Archive | octobre, 2014

Roberto Opalio – Aurora Coelestis (opax records/2014)

21 Oct

 

 

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Beautifully presented private press art edition 2xLP set LP from Roberto Opalio of Italian avantists My Cat Is An Alien in a hand-numbered/signed edition of only 50 copies: Aurora Coelestis is Roberto’s first non lathe cut/CD-R solo LP and it is an absolute monster. Sounding quite unlike anything he has done before, it consists of two extended tracks. The first is a beautiful slice of ghostly holy music made using nothing but glockenspiel fed through his patented ‘alientronics’. The glockenspiel playing is spectral and minimal, little puffs of cosmo tone that dance in angelic shapes somewhere just over the event horizon and as they are drawn through the cracked electronic gulf of Roberto’s F/X they are effectively shredded by dunts of huge metal teeth, with the kind of cracked cosmo violence of a Michel Waisvisz or a heavy metal Terry Riley working all-night flights from interplanetary radiation and reality-warping industrial steel. Alternately meditative and mind-breakingly harsh, this is a major statement of modern minimalism. The second piece, “Hic et Nunc”, applies the same cracked alientronics to vocals, with tunnels of disembodied angel vox flexing deep bass tones and hovering register leaps to the point of pure body ecstasy. A major release, beautifully packaged with a full-colour fold out insert, original mounted photograph, heavy duty vinyl, a download coupon, beautifully printed liners from Byron Coley (“like a golden shower delivered by Harry Partch”) and an extra “twin vinyl” LP featuring a proper original acrylic painting by Roberto on side A, this one comes very highly recommended!(opax records)

 

Great Brazilian Music

20 Oct

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DAKOTA SUITE:SIGNAL HILL (glitterhouse/2000)

20 Oct

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Chris Hooson est un héros très discret.Je considère que c’est un immense songwriter de la trempe de Mark Koselek et Bill Callahan et consorts. WINTERSONG a film on dakota suite est un documentaire d’exception extrêmement touchant.C’est pour moi le plus beau film consacré à la musique que j’ai vu depuis le fameux You’ll Never Walk Alone de Jerome de missolz.

 

 

Je suis un grand fan de La Trilogie des Qatsi de Godfrey Reggio et mis en musique par Philip Glass .

18 Oct

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VOYAGE:FACING THE HISTORY OF FRENCH MODERN PSYCHEDELIC MUSIC (PAN EUROPEAN RECORDING/2007)

15 Oct

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Lucas Santtana – Sobre Noites e Dias (no format/2014)

15 Oct

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Son précédent opus, O Deus que devasta mas também cura avait dépassé « sa » planète Brasil et avait conquis nombre d’oreilles curieuses, en Europe. Voici le nouvel opus, Sobre noites e dias , cette fois sur le label hexagonal No Format. Non pas son second, mais le sixième. Car Lucas Santtana est un homme aux mille vies (musicales et-pas-que…) et à 43 ans, il n’est vraiment reconnu au Brésil que depuis peu. Depuis que dans le reste du monde, on parle de lui comme la relève d’une musique brésilienne dont les Caetano Veloso, Gilberto Gil, Chico Buarque, héros (pas fatigués) ont atteint un âge « respectable ».Lucas Santtana, ce sont des cycles, ou plutôt des couleurs : son premier album était percussif, le second, baile funk, le troisième, dub, le quatrième orienté voix et guitare. C’est depuis le cinquième, qui l’a fait connaître en France, qu’il brasse toutes ces influences, et d’autres. Sobre noites e dias, le nouveau, confirme cette confluence, une palette post tropicaliste, à la fois roots et urbaine. En somme, un disque au futur antérieur. Petit cousin d’Arto Lindsay, mais de l’autre hémisphère. Car là où Arto le New Yorkais s’est approprié le portugais du Brésil, Lucas apprivoise l’anglais, d’où un bilinguisme qui les sort tous deux des codes. Comme depuis toujours, Lucas compose sa matière, seul ou (parfois) avec complicité de proches, de musiciens qui comme lui échappent aux ornières. Des textes souvent pétris de références féminines, où la poésie fraie avec l’absurde, comme cette Mariazinha morena clara : le soleil du Brésil ne vaut pas les crevettes de la Hollande de… Van Persie ! On voit bien là la fibre familiale de son (vrai) oncle Tom Zé. Ses textes en anglais sont plus atmosphériques, comme s’il étirait nonchalamment le temps, à la façon d’un autre cousin des Amérique, Devendra Banhart. Ses digressions foutraques dignes d’un Pierrot descendu de sa lune reçoivent un emballage, voire un canapé, qui vont du quatuor à cordes à la grosse basse dubstep, du trio hautbois-basson-clarinette aux guitares du fleuve Niger. Là, le gaillard, caméléon des six cordes, possède son sujet. Tout comme il maîtrise les machines. D’ailleurs, organique et synthétique créent un paysage à mille facettes.Hors Brésil, ses compagnons de jeu sont autant de surprises, comme dans Human Time où Fanny Ardant vient pour un final onirique susurrer une équation d’amour, ou bien ce Diary of a bike où Féfé (ex Saïan Supa Crew) passé par São Paulo, a posé ses lyrics « cyclistes » avec un flow pétillant. Autre talent hors Brésil mis à contribution, Vincent Segal, magister de l’archet sur son violoncelle, grand gourmet du Brésil. Et encore le DJ et producteur allemand Daniel Haaksmann. Parmi les Brésiliens embarqués dans l’aventure, citons notamment ceux qu’on se dispute au Brésil, le fidèle Bruno Buarque (de Barbatuques à Céu), Kiko DiNucci et Thiago França, les trublions de Meta Meta, Une disparate association de bienfaiteurs, des artisans du son.On avait quitté Lucas Santtana contant dans son album précédent sa rupture un jour d’orage de fin du monde. On le retrouve amoureux, à la fois taquin et apaisé, incitant les oreilles curieuses à batifoler. Pas étonnant qu’il soit dans la lignée des ses aînés, Baïanes comme lui, Caetano Veloso et Gilberto Gil (avec qui il a d’ailleurs commencé, il y a plus de quinze ans). Il s’est d’ores et déjà affranchi de ce glorieux mais pesant héritage. Mais, puisqu’on est à Salvador de Bahia, il s’attèle à un frevo rigolo comme on aime les reprendre au Carnaval.A présent, c’est lui qui bâtit un héritage. Après tout, passé la quarantaine, on peut revendiquer d’être maître à bord, tout en s’affirmant comme une découverte. Il mérite sa place dans le bien nommé label No Format. Le premier Brésilien à faire partie de la famille. Bienvenue ! Seja bem vindo !(Rémy Kolpa Kopoul)

Lonnie Holley est un touche à tout qui me touche plus que tout

15 Oct

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Lonnie Holley was born on February 10, 1950 in Birmingham, Alabama. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood. 

Since 1979, Holley has devoted his life to the practice of improvisational creativity. His art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, has manifested itself in drawing, painting, sculpture, photography, performance, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects, already imbued with cultural and artistic metaphor, are combined into narrative sculptures that commemorate places, people, and events.
Holley did not start making and performing music in a studio nor does his creative process mirror that of the typical musician. His music and lyrics are improvised on the spot and morph and evolve with every event, concert, and recording. In Holley’s original art environment, he would construct and deconstruct his visual works, repurposing their elements for new pieces. This often led to the transfer of individual narratives into the new work creating a cumulative composite image that has depth and purpose beyond its original singular meaning. The layers of sound in Holley’s music, likewise, are the result of decades of evolving experimentation.(dust to digital)

Saint Etienne Presents : Songs For A London Winter(cherry red/2014)

14 Oct

SAINT ETIENNE songs for winter

Pete Wiggs have ransacked their record collections, with a helping hand from DJ Martin Green, to give you the sound of Piccadilly in December – baubles, bangles, tinsel and whisky macs. This is a decidedly London selection – Joe Henderson’s ‘Sleighride’ has the distinct feel of Hampstead Heath rather than Lapland. Homegrown rockers like Billy Fury and Adam Faith are found rubbing shoulders over a Christmas pint with John Barry and jazzers Kenny Baker and John Dankworth. Tricia Marks and Lyn Cornell provide festive glamour. Saint Etienne member and pop historian Bob Stanley writes the sleevenotes. This is a soundtrack for the Hamley’s shop window and a proper 60s UK time capsule.(http://www.cherryred.co.uk/shopexd.asp?id=4901)

Track Listing:

1.    CHRISTMAS IN LONDON TOWN – Nina And Frederick
2.    SNOWMAN’S LAND – Zack Laurence
3.    WINTER WONDERLAND – King Brothers
4.    IT’S CHRISTMAS TIME – Elaine And Derek
5.    WINTER WAIL – Johnny Dankworth
6.    BLOW BLOW THOU WINTER WIND – Cleo Laine
7.    WE THREE KINGS – Johnny Keating
8.    CHRISTMAS SLEIGHRIDE – Joe ‘Mr Piano’ Henderson
9.    CHRISTMAS CALYPSO – Tricia Marks
10.    CHRISTMAS ISLAND – Dickie Valentine
11.    LONELY PUP – Adam Faith
12.    WINTER STARLIGHT – Tony Osborne
13.    MUST BE SANTA – Alma Cogan
14.    GET LOST JACK FROST – John Barry Seven
15.    SOUNDS LIKE WINTER – The Echoes
16.    XMAS STOCKING – Lyn Cornell
17.    MY CHRISTMAS PRAYER – Billy Fury
18.    BLUE ICE – Kenny Baker
19.    LITTLE DONKEY – Beverley Sisters
20.    SNOW COACH – Russ Conway
21.    I SAW MUMMY KISSING SANTA CLAUS – Embassy Singers
22.    SWINGING SHEPHERD BLUES – Ted Heath
23.    GIVE US A KISS FOR CHRISTMAS – Lionel Bart
24.    CHRISTMAS LAND – Wally Whyton

SLY STONE I’m Just Like You: Sly’s Stone Flower 1969-70 (LIGHT IN THE ATTIC/2014)

14 Oct

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In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves–and the words “Written by Sylvester Stewart/Produced and arranged by Sly Stone” on the sticker.

Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too–the imprint folded in 1971–but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On.

The first 45 came in February 1970: Little Sister’s dancefloor-ready “You’re The One” hit Number 22 in the charts–the label’s highest showing. The follow-up, “Stanga, » also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone’s “Dynamite, » featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic « Life And Death In G&A” is one of the bleakest moments Sly Stone ever created on disc (Hicks’ prior single for Scepter, “Home Sweet Home,” the first released Stone Flower production, is also included).

This long overdue compilation of Sly’s Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There’s A Riot Going On. I’m Just Like You: Sly’s Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone’s career.(source:http://lightintheattic.net/releases/1451-i-m-just-like-you-sly-s-stone-flower-1969-70)

 

NEXT STOP SOWETO PRESENTS SPIRIT OF MALOMBO: MALOMBO, JABULA, JAZZ AFRIKA 1966-1984(STRUT/2014)

14 Oct

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Following the label’s acclaimed ‘Next Stop Soweto’ compilation series, Strut returns to the rich music heritage of South Africa for another landmark compilation celebrating the influential and heavily political music of drummer Julian Bahula since the mid-‘60s with the Malombo Jazz Makers, Jabula and Jazz Afrika bands. Bahula’s first group was the Malombo Jazzmen, led by guitarist Philip Tabane with flautist Abbey Cindi and they broke the mould, introducing indigenous malombo drums alongside guitar and flute to create a strong new cultural jazz fusion. In 1964, the group took the Castle Lager jazz festival by storm, South Africa’s biggest annual jazz event. Within a year, Bahula and Cindi had parted company with Tabane, and guitarist Lucky Ranku had come on board to form the Malombo Jazz Makers. By the end of the 1960s, they had established themselves as South Africa’s foremost afro-centric jazz group. In 1971, they made a clandestine tour of South Africa with Steve Biko and TECON (Theatre Council of Natal) Players, using music and theatre to promote black awareness and identity as part of Biko’s Black Consciousness message. As the pressure of apartheid started to bear down on them, Julian Bahula escaped to political exile in the UK. He settled in London in February 1973 following a tour with white afro-rock band Hawk. Joined by Lucky Ranku shortly afterwards, Bahula formed a new afro super-group, Jabula, through which malombo music was transformed into a vehicle that could take a powerful political message from South Africa to audiences in Europe and across the world. The band worked closely and selflessly with the exiled ANC, the Anti-Apartheid Movement and other anti-apartheid organisations to help spread political awareness. Bahula and his wife Liza also started London’s first regular night to promote live African music at London’s 100 Club during the ‘80s. In ’83, they set up the first concert in the UK to raise awareness for Nelson Mandela, ‘African Sounds’, an event that helped to kick- start the international pressure that would lead to Mandela’s release in 1990. The Specials’ Jerry Dammers was there and was inspired by Jabula’s track ‘Mandela’ to write the huge hit for The Special AKA, ‘Nelson Mandela’. ‘Spirit Of Malombo’ documents Bahula’s incredible musical journey from 1966 to 1984 for the first time. Package includes rare photos, poster artwork and memorabilia with extensive sleeve notes from author Francis Gooding. The cover features a still from leading South African photographer, Ernest Cole.(source:strut records)