on the way we have to lead our boat from one side to the other of our long journey on life river. Quiet or not quiet. This record carries in its exquisite swirls jazz-funk, latino synthesis, electro-afro-cosmo and all the science of the keyboards of the boss. Grinded, completed and polished by his passages amongst the Herbalizers and the Bugz In The Attic bunches. Nourished by collabs with DJ Jazzy Jeff, Dj Scruff, Mulatu Astatke or Amy Winehouse. Enhanced by approval from Madlib or Gilles Peterson. Enough to draw multiple lines, inevitably, on the horizon. Tatham prolongs the curious intranquility of Herbie Hancock. Without fear of raw sonorities (Intergalactic Relations), without fear of daring sensitive finesse (Rain). Without even the fear of reinventing any possible syntax with Tek Care, a little marvel of Afro-funk in the form of a call to springtime siestas. With or without ice. » content_phone= » ENGLISH / FRANÇAIS Beats broker and worshipped DJ, here is a kind of Swiss army knife made in Belfast. Multi-services, multi-instrumentalist, polygenre and studio’s polytechnician, Kaidi Tatham lays down a third album. Broken? certainly. Undisciplined? Sir, yes sir. But also a seriously in-your-face one. An Insight To All Minds is an ode to introspection, a small electro-keyed precision on the way we have to lead our boat from one side to the other of our long journey on life river. Quiet or not quiet. This record carries in its exquisite swirls jazz-funk, latino synthesis, electro-afro-cosmo and all the science of the keyboards of the boss. Grinded, completed and polished by his passages amongst the Herbalizers and the Bugz In The Attic bunches. Nourished by collabs with DJ Jazzy Jeff, Dj Scruff, Mulatu Astatke or Amy Winehouse. Enhanced by approval from Madlib or Gilles Peterson. Enough to draw multiple lines, inevitably, on the horizon. Tatham prolongs the curious intranquility of Herbie Hancock. Without fear of raw sonorities (Intergalactic Relations), without fear of daring sensitive finesse (Rain). Without even the fear of reinventing any possible syntax with Tek Care, a little marvel of Afro-funk in the form of a call to springtime siestas. With or without ice. » 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 Beats broker and worshipped DJ, here is a kind of Swiss army knife made in Belfast. Multi-services, multi-instrumentalist, polygenre and studio’s polytechnician, Kaidi Tatham lays down a third album. Broken? certainly. Undisciplined? Sir, yes sir. But also a seriously in-your-face one. An Insight To All Minds is an ode to introspection, a small electro-keyed precision on the way we have to lead our boat from one side to the other of our long journey on life river. Quiet or not quiet. This record carries in its exquisite swirls jazz-funk, latino synthesis, electro-afro-cosmo and all the science of the keyboards of the boss. Grinded, completed and polished by his passages amongst the Herbalizers and the Bugz In The Attic bunches. Nourished by collabs with DJ Jazzy Jeff, Dj Scruff, Mulatu Astatke or Amy Winehouse. Enhanced by approval from Madlib or Gilles Peterson. Enough to draw multiple lines, inevitably, on the horizon. Tatham prolongs the curious intranquility of Herbie Hancock. Without fear of raw sonorities (Intergalactic Relations), without fear of daring sensitive finesse (Rain). Without even the fear of reinventing any possible syntax with Tek Care, a little marvel of Afro-funk in the form of a call to springtime siestas. With or without ice. [/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″] Beats broker et DJ adoré, voici un couteau suisse from Belfast. Multi-services, multi-instrumentiste, polygenre et polytechnicien des studios, Kaidi Tatham pose un troisième album broken, certes, indiscipliné, oui, mais gravement rentre-dedans. An Insight To All Minds, c’est une ode à l’introspection, un petit précis électro-clavé sur la façon qu’on a de mener sa barque d’un bord à l’autre du long fleuve. Tranquille ou pas, reste que ce disque charrie dans ses remous exquis du jazz-funk, du latino de synthèse, de l’électro-afro-cosmo et toute la science des claviers du taulier. Rodée, parfaite et polie par ses passages au sein des Herbalizers et du Bugz In The Attic. Nourrie des collabs avec DJ Jazzy Jeff, DJ Scruff, Mulatu Astatke ou encore Amy Winehouse. Forte des hochements de têtes approbateurs de Madlib ou de Gilles Peterson. De quoi tirer des traits multiples, forcément, sur l’horizon. Tatham prolonge l’intranquilité curieuse d’un Herbie Hancock. Sans peur des sonorités grossières (Intergalactic Relations), sans crainte d’oser la finesse sensible (Rain). Sans même la trouille de réinventer toute syntaxe possible avec Tek Care, petite merveille d’Afro-funk en forme d’appel aux siestes de printemps. Avec ou sans glace. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Kaidi Tatham : bandcampFirst Word Records : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Le Temple EP, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.9.4″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] ZEROLEX, Le Temple (EP) [/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||| » global_colors_info= »{} »] sortie en mars 2021 chez BMM Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.9.4″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.9.4″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.9.4″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/03/Zerolex-Trio-Le-Temple.jpg » alt= »Le Temple de Zerolex » title_text= »Le Temple de Zerolex » _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 » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »]Le Temple / Le Nectar by Zerolex Trio[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Not very kosher, the electro made by Zerolex. Even less since he professes in his Temple, elevated to the rank of spiritual single last March. Spiritual? Yep and in the multiple senses of the word. No wonder it’s released by Black Milk Music, a stable of unorthodox musicians from Grand-Est of France. Once upon a time, Nancy was the public square of jazz and pulsation, now these are enthroned in the furious underground. To come back to Zerolex trio, the Temple, first side of a medal whose reverse side will shine at the end of May, is not afraid of trumpets. Neither of Jericho, nor elsewhere. But it remains a fan of the saxophone. Here it is that of Chromé which boosts the voices, provides a simple counterpoint to the profane choruses. Falsely casual. This Temple becomes an organic refuge, a classy hut to shelter Zerolex’s jazztronica. And this one takes care of its climates, from the broad synthetic strokes of the intro to the Frenchy songs which start again the machine. And go up the walls of the building where the beat plays it modest in front of a canon thing, close to the seventies lyricism, the lyricism of some determined processions. A lyricism which supports the game of the keyboards as one would support the world. With one shoulder, whistling. Easy. While waiting to leave the temple to go and sip the Nectar. Patience, May is not so far. » content_phone= » ENGLISH / FRANÇAIS Not very kosher, the electro made by Zerolex. Even less since he professes in his Temple, elevated to the rank of spiritual single last March. Spiritual? Yep and in the multiple senses of the word. No wonder it’s released by Black Milk Music, a stable of unorthodox musicians from Grand-Est of France. Once upon a time, Nancy was the public square of jazz and pulsation, now these are enthroned in the furious underground. To come back to Zerolex trio, the Temple, first side of a medal whose reverse side will shine at the end of May, is not afraid of trumpets. Neither of Jericho, nor elsewhere. But it remains a fan of the saxophone. Here it is that of Chromé which boosts the voices, provides a simple counterpoint to the profane choruses. Falsely casual. This Temple becomes an organic refuge, a classy hut to shelter Zerolex’s jazztronica. And this one takes care of its climates, from the broad synthetic strokes of the intro to the Frenchy songs which start again the machine. And go up the walls of the building where the beat plays it modest in front of a canon thing, close to the seventies lyricism, the lyricism of some determined processions. A lyricism which supports the game of the keyboards as one would support the world. With one shoulder, whistling. Easy. While waiting to leave the temple to go and sip the Nectar. Patience, May is not so far. » 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 » global_colors_info= »{} »] ENGLISH Not very kosher, the electro made by Zerolex. Even less since he professes in his Temple, elevated to the rank of spiritual single last March. Spiritual? Yep and in the multiple senses of the word. No wonder it’s released by Black Milk Music, a stable of unorthodox musicians from Grand-Est of France. Once upon a time, Nancy was the public square of jazz and pulsation, now these are enthroned in the furious underground. To come back to Zerolex trio, the Temple, first side of a medal whose reverse side will shine at the end of May, is not afraid of trumpets. Neither of Jericho, nor elsewhere. But it remains a fan of the saxophone. Here it is that of Chromé which boosts the voices, provides a simple counterpoint to the profane choruses. Falsely casual. This Temple becomes an organic refuge, a classy hut to shelter Zerolex’s jazztronica. And this one takes care of its climates, from the broad synthetic strokes of the intro to the Frenchy songs which start again the machine. And go up the walls of the building where the beat plays it modest in front of a canon thing, close to the seventies lyricism, the lyricism of some determined processions. A lyricism which supports the game of the keyboards as one would support the world. With one shoulder, whistling. Easy. While waiting to leave the temple to go and sip the Nectar. Patience, May is not so far. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.13.1″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Pas très catholique, l’électro façon Zerolex. Encore moins depuis qu’il professe dans son Temple, élevé au rang de single spirituel le 19 mars dernier. Spirituel ? Yep et dans les sens multiples du mot. Pas étonnant, c’est sorti chez Black Milk Music, écurie grand-estienne de musiciens peu orthodoxes. Fût un temps, Nancy était la place publique du jazz et de la pulsation, désormais, celles-ci trônent dans l’underground furibard. Pour en revenir au trio Zerolex, le Temple, première face d’une médaille dont le revers brillera fin mai, ne craint pas les trompettes. Ni de Jéricho, ni d’ailleurs. Mais reste carrément fan du sax. Ici c’est celui de Chromé qui booste les voix, fournit un contrepoint simple aux choeurs profanes. Faussement désinvoltes. Ce Temple en devient refuge organique, classe cabane pour abriter la jazztronica de Zerolex.
Funky Coup, 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|tablet » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] FUNKY COUP:Korean Soul, Funk& Rare Groove Nuggets1973-1980 vol. 1 [/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 avril 2021 chez Beatball 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/funky-coup.jpg » alt= »Funky Coup: Korean Soul, Funk & Rare Groove Nuggets 1973-1980, Vol. 1″ title_text= »Funky Coup: Korean Soul, Funk & Rare Groove Nuggets 1973-1980, Vol. 1″ _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 Pleasure, tradition, Asia and old stuff. Released on April 9th, Funky Coup : Korean Soul, Funk & Rare Groove Nuggets 1973-1980 Vol. 1 compilation revives the sex-appeal of 25 made in Korea nuggets. Beatball, an independent label, is in the kitchen with DJ Soulscape to cook one of the craziest mix. As a smooth operator. From 1973 to 1980, the land of the Morning Calm, we restyled the trot, a 100% Korean genre. Simple recipe : quaking voice, mostly a feminine one, precise and surprising rythmes. Thus, here is something like a musical energy drink. Listening to Funky Coup, it’s like driving a time machine, changing atmosphere and being transported on the other end of the world. Cruise ship, long drink, blue sky and funky seagulls. Traditional notes, powerful voices, beyond understanding but brilliantly harmonious language in a familiar register. It is even one of the delights of the compilation. Stop once. Beauty Girls’ Milyang Arirang sounds very similar to a comforting song for some military demonstration. No surprise if you consider the political background of the game. Stop twice. Crying Girl, a bewitching flute with random onomatopeia by Lee Jang-hee. Efficient and crispy. Last stop, soft voices of Kim Trio. The kind that makes you want to say here. Dropping anchor, sunbathing and never returning back. » content_phone= » ENGLISH / FRANÇAIS Pleasure, tradition, Asia and old stuff. Released on April 9th, Funky Coup : Korean Soul, Funk & Rare Groove Nuggets 1973-1980 Vol. 1 compilation revives the sex-appeal of 25 made in Korea nuggets. Beatball, an independent label, is in the kitchen with DJ Soulscape to cook one of the craziest mix. As a smooth operator. From 1973 to 1980, the land of the Morning Calm, we restyled the trot, a 100% Korean genre. Simple recipe : quaking voice, mostly a feminine one, precise and surprising rythmes. Thus, here is something like a musical energy drink. Listening to Funky Coup, it’s like driving a time machine, changing atmosphere and being transported on the other end of the world. Cruise ship, long drink, blue sky and funky seagulls. Traditional notes, powerful voices, beyond understanding but brilliantly harmonious language in a familiar register. It is even one of the delights of the compilation. Stop once. Beauty Girls’ Milyang Arirang sounds very similar to a comforting song for some military demonstration. No surprise if you consider the political background of the game. Stop twice. Crying Girl, a bewitching flute with random onomatopeia by Lee Jang-hee. Efficient and crispy. Last stop, soft voices of Kim Trio. The kind that makes you want to say here. Dropping anchor, sunbathing and never returning back. » 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 Pleasure, tradition, Asia and old stuff. Released on April 9th, Funky Coup : Korean Soul, Funk & Rare Groove Nuggets 1973-1980 Vol. 1 compilation revives the sex-appeal of 25 made in Korea nuggets. Beatball, an independent label, is in the kitchen with DJ Soulscape to cook one of the craziest mix. As a smooth operator. From 1973 to 1980, the land of the Morning Calm, we restyled the trot, a 100% Korean genre. Simple recipe : quaking voice, mostly a feminine one, precise and surprising rythmes. Thus, here is something like a musical energy drink. Listening to Funky Coup, it’s like driving a time machine, changing atmosphere and being transported on the other end of the world. Cruise ship, long drink, blue sky and funky seagulls. Traditional notes, powerful voices, beyond understanding but brilliantly harmonious language in a familiar register. It is even one of the delights of the compilation. Stop once. Beauty Girls’ Milyang Arirang sounds very similar to a comforting song for some military demonstration. No surprise if you consider the political background of the game. Stop twice. Crying Girl, a bewitching flute with random onomatopeia by Lee Jang-hee. Efficient and crispy. Last stop, soft voices of Kim Trio. The kind that makes you want to say here. Dropping anchor, sunbathing and never returning back. [/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 »] Joie, tradition, Asie et vieillerie. Sortie le 9 avril, la compile Funky Coup : Korean Soul, Funk & Rare Groove Nuggets 1973-1980 Vol. 1 réactive le sex-appeal de 25 pépites made in Korea. Beatball records, maison de disques indépendante, est aux fourneaux avec DJ Soulscape et concocte un petit mix des plus dinguo. Aux petits oignons. De 1973 à 1980, au pays du matin calme, on revisitait le Trot, un genre 100% coréen. Recette simple : voix chevrotante, souvent féminine, rythmes précis et surprenants. Au Trot, on ajoute des discos vibes lancées au galop et bim. On se retrouve avec un truc façon energy drink musical. Écouter Funky Coup, c’est prendre une machine à remonter le temps, changer d’atmosphère et se faire transporter de l’autre côté du globe. Bateau de croisière, long drink, ciel bleu et mouettes funky. Notes traditionnelles, voix puissantes, langue incompréhensible mais génialement harmonieuse dans un registre familier. C’est même un des délices de la compile. Premier shot. Milyang Arirang de Beauty Girls ressemble de près à une chanson réconfortante pour les militaires. Pas étonnant quand on connaît le background politique du game. Deuxième stop. Crying Girl, une