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Oan Kim & The Dirty Jazz
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sortie le 25 février 2022 en auto-production
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ENGLISH / FRANÇAIS
Yes, you can have learned the conservatory and finish in a brothel. In a velvet couch, purple curtains and in the damn lust of this Oan Kim and The Dirty Jazz. False DIY and true one-man-band, ex-post-rocker and neo-midnight-jazzer, Oan Kim has just wedged one of the most beautiful discs of this beginning of year. Nourished by his trajectory in the images, chiseled with an unfailing love for the cinema. Aim rather for tracks like Fight Club or Funeral Waltz. Dark, retro, crafty and finally terribly current. Dirty Jazz according to Kim takes the same visual glitch as its cover, raise the Hollywood bandits on The Judge and tails big cats. Here we have Barry Adamson and his murky songs, the beautiful Agony, a wonderful little death, Nat King Cole and his nostalgic love songs taxed by Wong Kar-Wai. Elsewhere you’ll ear a sonic and referenced atmosphere, alter ego of the success of Alex Zhang’s Dirty Beaches. But, underneath the fighting rets, there is a complex personality and fantasies on the surface. Lynchean, thus. This record takes your head and your hips, licks jazz to the breast of Monk or Miles. The grain of the sax, the reverb of the voice, the magical Smoking Gun, a very classy here, make this Dirty jazz a call to pleasure, slow and voluptuous. The only regret is that a label has missed this nugget, purple and violent. ThisOanKim miniature brothel where the fluids of pleasure and black elegance flow and exchange. Black and shiny.
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ENGLISH / FRANÇAIS
Yes, you can have learned the conservatory and finish in a brothel. In a velvet couch, purple curtains and in the damn lust of this Oan Kim and The Dirty Jazz. False DIY and true one-man-band, ex-post-rocker and neo-midnight-jazzer, Oan Kim has just wedged one of the most beautiful discs of this beginning of year. Nourished by his trajectory in the images, chiseled with an unfailing love for the cinema. Aim rather for tracks like Fight Club or Funeral Waltz. Dark, retro, crafty and finally terribly current. Dirty Jazz according to Kim takes the same visual glitch as its cover, raise the Hollywood bandits on The Judge and tails big cats. Here we have Barry Adamson and his murky songs, the beautiful Agony, a wonderful little death, Nat King Cole and his nostalgic love songs taxed by Wong Kar-Wai. Elsewhere you’ll ear a sonic and referenced atmosphere, alter ego of the success of Alex Zhang’s Dirty Beaches. But, underneath the fighting rets, there is a complex personality and fantasies on the surface. Lynchean, thus. This record takes your head and your hips, licks jazz to the breast of Monk or Miles. The grain of the sax, the reverb of the voice, the magical Smoking Gun, a very classy here, make this Dirty jazz a call to pleasure, slow and voluptuous. The only regret is that a label has missed this nugget, purple and violent. ThisOanKim miniature brothel where the fluids of pleasure and black elegance flow and exchange. Black and shiny.
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ENGLISH
Yes, you can have learned the conservatory and finish in a brothel. In a velvet couch, purple curtains and in the damn lust of this Oan Kim and The Dirty Jazz. False DIY and true one-man-band, ex-post-rocker and neo-midnight-jazzer, Oan Kim has just wedged one of the most beautiful discs of this beginning of year. Nourished by his trajectory in the images, chiseled with an unfailing love for the cinema. Aim rather for tracks like Fight Club or Funeral Waltz. Dark, retro, crafty and finally terribly current. Dirty Jazz according to Kim takes the same visual glitch as its cover, raise the Hollywood bandits on The Judge and tails big cats. Here we have Barry Adamson and his murky songs, the beautiful Agony, a wonderful little death, Nat King Cole and his nostalgic love songs taxed by Wong Kar-Wai. Elsewhere you’ll ear a sonic and referenced atmosphere, alter ego of the success of Alex Zhang’s Dirty Beaches. But, underneath the fighting rets, there is a complex personality and fantasies on the surface. Lynchean, thus. This record takes your head and your hips, licks jazz to the breast of Monk or Miles. The grain of the sax, the reverb of the voice, the magical Smoking Gun, a very classy here, make this Dirty jazz a call to pleasure, slow and voluptuous. The only regret is that a label has missed this nugget, purple and violent. This Oan Kim miniature brothel where the fluids of pleasure and black elegance flow and exchange. Black and shiny.
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On peut avoir fait le conservatoire et finir dans un bordel. Dans le velours, le pourpre et la luxure ce Oan Kim and The Dirty Jazz. Faux DIY et vrai one-man-band, ex-post-rocker et néo-midnight-jazzer, Oan Kim vient de caler un des plus beaux disques de ce début d’année. Nourri de sa trajectoire dans les images, ciselé avec un amour indéfectible pour le cinéma. Visez plutôt des morceaux comme Fight Club ou Funeral Waltz. Dark, rétro, matois et finalement terriblement actuel. Le dirty Jazz selon Kim prend le même glitch que sa cover, nous refait le coup des bandits d’Hollywood sur The Judge et prend les cadors du milieu en filature. Ici c’est Barry Adamson et ses murky songs, la beautiful Agony, petite mort merveilleuse. Là, c’est Nat King Cole et ses chants d’amour nostalgique taxés par Wong Kar-Wai. Ailleurs c’est aussi une ambiance sonore et référencée, alter ego de la réussite du Dirty Beaches d’Alex Zhang. Mais, sous les refs en baston, il y a une personnalité complexe et des fantasmes à fleur de peau. Lynchéens, quoi. Ce disque vous prend la tête et les hanches, tète le jazz à la mamelle de Monk ou de Miles. Le grain du sax, la reverb de la voix, magique Smoking Gun, faux prétexte très classe ici, et les feats impeccables de Edward Perraud et Nicolas Folmer font de ce Dirty jazz un appel au plaisir, lent et voluptueux. Le seul regret, c’est qu’un label soit passé à côté de cette pépite, violette et violente. De ce lupanar miniature où s’écoulent et s’échangent les fluides du plaisir et de l’élégance noire. Noire et brillante.
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Oan Kim : interview PointBreak
Oan Kim : site internet
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