tag:blogger.com,1999:blog-56638362897056170782024-03-19T09:20:48.649+00:00nocoVisionthierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comBlogger1101125tag:blogger.com,1999:blog-5663836289705617078.post-68366218892497112542024-03-18T18:19:00.007+00:002024-03-19T08:34:12.916+00:00PRISM CAPTURE // IV<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ8rH-AI_s6KgDH_4VyR-R8ghuAtnqs0y0WizrdjAafb1nib6gtQfPWz0vHCDx_PsoUIft2voznrzaBM9rdh5B_o30QGHwC60R3KlE1Yu4W5ZjGWoP6BcoEhzoDtanZgN0lzICCEawSEGVXht5wuvRwvqrhbGL6Y-_3g2CTWWE0bTLUtQW3Zd9MiY29tvw/s1200/IV.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ8rH-AI_s6KgDH_4VyR-R8ghuAtnqs0y0WizrdjAafb1nib6gtQfPWz0vHCDx_PsoUIft2voznrzaBM9rdh5B_o30QGHwC60R3KlE1Yu4W5ZjGWoP6BcoEhzoDtanZgN0lzICCEawSEGVXht5wuvRwvqrhbGL6Y-_3g2CTWWE0bTLUtQW3Zd9MiY29tvw/w640-h640/IV.jpeg" width="640" /></a></div><p>Devenus amis à la faveur d'une collaboration pour la compilation "<i>Music For Mental Health</i>", <b>Jonathan Deasy</b> et <b>Jonas Geiger Ohlin</b>, désormais complices au sein de <i><b>PRISM CAPTURE</b></i>, nous invitent à savourer une émulsion passionnante, <i><b>IV</b></i>.</p><p>Sur le principe, la rencontre n'est pas évidente, les drones puissants de Jonathan Deasy, auteur, rappelez-vous, d'un magistral <i>AMONG THE HAZE</i> (également chez Mahorka) et Jonas Geiger Ohlin (aka The New Emphatic) avec un récent et beaucoup trop discret EP, <i>SAMBA THE WHITE LIONESS</i>, écriture mélodique beaucoup plus colorée. Une convergence, un croisement polysémique. </p><p>Démonstration d'une complémentarité remarquable, <i><b>IV</b></i> s'affranchit savamment de la perméabilité des genres sans toutefois les ignorer. Kaléidoscope progressif (<i>Watch The Skyscrapers</i>) devenu granuleux (<i>Turntable Improv N°1</i>) la réalisation ne définit aucun angle saillant, au profit de soundscapes sans artifices, un écrin de simplicité où puissent venir éclore et s'épanouir, avec parcimonie, des vocaux et la promesse tenue, d'une notable évolution en terres reconnues.</p><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span> // 18 mars 2024</div><br />Having become friends through a collaboration on the compilation "<i>Music For Mental Health</i>," <b>Jonathan Deasy</b> and <b>Jonas Geiger Ohlin</b>, now partners within <i><b>PRISM CAPTURE</b></i>, invite us to savor an exciting fusion, <i><b>IV</b></i>.<br /><br />At first glance, their meeting seems unlikely, the powerful drones of Jonathan Deasy, known for his masterful work <i>AMONG THE HAZE</i> (also on Mahorka), and Jonas Geiger Ohlin (aka The New Emphatic), with his recent and far too discreet EP, <i>SAMBA THE WHITE LIONESS</i>, featuring a much more colorful melodic style. A convergence, a polysemous crossing<br /><br />Demonstrating remarkable complementarity, <i><b>IV</b></i> skillfully breaks free from genre permeability without ignoring them entirely. From progressive kaleidoscope (<i>Watch The Skyscrapers</i>) to gritty (<i>Turntable Improv N°1</i>), the realization does not define any prominent angle, favoring instead unadorned soundscapes, a setting of simplicity where vocals can occasionally blossom and thrive, along with the promise of notable evolution in familiar territories.<br /><br /><div>🟠 <a href="http://mahorka.bandcamp.com/album/iv" target="_blank"><b>IV</b></a><div>🟠 <a href="https://www.nocovision.com/search/label/Jonathan%20Deasy" target="_blank"><b>Jonathan Deasy</b> // more from <span style="font-family: Slackey;">ncV</span> ...</a></div><div>🟠 <a href="https://www.nocovision.com/search/label/Jonas%20Geiger%20Ohlin" target="_blank"><b>Jonas Geiger Ohlin</b> // more from <span style="font-family: Slackey;">ncV</span> ...</a></div></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2323532/size=large/bgcol=ffffff/linkcol=e99708/transparent=true/" style="border: 0; height: 588px; width: 350px;"><a href="https://mahorka.bandcamp.com/album/iv">IV de Prism Capture</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-2122681447958890082024-03-12T16:14:00.008+00:002024-03-12T17:30:32.302+00:00BIOS CONTRAST // auto<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXgAs8mOcJRxaDvx6SUTRg_-15y6FcpcCo-LwXQ5JY3VFm2qIUKEz26fz7f7Ap_3wn5tzHKvZzTZqL28cNQ-KBMYOy0zVhOyo9mX-l06pO4trCDHE8YUt_90VHRlFa_q4-y9VN5wzjDIgNHzZQuU7o2xlKuq0WoT66oe-iURFVcn2-YPRRoygh5nuUVrg/s1200/AUTO.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXgAs8mOcJRxaDvx6SUTRg_-15y6FcpcCo-LwXQ5JY3VFm2qIUKEz26fz7f7Ap_3wn5tzHKvZzTZqL28cNQ-KBMYOy0zVhOyo9mX-l06pO4trCDHE8YUt_90VHRlFa_q4-y9VN5wzjDIgNHzZQuU7o2xlKuq0WoT66oe-iURFVcn2-YPRRoygh5nuUVrg/w640-h640/AUTO.jpeg" width="640" /></a></div><div><br /></div>La fascination ... <b>Nilotpal Das</b> frôle l'antique mythe moderniste, éraflure ou objet de défiance, on s'en frotte les mains par avance.<div><div>"<i>ET 50</i>" prévient illico, il sera effectivement question d'une "car experience", aveu de <b>Bios Contrast</b>. </div><div>"<i>GR.9 NR.10 01</i>" catalyse une autre expérience, celle d'il y a désormais un demi-siècle, un acte volontaire ? Reste que l'on y pense, amusé par cette espièglerie, sans prononcer le titre.</div><div>"<i>Antenna For POS.9</i>" affine le sillage, partition ludique de l'harmonium, Nilotpal décrypte les sautillements, les soubresauts et les effets cinétiques, un régal.</div><div>"<i>61-7031</i>" méandreux, petra et oleum sont au firmament, l'ombre d'une autre <i>Christine</i> acidulée et sommairement abandonnée par d'autres mentors, ceux des lumières scintillantes de Mumbai.</div><div>"<i>14 FR-6 LDU</i>" laissera probablement songeurs les fans de <i>Crash</i> de JG Ballard, quelle importance, nous avons fait une belle balade.</div></div><div><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 12 mars 2024</span></div><div><span style="font-family: inherit;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/5U3PGQzLjbo?si=CWJl03zwbymxa1Ny" width="480"></iframe></div><div><br /></div>The fascination... <b>Nilotpal Das</b> brushes against the ancient modernist myth, a mere scratch or object of suspicion, we rub our hands in anticipation. <div>"<i>ET 50</i>" promptly warns, indeed it will concern a "car experience," confession of <b>Bios Contrast</b>. </div><div>"<i>GR.9 NR.10 01</i>" catalyzes another experience, that of half a century ago, a voluntary act? </div><div>Nonetheless, we think about, amused by this mischief, without uttering the title. </div><div>"<i>Antenna For POS.9</i>" refines the trail, a playful partition of the harmonium, Nilotpal decrypts the skips, jolts, and kinetic effects, a pure delight. </div><div>"<i>61-7031</i>" winding, petra and oleum are at their peak, the shadow of another <i>Christine</i> tangy and summarily abandoned by other mentors, those of the glittering lights of Mumbai. </div><div>"<i>14 FR-6 LDU</i>" will likely leave fans of JG Ballard's <i>Crash</i> pensive, but what does it matter, we've had a beautiful ride.</div><div><br /></div><div>⚪️ <b><a href="https://bioscontrast.bandcamp.com/album/auto" target="_blank">AUTO</a></b></div><div>⚪️ <a href="https://www.nocovision.com/search/label/Bios%20Contrast" target="_blank"><b>BIOS CONTRAST</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div><span style="font-family: inherit;"><br /></span></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2794420617/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; height: 307px; width: 350px;"><a href="https://bioscontrast.bandcamp.com/album/auto">AUTO de Bios Contrast & Nilotpal Das</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-91135145714957637312024-03-09T14:44:00.008+00:002024-03-10T00:46:11.563+00:00LUIS MARTE // octogono<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80fm5j8PgOZTqEV74h4hGrmjnEfMjWuNwaF7VOdKRRdfGma68Kzxcxuc5mOWFIQI6x7na8P7SQgidzgDKUynTUsbA8HKIA0uJ9o_1QhoFlpPE4VlVmrxwa6JaLGSjq_sdOjREKGpnscmw-aHwhBNe_L6xCG7At1rlCNOL65CHbBjWfKAiI0J5iPGQwqED/s1200/OCTOGONO.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80fm5j8PgOZTqEV74h4hGrmjnEfMjWuNwaF7VOdKRRdfGma68Kzxcxuc5mOWFIQI6x7na8P7SQgidzgDKUynTUsbA8HKIA0uJ9o_1QhoFlpPE4VlVmrxwa6JaLGSjq_sdOjREKGpnscmw-aHwhBNe_L6xCG7At1rlCNOL65CHbBjWfKAiI0J5iPGQwqED/w640-h640/OCTOGONO.jpeg" width="640" /></a></div><div style="text-align: left;"><br /></div><br /><br />Comment faire ?<br />Comment garder un instant de conscience sans succomber (<i>Mirr)</i> Pure beauté consciente et manifeste, infinie.<br /><b>Luis Marte</b> est un artiste passionnant.<br />4 intentions, un ... <i><b>OCTOGONO</b></i><br />(le réel en pleine face) <i>Escalar</i> // macro-micro et amplitude inauguralement fusionnelle !<br />"<i>Extension</i>" produit du malaise, une pulsation monstrueuse, précaution ? Sans vous ?<br />"<i>Ell</i>" n'est pas fait (seulement) de compromis.<br />Meurtrissures, attente, attente, croire, croire encore, éluder, ... "<i>Spam</i>".<div><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 10 mars 2024</span></div><div><br /></div><div>¿Cómo hacerlo? </div><div>¿Cómo mantener un instante de conciencia sin sucumbir (<i>Mirr</i>) Belleza pura consciente y manifiesta, infinita. </div><div><b>Luis Marte</b> es un artista emocionante. </div><div>4 intenciones, un ... <b><i>OCTÓGONO</i></b> </div><div>(lo real de frente<i>) "Escalar" // </i>macro-micro y amplitud inicialmente fusionada! </div><div><i>"Extensión</i>" producto de la incomodidad, un pulso monstruoso, ¿precaución? ¿Sin ustedes? </div><div>"<i>Ell</i>" no está hecho (solo) de compromisos.</div><div><div>Magulladuras, espera, esperar, creer, creer aún, eludir, ... "<i>Spam</i>".<br /><div style="text-align: left;"><br /></div><div style="text-align: left;">⚫️ <a href="https://www.plustimbre.com/releases/1562024.html" target="_blank"><b>OCTOGONO // </b>Plus Timbre</a><div>⚫️ <b><a href="https://www.youtube.com/@LuisMarteStudio" target="_blank">Luis Marte Studio</a></b></div><div><br /></div></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1596800528/size=large/bgcol=ffffff/linkcol=0687f5/artwork=none/transparent=true/" style="border: 0; height: 307px; width: 100%;"><a href="https://plustimbre.bandcamp.com/album/octogono">OCTOGONO de LUIS MARTE</a></iframe></div></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-8261540586755425492024-03-08T10:32:00.004+00:002024-03-08T11:06:41.601+00:00KIM GORDON // the collective<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtFDxnGKyERLs0IjE5VbSqGVDr9RmjogJPQ6gfBOUc5e76-xJu9aJyGKShbCThRPyh2RcigKVl5jGL5PUyKGaC_-sq-DRMrqEicVdGMMrDajLTXRLwlpISZJZjhnrgE2Y5xLT_U8MAFqyw5nw39hq4KQ5DPOEm9IMooPs8ZVUsJ14ZvocntUfLttElUuq0/s1200/KiMGORDON.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtFDxnGKyERLs0IjE5VbSqGVDr9RmjogJPQ6gfBOUc5e76-xJu9aJyGKShbCThRPyh2RcigKVl5jGL5PUyKGaC_-sq-DRMrqEicVdGMMrDajLTXRLwlpISZJZjhnrgE2Y5xLT_U8MAFqyw5nw39hq4KQ5DPOEm9IMooPs8ZVUsJ14ZvocntUfLttElUuq0/w640-h640/KiMGORDON.jpeg" width="640" /></a></p><p style="text-align: center;"></p><div><span><i>Ouf !</i><span style="font-size: medium;"> </span>Enfin <i>?</i> Seule <i>?</i> ... Le retour après un séminal <i>NO HOME RECORD </i>et<i> </i>5 courtes années, au regard de mémorables collaborations dont le magistralissime <i><a href="https://www.nocovision.com/2021/10/bodydillowayhead-bodydillowayhead.html" target="_blank">BODY/DILLOWAY/HEAD</a>. </i></span></div><div><span>Mademoiselle </span>Kimberly Althea Gordon, 70 ans, reprend en mains le dynamitage du plafond de verre, en bonne et due forme. Maîtresse de cérémonie d'un Post-Punk ardent aux effluves de No Wave, première période, <b>Kim Gordon</b> n'est pas artiste à se laisser docilement enfermer à l'étiquetage, <b><i>THE COLLECTIVE</i></b> ne déroge pas une microseconde à la règle.</div><div> </div><div>Disque intense, politique, (<i>I'm A Man</i>) mémorable tacle à l'extrême droite américaine ou laconiquement défiant un consumérisme trendy (<i>Bye Bye</i>), cette seconde réalisation de Kim Gordon témoigne, en outre, d'un intérêt accentué (pas moins de 4 tracks) pour un rap mutant, rugueux à souhait.</div><div><br /></div><div>Conjugaison organique d'un regard attentif, désabusé (<i>Psychedelic Orgasm</i>) et parfaite incarnation d'un féminisme futuriste, <span style="font-style: italic;">THE COLLECTIVE</span><i> </i>n'en oublie pas l'indispensable chaos ou la quintessence finale absolue (<i>Dream Dollar</i>).<i> </i></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 8 mars 2024</span> </div><div style="text-align: left;">⚫️ <a href="https://kimgordon.ffm.to/thecollective/presavecallback?context=pre_save&service=deezer&redirecturl&order=65d07e5cf9bf66da378c17cd&user=Thierry%20Massard&status=success&origin=presavecallback" target="_blank"><b>THE COLLECTIVE</b></a></div><div style="text-align: left;">⚫️ <b><a href="https://kimaltheagordon.com" target="_blank">Kim Gordon</a></b></div><div style="text-align: left;">⚫️ <a href="https://www.nocovision.com/search/label/Kim%20Gordon" target="_blank"><b>KIM GORDON</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div style="text-align: left;"><br /></div><i>Phew </i>! Finally? Alone?... The return after the seminal <i>NO HOME RECORD</i> and 5 short years, amidst memorable collaborations including the magisterial <i><a href="https://www.nocovision.com/2021/10/bodydillowayhead-bodydillowayhead.html" target="_blank">BODY/DILLOWAY/HEAD</a></i>. <div>Miss Kimberly Althea Gordon, 70 years old, takes the reins of shattering the glass ceiling in proper form. Mistress of ceremonies of an ardent Post-Punk with echoes of No Wave, early period, <b>Kim Gordon</b> is not an artist to be meekly confined to labeling, and <i><b>THE COLLECTIVE</b></i> doesn't deviate for even a microsecond from that rule.<br /><br />An intense, political record (I'm A Man) a memorable jab at the American far right or laconically challenging trendy consumerism (Bye Bye), this second effort from Kim Gordon also shows a heightened interest (no less than 4 tracks) in a mutant, rough rap.<br /><br />An organic conjugation of a attentive, disillusioned gaze (Psychedelic Orgasm) and perfect embodiment of a futuristic feminism, THE COLLECTIVE doesn't forget the indispensable chaos or the absolute final quintessence (Dream Dollar).<div style="text-align: left;"><br /></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/cdn2A3MVnfE?si=L6mNbdsL_izIZ_2i" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/ioKP3ORu0QY?si=1PahghTAF7L-Rm3n" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/IZ3i80B0qKg?si=pVpV9DxAw8pMuhZ6" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1942677175/size=large/bgcol=ffffff/linkcol=f171a2/artwork=none/transparent=true/" style="border: 0; height: 500px; width: 500px;"><a href="https://kimgordon.bandcamp.com/album/the-collective">The Collective de Kim Gordon</a></iframe></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-70615071230464308662024-03-04T17:48:00.009+00:002024-03-06T09:09:08.825+00:00SCAV // the second<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8oG7k3uPZCZWniL5-Ky72CpcBGvr-6tpZ8Yi_inlcNydU715c_rPIgIwQ0U6OSDNmR8QNUL8hVX_8hYZO4lbOd88Rh9x_YZFfugdGJKapbKfqmeHzWBXAmLDwteNIZVQabFOjMNFWuP17j41ttvPR4V5r1IdJTjTe617cWNTS5MzCvB5M8Vh17XGGLxnP/s1200/SCAV.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8oG7k3uPZCZWniL5-Ky72CpcBGvr-6tpZ8Yi_inlcNydU715c_rPIgIwQ0U6OSDNmR8QNUL8hVX_8hYZO4lbOd88Rh9x_YZFfugdGJKapbKfqmeHzWBXAmLDwteNIZVQabFOjMNFWuP17j41ttvPR4V5r1IdJTjTe617cWNTS5MzCvB5M8Vh17XGGLxnP/w640-h640/SCAV.jpeg" width="640" /></a></div><div><br /></div>Ombres et lumières, une géographie savante, une pulsation, une autre ...<div><b>Krasi Yonchev</b> (<b>Scav</b>) se délecte de ce magnétisme et nous régale de 9 improvisations opportunes.</div><div>Construites sur un spectre sonore aux amplitudes hors-normes, les modulations séquentielles de <b><i>THE SECOND</i></b> témoignent de la pleine et entière maîtrise de l'art atmosphérique de la part d'un artiste clairvoyant. </div><div>Ici, la musique et ses proporsions dimensionnelles dialoguent en toute sérénité.</div><div><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 4 mars 2024</span></div><div><span style="font-family: inherit;"><br /></span></div>Shadows and lights, a scholarly geography, a pulsation, another... <div><b>Krasi Yonchev</b> (<b>Scav</b>) delights in this magnetism and treats us to 9 timely improvisations. </div><div>Built upon a sonic spectrum of extraordinary amplitudes, the sequential modulations of <i><b>THE SECOND</b></i> bear witness to the complete mastery of atmospheric art by a discerning artist. </div><div>Here, music and its dimensional proportions converse in utter serenity.<br /></div><div><br /></div><div>⚫️ <a href="https://mahorka.bandcamp.com/album/the-second" target="_blank"><b>THE SECOND</b></a></div><div>⚫️ <a href="https://mahorka.org/artist/scav" target="_blank"><b>SCAV // mahorka</b></a></div><div>⚫️ <b><a href="https://www.acoustic-waves.com" target="_blank">acoustic waves</a></b></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3206191142/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; height: 450px; width: 450px;"><a href="https://mahorka.bandcamp.com/album/the-second">The Second de scav</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-91392865281288996902024-03-03T13:13:00.002+00:002024-03-03T13:13:21.756+00:00el TiGeR CoMiCs GRoUP // after ~ live ∞ <div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3rX8WAa4slD9ZgBWCSTjG6WqaOBycZfsrflVBQKPRC0JZJcgvc-0KyArPN0Agi4q54YT35Be9aHKJnbiRBifVSE5UEu_c097At4sr-AzgcAifsNvhRr3Zler_PzZC7gYqQBY2yH2OOXBYaGcbKnC0yEuHQ2plHAISyfumQIp7ZJKpfb2E2faeJrvkOTna/s1200/TCG%20live.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1189" data-original-width="1200" height="634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3rX8WAa4slD9ZgBWCSTjG6WqaOBycZfsrflVBQKPRC0JZJcgvc-0KyArPN0Agi4q54YT35Be9aHKJnbiRBifVSE5UEu_c097At4sr-AzgcAifsNvhRr3Zler_PzZC7gYqQBY2yH2OOXBYaGcbKnC0yEuHQ2plHAISyfumQIp7ZJKpfb2E2faeJrvkOTna/w640-h634/TCG%20live.jpeg" width="640" /></a></div><br /><div style="text-align: left;"><span style="font-size: medium;"><i><b>upcoming</b></i> // 14 mai ...</span></div><div style="text-align: left;"><br /></div></div><div>🔵 <b><a href="https://eltigercomicsgroup.bandcamp.com/album/after-live-2" target="_blank">AFTER ~ LIVE ∞</a></b></div><div>🔵 <a href="https://eltigercomicsgroup.bandcamp.com/album/after-live-2" target="_blank"><b>el TiGeR CoMiCs GRoUP</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4144878431/size=large/bgcol=ffffff/linkcol=7137dc/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://eltigercomicsgroup.bandcamp.com/album/after-live-2">After ~ Live ∞ de el TiGeR CoMiCs GRoUP</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-33326547604809909082024-03-01T14:14:00.006+00:002024-03-01T16:10:47.391+00:00GROSSO GADGETTO // bee eater<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggoAbB0e7i1_eEkUMjkyCHKp2OdW2HAQCB5PRnkXiH5SduZeyutySfsh4pLrKxO5xF2xF2bvo7XwIblHk6iz19nnVnNtLNQNsv8Nq1YdNhIZCc38GkaXj-H_6jvxVGJMJvU0hjlWLcX_aLBqTmSuogdVvJzSJ7zpi7FBeLYhoMiVgKZDCdOf4dLp4_sVBE/s1200/BEE%20EATER.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggoAbB0e7i1_eEkUMjkyCHKp2OdW2HAQCB5PRnkXiH5SduZeyutySfsh4pLrKxO5xF2xF2bvo7XwIblHk6iz19nnVnNtLNQNsv8Nq1YdNhIZCc38GkaXj-H_6jvxVGJMJvU0hjlWLcX_aLBqTmSuogdVvJzSJ7zpi7FBeLYhoMiVgKZDCdOf4dLp4_sVBE/w640-h640/BEE%20EATER.jpeg" width="640" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="color: #6aa84f; font-size: medium;"><span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">//</span> les essentiels de mars ...</span></div><div style="text-align: left;"><br /></div>⚫️ <a href="https://musiquemoleculaire.bandcamp.com/album/bee-eater" target="_blank"><b>BEE EATER / musique moléculaire</b></a><div>⚫️ <a href="https://www.nocovision.com/search/label/Grosso%20Gadgetto" target="_blank"><b>GROSSO GADGETTO</b> // more from <span style="font-family: Slackey;">ncV ...</span></a></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=356382058/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 500px; width: 400px;"><a href="https://musiquemoleculaire.bandcamp.com/album/bee-eater">BEE EATER de GROSSO GADGETTO</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-28656786853161545872024-03-01T08:29:00.004+00:002024-03-09T06:53:38.516+00:00PAN AMERICAN & KRAMER // reverberations of non-stop traffic on redding road<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJVgg_SBYj0k-v5whoNGy7lxwLiF8wfH9foCV6eWPpVgDc5V1ZOF8sMvdQPhyb24CuJ_CebPX75MapZqMUvlL6d7ctrCyV9t55X7FFIsBm2SHwsYmTU_dkUKEFgytPiv-GYO6eOJvGMrciz7MoIvUy_IjxuU15y5DoA4b4iVvrIfMEnC8ehCrs4sI6-7mI/s1200/reverberations.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJVgg_SBYj0k-v5whoNGy7lxwLiF8wfH9foCV6eWPpVgDc5V1ZOF8sMvdQPhyb24CuJ_CebPX75MapZqMUvlL6d7ctrCyV9t55X7FFIsBm2SHwsYmTU_dkUKEFgytPiv-GYO6eOJvGMrciz7MoIvUy_IjxuU15y5DoA4b4iVvrIfMEnC8ehCrs4sI6-7mI/w640-h640/reverberations.jpeg" width="640" /></a></div><br /><div style="text-align: left;"><span><b style="font-size: large;"><i>upcoming</i> // </b>22 mars 2024</span></div></div><br />⚫️ <b><a href="https://panamerican.bandcamp.com/album/reverberations-of-non-stop-traffic-on-redding-road" target="_blank">REVERBERATIONS OF NON-STOP TRAFFIC ON REDDING ROAD</a></b><div>⚫️ <a href="https://www.nocovision.com/search/label/Pan%20American" target="_blank"><b>PAN AMERICAN</b> // more on <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2067667992/size=large/bgcol=ffffff/linkcol=333333/transparent=true/" style="border: 0; height: 800px; width: 400px;"><a href="https://panamerican.bandcamp.com/album/reverberations-of-non-stop-traffic-on-redding-road">Reverberations of Non-Stop Traffic on Redding Road de Pan American & Kramer</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-45142074236572136762024-03-01T07:30:00.001+00:002024-03-12T10:16:08.355+00:00CHELIDON FRAME // flatline voyages<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhZNqy6mwtEptoJRtnvvI14kAD7YT7TZTj2tqaEDt___2qUEiq1gvdTwkPUyAKbpMSyzzWtdfKOJsLtNGnDNFGhG76oBBTeOrGbVaWHLXvFt75oMqDMsHaYCzFYr6QL9Ez-m_2cSi8-TYlfydsI_KMAoIiLhTnN3bps6DkMWbDHNJjchnPZ6Gma_jyuqL/s1200/Chelidon%20Flatline.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhZNqy6mwtEptoJRtnvvI14kAD7YT7TZTj2tqaEDt___2qUEiq1gvdTwkPUyAKbpMSyzzWtdfKOJsLtNGnDNFGhG76oBBTeOrGbVaWHLXvFt75oMqDMsHaYCzFYr6QL9Ez-m_2cSi8-TYlfydsI_KMAoIiLhTnN3bps6DkMWbDHNJjchnPZ6Gma_jyuqL/w640-h640/Chelidon%20Flatline.jpeg" /></a></div><h3 style="text-align: left;"><span style="font-family: inherit;"><i>upcoming</i> // <span style="font-weight: normal;">29 mars 2024 ...</span></span></h3>⚫️ <b><a href="https://difficultartandmusic.bandcamp.com/album/flatline-voyages" target="_blank">FLATLINE VOYAGES / difficult art and music</a></b><div>⚫️ <a href="https://www.nocovision.com/search/label/Chelidon%20Frame" target="_blank"><b>CHELIDON FRAME</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a><br /></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3458458663/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; height: 500px; width: 500px;"><a href="https://difficultartandmusic.bandcamp.com/album/flatline-voyages">Flatline Voyages de Chelidon Frame</a></iframe></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtH9Czd5RsmUooykSbwP5QZ76jK7nMui0DkTKtvtq6RmxGoFMSgfGVz99n_VVXSHeMv5Jp7JVUjCTg7PPCFWMkkJ_QIKJjL7x-uKg_oJVarwRSvZcIbflct3m8_geoI82MfcUdDM_fV7P4A3DOGkwDHRkGEGdRpEqEyR46XpPJ23R-cyKH0A8yZqspq_yJ/s1105/chelidon%20frame.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="819" data-original-width="1105" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtH9Czd5RsmUooykSbwP5QZ76jK7nMui0DkTKtvtq6RmxGoFMSgfGVz99n_VVXSHeMv5Jp7JVUjCTg7PPCFWMkkJ_QIKJjL7x-uKg_oJVarwRSvZcIbflct3m8_geoI82MfcUdDM_fV7P4A3DOGkwDHRkGEGdRpEqEyR46XpPJ23R-cyKH0A8yZqspq_yJ/w640-h474/chelidon%20frame.jpeg" width="640" /></a></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-53647066122959410122024-02-29T07:59:00.005+00:002024-03-09T06:53:02.903+00:00GLASS BEAMS // mahal<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEickSyLqlUBoheWSXM0oA7B0BHK0s-xKuAsYBv-6RKxuDjnqIcrMVqFy_hvpxV0lWj-Gzyf-EjgZgU562hyXy7U7ak6iUOqXbLufSHpRZqiJx0rZtnkz4sg02J4yEZko85kgKfA8jSzTc59tqLgeRSRp8-zfJyPgFCYhwI8BpBvf4ixXsT19ClrN__pl8Yr/s1200/Mahal%20GlassBeams.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEickSyLqlUBoheWSXM0oA7B0BHK0s-xKuAsYBv-6RKxuDjnqIcrMVqFy_hvpxV0lWj-Gzyf-EjgZgU562hyXy7U7ak6iUOqXbLufSHpRZqiJx0rZtnkz4sg02J4yEZko85kgKfA8jSzTc59tqLgeRSRp8-zfJyPgFCYhwI8BpBvf4ixXsT19ClrN__pl8Yr/w640-h640/Mahal%20GlassBeams.jpeg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span><b style="font-size: large;"><i>upcoming</i> // </b>22 mars 2024</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">🟤 <b><a href="https://glassbeams.lnk.to/mahalYY" target="_blank">MAHAL</a></b></div><div class="separator" style="clear: both; text-align: left;">🟤 <a href="https://glassbeams.com" target="_blank">GLASS BEAMS</a></div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1873857433/size=large/bgcol=ffffff/linkcol=e99708/artwork=none/transparent=true/" style="border: 0; height: 307px; width: 100%;"><a href="https://glassbeams.bandcamp.com/album/mahal">Mahal de Glass Beams</a></iframe></div><div style="text-align: center;"><br /></div><div><div style="text-align: center;">
<iframe frameborder="0" height="400" src="https://youtube.com/embed/nMuTgStG8w0?si=_Z7YKV2FVUYLSjCf" width="500"></iframe></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-49480130736662598072024-02-26T19:33:00.010+00:002024-02-27T07:44:12.729+00:00NOUVELLES LECTURES COSMOPOLITES // le crépuscule des souris<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvwonbE1GDBLQBiXSEtAy0HqeeNY5zyw-UFp06cWrRv3k5hyphenhyphennmTpyNKD7aGSf04vmdYGaiI6vBvl2mxTwg3OT095meDdMtlCgw325x5ul1KaE__XXk-mG6VotT2jJDl3a2pHXh54lmOqhGwWIV_qii5nd4mwUjXcgP-hSQo7xptX9D2V7HZgvpYQiIRURs/s1200/NLC%20Crepuscule%20des%20Souris.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvwonbE1GDBLQBiXSEtAy0HqeeNY5zyw-UFp06cWrRv3k5hyphenhyphennmTpyNKD7aGSf04vmdYGaiI6vBvl2mxTwg3OT095meDdMtlCgw325x5ul1KaE__XXk-mG6VotT2jJDl3a2pHXh54lmOqhGwWIV_qii5nd4mwUjXcgP-hSQo7xptX9D2V7HZgvpYQiIRURs/w640-h640/NLC%20Crepuscule%20des%20Souris.jpeg" width="640" /></a></div><div><br /></div>Paraphraser le titre de cet album est aussi aisé que sa destinée immédiate. <div>Ouvrage à superlatifs et autant de remarquables densités, <i><b>LE CREPUSCULE DES SOURIS</b></i> n'est pourtant pas une réalisation où l'absence d'incandescence puisse prévaloir. Déni des apparences. </div><div>S'il est probable qu'il ne puisse être pleinement apprécié étalé sur un carré de serviette fluo au bord d'une plage des Caraïbes (encore que), le contexte importe peu. Ingénieuse latence orchestrale et immersion sensorielle sont très succintement les qualificatifs qui s'imposent.<div><br /></div><div>Découpage en deux parties complémentaires, le track "<i>Le Crépuscule Des Souris</i>" mérite, à lui seul, les applaudissements que parfois l'on réserve, à bout de souffle et d'arguments. Composition ample, crescendo souple et atmosphérique, orchestration classique en contrepoint (<i>Part.1</i>). L'écriture se précise (<i>Part.2</i>), esquisse et volutes d'une flute en survol, gravitation en surplomb d'un danger, un perfide mystère. </div><div>Si "<i>Falling from Beneath</i>" semble pouvoir être savouré en toute crédulité, il invite néanmoins à la plus extrême prudence. Le secret paradoxal d'une réussite est effectivement bien ici, un interstice sensible à rebours de l'artifice émotionnel (<i>La Nuit du Rongeur).</i> <b>Julien Ash</b> alias <b>Nouvelles Lectures Cosmopolites</b>, sans oublier les très précieux <b>Aloïs L</b>, <b>Erwann Mercier</b> et <b>François Porte</b>, n'avaient rien promis, sinon de s'acquitter, en trop grande discrétion selon nous, d'un événement sonore à la sincérité troublante et singulière. </div><div>Il est parfois difficile de conclure pour ne pas dire s'arracher sans insistance. C'est très précisemment ce qui risque d'arriver à l'écoute de l'imposant puis éblouissant "<i>Die Blume, die alle Ratten gefällt</i>" - Magistral ! - Devons-nous ... insister ?</div><div><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 27 février 2024</span></div><br />Paraphrasing the title of this album is as straightforward as its immediate fate. A work of multiple superlatives and remarkable densities, <i><b>LE CREPUSCULE DES SOURIS</b></i> is nevertheless not a creation where the absence of incandescence can prevail. Denial of appearances. While it is probable that it cannot be fully appreciated sprawled on a fluo towel square on a Caribbean beach (although), the context matters little. Ingenious orchestral latency and sensory immersion are succinctly the qualifiers that impose themselves.<br /><br />Divided into two complementary parts, the track "<i>Le Crépuscule des Souris</i>" deserves, on its own, the applause that sometimes we reserve, out of breath and arguments. Ample composition, smooth and atmospheric crescendo, classical orchestration in counterpoint (<i>Part.1</i>). The writing becomes more precise (<i>Part.2</i>), an outline and swirls of a flute in flight, gravitation hovering over danger, perfidious mystery. While "<i>Falling from Beneath</i>" seems to be enjoyed with complete credulity, it nevertheless invites the utmost caution. The paradoxical secret of success is indeed here, a sensitive interstice contrary to emotional artifice (<i>La Nuit Du Rongeur</i>). <b>Julien Ash</b> aka <b>Nouvelles Lectures Cosmopolites</b>, not to mention the invaluable <b>Aloïs L</b>, <b>Erwann Mercier</b> and <b>François Porte</b>, had promised nothing, except to fulfill, in too much discretion according to us, a sonic event of troubling and singular sincerity.<br /><br />It is sometimes difficult to conclude, not to say tear himself away without insistence. This is precisely what is likely to happen when listening to the imposing and dazzling "<i>Die Blume, die alle Ratten gefällt</i>" - Masterful! - Should we have to ... insist?</div><div><br /></div><div>⚫️ <a href="https://nouvelleslecturescosmopolites.bandcamp.com/album/le-cr-puscule-des-souris" target="_blank"><b>LE CREPUSCULE DES SOURIS</b></a></div><div>⚫️ <a href="https://www.nocovision.com/search?q=julien+ash" target="_blank"><b>JULIEN ASH</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3132177520/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; height: 350px; width: 400px;"><a href="https://nouvelleslecturescosmopolites.bandcamp.com/album/le-cr-puscule-des-souris">Le Crépuscule des Souris de NOUVELLES LECTURES COSMOPOLITES</a></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><a href="http://www.flickr.com/photos/torganiel/" target="_blank">photo // <b>Iann Troalen</b></a></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-81951063026337728522024-02-23T11:38:00.026+00:002024-02-23T13:19:11.723+00:00PHILIP GLASS - KATIA & MARIELLE LABÈQUE // cocteau trilogy<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxU73gwZecOxBvvVBG7V5g_X5aptp8RV1-0YquKyOmcJMEKxyuIGM2f-eHYp97gi4rBqXMbyLvu3UifkGIdCJCKLBZ4EVXhM1Ze_Yy9tshst7v5T-S3BlxN1faSYfpFe513sZSUYfkAd13KkLvdbex_l_c9MWhtC52GgD6fuSVx5e3E-f2TgXvF28hZJCR/s2048/glass-cocteau-trilogy.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxU73gwZecOxBvvVBG7V5g_X5aptp8RV1-0YquKyOmcJMEKxyuIGM2f-eHYp97gi4rBqXMbyLvu3UifkGIdCJCKLBZ4EVXhM1Ze_Yy9tshst7v5T-S3BlxN1faSYfpFe513sZSUYfkAd13KkLvdbex_l_c9MWhtC52GgD6fuSVx5e3E-f2TgXvF28hZJCR/w640-h640/glass-cocteau-trilogy.jpeg" width="640" /></a></div><br /><div style="text-align: left;">L'embarras du choix, succomber inconditionnellement à la fracassante beauté d'Orphée, s'inquiéter du regard noir de Maria Casarès, parcourir le couloir bordé de candélabres maintenus par ces mains vivantes, s'ennivrer de fantaisie fatale avec Paul & Elisabeth, l'embarras d'un impossible choix.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Oublier Johann Sebastian Bach, Torelli, Antonio, ou deux fois Georges Auric. </div><div style="text-align: left;">Crier au scandale, si vous le désirez, il n'y a plus personne derrière l'indigent guichet, pour enregistrer les jérémiades. Une partition sans surprise, sinon quelques espiègleries, telle que celle d'un fugace recyclage du génial "<i>One</i>" de <i>Metamorphosis</i> dans "<i>VI. Orphée et la princesse</i>". </div><div style="text-align: left;">Avec <i><b>COCTEAU TRILOGY</b>,</i> Philip Glass participe avec intelligence et la complicité exemplaire des soeurs Labèque, à cette volonté contemporaine d'un prémachage devenu nécessaire, formaté. Flirtant avec l'éclat aveuglant ou l'évidence méthodique du pléonasme, il est à craindre que les rêves magnifiques d'antan ne s'évanouissent. Oubli regrettable, érosion du temps à laquelle, manifestement, la modernité gloutonne n'échappera pas plus et c'est tant mieux !</div><div style="text-align: left;"><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">// 23 février 2024</span></div><div style="text-align: left;"><span face="Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"" style="background-color: white; color: #0d0d0d; font-size: 16px; white-space-collapse: preserve;"><br /></span></div><div><div style="text-align: left;">The embarrassment of choice, unconditionally succumbing to the resounding beauty of Orpheus, worrying about Maria Casarès's dark gaze, traversing the corridor lined with candelabras held by those living hands, getting intoxicated with fatal fantasy with Paul & Elisabeth, the embarrassment of an impossible choice.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Forgetting Johann Sebastian Bach, Torelli, Antonio, or twice Georges Auric. </div><div style="text-align: left;">Crying scandal, if you wish, there is no one left behind the impoverished ticket booth to register the lamentations. A score without surprises, except for a few mischievous tricks, such as a fleeting recycling of the brilliant "<i>One</i>" from <i>Metamorphosis</i> in "<i>VI. Orpheus and the Princess</i>." </div>With <b><i>COCTEAU TRILOGY</i></b>, Philip Glass intelligently participates, and with the exemplary complicity of the Labèque sisters, contributes to this contemporary desire for a necessary and formatted pre-packaging. Flirting with the blinding brilliance or the methodical obviousness of pleonasm, it is to be feared that the magnificent dreams of yesteryear will fade away. A regrettable oversight, an erosion of time to which, evidently, the gluttonous modernity will not escape either and that's just as well!</div><div><br /><div style="text-align: left;">⚫️ <a href="https://www.deutschegrammophon.com/en/catalogue/products/glass-cocteau-trilogy-katia-marielle-labeque-13287" target="_blank"><b>COCTEAU TRILOGY</b></a></div></div><p></p><p><br /></p>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-11258648521901629982024-02-22T16:45:00.044+00:002024-03-04T16:26:11.506+00:00EL_MASMORE // la atoma forgo<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaMKdB6y-K06Y4383jMTkTyL_36t3CM-dZwMIyYv3iWGCpC2nyC327UUU3F4I_ZYVaAlSK8OUIvoCx5dSjQ0yusLhPsuRf-Y3HouwLqJJWPCmdmM0LZFum1WCuXDUSGf-5L2MyGz4UhJ1KgUoob8FHUQJeWgS5icNypzAhtLWZr3ZwkqcNh4zez2jpNqUH/s1200/elMasmore.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaMKdB6y-K06Y4383jMTkTyL_36t3CM-dZwMIyYv3iWGCpC2nyC327UUU3F4I_ZYVaAlSK8OUIvoCx5dSjQ0yusLhPsuRf-Y3HouwLqJJWPCmdmM0LZFum1WCuXDUSGf-5L2MyGz4UhJ1KgUoob8FHUQJeWgS5icNypzAhtLWZr3ZwkqcNh4zez2jpNqUH/w640-h640/elMasmore.jpeg" width="640" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Pas moins d'une cinquantaine de réalisations sous ces deux aliases, sans oublier le regard adjacent de bienveillants édifices, parmi lesquels <b>The Church Of Noisy Goat</b> ou <b>l'Institute For Alien Research</b>, pour ne citer qu'eux. <b>El_masmore</b> et/ou <b>Jean Alba</b>,<b> </b>méritent bien plus que la simple reconnaissance et l'habituel sourire convenu en pareille circonstance. L'heureux temps des feux de la rampe pourrait être souhaitable et recommandé, s'il n'était cordialement ignoré par des énergumènes pourfendeurs de lieux aussi communs que cette introduction.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Magie autarcique, si<b> <i>LA ATOMA FORGO</i></b> de <b>el_masmore</b>, montre tous les signes d'un laboratoire multipliant les expérimentations, celles-ci sont toutefois entourées d'une discrétion feutrée, un chaos prudemment domestiqué, bichonné avec talent. Pas de savant fou en proie au délire impétueux ou frénétiquement survolté, l'alchimie est aussi séduisante que subtile, refusant la moindre sophistication. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Quatre éprouvettes, dont une explicite et stimulante pré-approche dancefloor (<i>This Is Not Virtual) </i>ou<i> </i>la crépitante fantaisie de "Owls", qui ne puissent également dissimuler deux compositions singulièrement proliférantes (<i>Kaprajn Kraniojn</i>) ou insidueusement virulentes (<i>Two Headed Eeel</i>).</div><br /><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span> // 22 février 2024</div></div><div><br /><div>Not less than fifty achievements under these two aliases, not to mention the adjacent gaze of benevolent edifices, among which <b>The Church Of Noisy Goat</b> or the <b>Institute For Alien Research</b>, just to name a few. <b>El_masmore</b> and/or <b>Jean Alba</b> deserve much more than mere recognition and the usual customary smile on such occasions. The fortunate time of the limelight might be desirable and recommended if it weren't cordially ignored by eccentric detractors of places as common as this introduction.</div><br />Self-sufficient magic, if <i><b>LA ATOMA FORGO</b></i> of <b>el_masmore</b>, shows all the signs of a laboratory multiplying experiments, these are nevertheless surrounded by a discreet discretion, a carefully domesticated chaos, nurtured with talent. No mad scientist prey to impetuous delirium or frenetically overcharged, the alchemy is as seductive as it is subtle, refusing any sophistication.<br /><br />Four test tubes, including an explicit and stimulating dancefloor pre-approach (<i>This Is Not Virtual</i>) or the crackling fantasy of "<i>Owls</i>" which also cannot conceal two compositions singularly prolific (<i>Kaprajn Kraniojn</i>) or insidiously virulent (<i>Two Headed Eeel</i>).</div><div style="text-align: right;"><br /></div>🟠 <a href="https://elmasmore.bandcamp.com/album/la-atoma-forgo-the-atomic-forge" target="_blank"><b>LA ATOMA FORGO</b></a><div><br /></div><div style="text-align: center;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2918333273/size=large/bgcol=ffffff/linkcol=e99708/tracklist=false/transparent=true/" style="border: 0; height: 500px; width: 500px;"><a href="https://elmasmore.bandcamp.com/album/la-atoma-forgo-the-atomic-forge">LA ATOMA FORGO - The atomic forge de el_masmore & JEAN ALBA</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-78155667872807967982024-02-17T16:49:00.001+00:002024-02-18T01:17:53.013+00:00INNOCENT BUT GUILTY // between the lines<p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipyP9HumoXgoQmfHulZYJsFRYGJD8qvM3G3M__db1xu2DU5ShtIobWSHOxGPqsdUnD4deCW5hKLuOXx7TMkKmb6ucqFFtsnUzrAoPm8kdzDsMxq45cEEAa8qOy6j6RymqmJk_Xb5yoPnbvc7RkUclJhxHqpsAslEVr3SDOEXHpJQQbL4fFOIwQJq1Qi4PO/s1000/IBG.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipyP9HumoXgoQmfHulZYJsFRYGJD8qvM3G3M__db1xu2DU5ShtIobWSHOxGPqsdUnD4deCW5hKLuOXx7TMkKmb6ucqFFtsnUzrAoPm8kdzDsMxq45cEEAa8qOy6j6RymqmJk_Xb5yoPnbvc7RkUclJhxHqpsAslEVr3SDOEXHpJQQbL4fFOIwQJq1Qi4PO/w640-h640/IBG.jpeg" width="640" /></a></p><div style="text-align: left;">La (belle) illustration en dit long, s'asseoir au bord du vide afin d'embrasser l'espace et assister, peut-être, au spectacle des mondes. <b><i>BETWEEN THE LINES</i></b> ne délivre aucune clé, sinon la bienveillance initiale de son talentueux auteur, <b>Innocent But Guilty</b>. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Ouvrage à l'accès difficile, rébarbatif dirons certains, il se pourrait pourtant que cela en soit l'une de ses plus précieuses qualités, un écrin, quelques secrètes pépites. Se risquer à la gymnastique huilée d'une cohérence méthodique (exercice de surface) ne nous avancera pas plus. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>BETWEEN THE LINES</i> joue avec ces étranges et singulières fascinations qui parfois nous frôlent sans attirer le regard. Laisser agir l'enchantement. Entendre, puis écouter attentivement le tintement (<i>Your Heart Will Be The Victim</i>) pour enfin s'abandonner un instant, puis un autre. Choisir les abstractions fuyantes de "<i>Méchoui Mécanique</i>", l'opacité hermétique de "<i>New Directions</i>", se perdre dans "Unfair", saisir la vitesse croissante et l'urgence immédiate de "<i>Cerebration</i>", domestiquer la noirceur (<i>Necrolancolic</i>). </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Carrefour d'expérimentations apaisées, carnet d'un voyage immobile (<i>Fusion</i>), </div><div style="text-align: left;"><i>BETWEEN THE LINES</i> ne s'évalue pas, il se mérite.</div><div style="text-align: left;"><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ... // 18 fevrier 2024</span></div><div style="text-align: left;"><br /></div>The (beautiful) illustration speaks volumes, sitting on the edge of the void to embrace space and perhaps witness the spectacle of worlds. <i><b>BETWEEN THE LINES</b></i> offers no key, except for the initial kindness of its talented author, <b>Innocent But Guilty</b>.<br /><br />A work with difficult access, some may say daunting, yet it might be one of its most precious qualities, a treasure trove, a few secret gems. Venturing into the polished gymnastics of methodical coherence (a superficial exercise) won't lead us any further.<br /><br /><i>BETWEEN THE LINES</i> plays with those strange and singular fascinations that sometimes brush past us without catching our attention. Let enchantment take its course. Hear, then listen carefully to the tinkling (<i>Your Heart Will Be The Victim</i>) to finally surrender for a moment, then another. Choose the elusive abstractions of "<i>Méchoui Mécanique</i>" the hermetic opacity of "<i>New Directions</i>", get lost in "<i>Unfair</i>" grasp the increasing speed and immediate urgency of "<i>Cerebration</i>" tame the darkness (<i>Necrolancolic</i>).<br /><br />A crossroads of serene experiments, a journal of an immobile journey (<i>Fusion</i>),<div><i>BETWEEN THE LINES</i> is not to be evaluated, it is to be earned.</div><div><br /></div><div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=540222188/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; height: 500px; width: 500px;"><a href="https://lotophagusrecords.bandcamp.com/album/between-the-lines">Between The Lines de Innocent But Guilty</a></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><div>⚫️ <b><a href="http://lotophagusrecords.bandcamp.com/album/between-the-lines" target="_blank">BETWEEN THE LINES</a></b></div><div>⚫️ <a href="https://www.nocovision.com/search/label/Innocent%20but%20guilty" target="_blank"><b>IBG</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-66693340876203371052024-02-16T08:40:00.201+00:002024-02-16T16:12:58.211+00:00BORIS BLANK // resonance<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX1jNtAFSCC7K430UdUsYiNMQvtNK-GHFE1M32MFU-15elk8vEl8HyyueGbcdObHRHvN0G2g11v7SXgaQsJKZDuZIhLOAVNEB30yneSmlDBVcgS1Ojy5dZrzCppb9Llo_M7Q1mMxRszwwh_iTyurjGPVUncpbH5pdukughHrNLiR9VmJ5NJDWMYK-yteZX/s1560/Resonance.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1560" data-original-width="1560" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX1jNtAFSCC7K430UdUsYiNMQvtNK-GHFE1M32MFU-15elk8vEl8HyyueGbcdObHRHvN0G2g11v7SXgaQsJKZDuZIhLOAVNEB30yneSmlDBVcgS1Ojy5dZrzCppb9Llo_M7Q1mMxRszwwh_iTyurjGPVUncpbH5pdukughHrNLiR9VmJ5NJDWMYK-yteZX/w640-h640/Resonance.png" width="640" /></a></div><br /><div style="text-align: left;">Soyons objectifs (une fois n'est pas coutume), nous nous étions préparés à expédier, vite fait mal fait, l'affaire en cours d'instruction. S'inquiéter du sort d'un troisième album solo, sans notable mémoire des prédécesseurs, revient à dire que l'attrait s'en trouve relativement limité. Ainsi, nous nous apprêtions à ouvrir les deux premières portes. "<i>Vertigo Heroes part.1</i>" - "<i>Resonance</i>", ni bons, ni mauvais, le simple constat que <b>Boris Blank</b> n'a rien à craindre pour sa postérité, il peut aisément revendiquer la paternité de l'intégralité du son offert par le duo depuis leur opportune rencontre ... <i>Oh Yeaaaah</i> !</div><div style="text-align: left;"><br /></div><div>Un pitch ? <i><b>RESONANCE</b></i> fait préalablement écho à la commande d'un spa de la région de Zurich désireux de flatter les oreilles des clients en quête d'hydrophilie sonore. Désireux d'y apporter le lustre nécessaire, Messieurs Stefan Bock et Stefan Zaradić, du label Ian Records, ont jugé indispensable d'y adjoindre le meilleur de la technologie 3D du Fraunhofer Institute - Garantie de facture d'un produit hautement audiophile. Peu enclin à apprécier un ouvrage sur ce seul critère asservi si souvent à la dissimulation d'une vacuité du propos, nous voici au pied du mur carrelé, revêtu d'un peignoir blanc et des abominables claquettes.</div><div><br /></div><div>Sentant poindre une micro inquiètude, nous glissons prudemment dans les amples soundscapes de "<i>Ninive</i>". Un paysage pavé de bonnes intentions, downtempo de rigueur, mélodie édulcorée, suave.</div><div>Orage d'opérette, "<i>Time Bridges</i>" confirme l'atmosphère emmiellée, caractéristique familière aux produits de grande consommation, latence. Amateur d'espaces sonores surdimensionnés, Boris Blank s'en imprégne à outrance (<i>Defying Gravity</i>) classicisme, ersatz de vocalises, les codes, les recettes et l'oubli instantané.</div><div>"<i>Angel Base</i>" réveille quelques souvenirs, ceux d'un passé pas si lointain, on crève d'envie de ressortir le magnifique "Takla Makan" qui cloturait trop discrètement le sous-estimé <i>TOUCH</i>.</div><div>"<i>Elements of Life</i>" vient enfin confirmer le postulat initial du musicien, <i>RESONANCE</i> est certes un album Ambient, il s'agit surtout d'un objet sans préméditation et nous craignons de devoir prononcer le mot "Muzak" en son sens le moins gratifiant. </div><div>Quelques mouettes (<i>Respiro di Mare</i>) raréfaction de l'air (iodé).</div><div>"<i>Najade</i>" s'étire et s'étiole sur 3 longues minutes, "<i>North of Eden</i>" participe à l'impatience d'en finir.</div><div>Réconfort passager, "<i>Vertigo Heroes part.2</i>" s'inquiète de notre torpeur manifeste, une solution en vue ou une possible sortie d'un triste tunnel ? Arabesques de série B. </div><div>Intelligemment intitulé "<i>Mirage</i>" l'ultime track résume à raison l'ensemble - Privé d'un illustre compère, Boris Blank doit se rendre à l'évidence, la solitude confère à une salutaire remise en question.</div><div><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">// 16 février 2024</span></div><div><span style="font-family: inherit;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/9we9uuswSKQ?si=cIEK4gPHnJQ3j-mR" width="480"></iframe></div><div style="text-align: center;"><br /></div>Let's be objective (for once), we were prepared to quickly dispatch the ongoing matter under review. To worry about the fate of a third solo album, without notable memory of its predecessors, is to say that the appeal is relatively limited. Thus, we were about to open the first two doors. "<i>Vertigo Heroes part.1</i>" - "<i>Resonance</i>" neither good nor bad, just the observation that <b>Boris Blank</b> has nothing to fear for his legacy; he can easily claim paternity of the entirety of the sound offered by the duo since their timely encounter... <i>Oh Yeaaaah</i>!<br /><br />A pitch? <b><i>RESONANCE</i></b> echoes the request of a spa in the Zurich region eager to please the ears of clients seeking sonic hydrophilia. Eager to add the necessary sheen, Messrs. Stefan Bock and Stefan Zaradić from the Ian Records label deemed it essential to incorporate the best 3D technology from the Fraunhofer Institute - A guarantee of a highly audiophile product. Not inclined to appreciate a work based solely on this often servile criterion, which is so often used to conceal vacuity of purpose, here we are at the tiled wall, clad in a white bathrobe and abominable slippers.<br /><br />Sensing a hint of concern, we cautiously slide into the expansive soundscapes of "<i>Ninive.</i>" A landscape paved with good intentions, obligatory downtempo, sweetened melody, smooth. Operetta storm, "<i>Time Bridges</i>" confirms the sweetening intention, a familiar characteristic of mass consumption products, latency. A lover of oversized sound spaces, Boris Blank absorbs them excessively (<i>Defying Gravity</i>) classicism, vocalise substitutes, the codes, the recipes, and instant forgetfulness. <div>"<i>Angel Base</i>" awakens some memories, those of a not-so-distant past, one is eager to bring out the magnificent "Takla Makan," which discreetly concluded the underestimated <i>TOUCH</i>. </div><div>"<i>Elements of Life</i>" finally confirms the musician's initial premise ; <i>RESONANCE</i> is certainly an Ambient album, but it is above all an object without premeditation, and we fear having to utter the word "Muzak" in its least gratifying sense. </div><div>A few seagulls (<i>Respiro di Mare</i>), air rarefaction (iodized). "<i>Najade</i>" stretches and fades over 3 long minutes, "<i>North of Eden</i>" contributes to the impatience to finish. </div><div>Momentary comfort, "<i>Vertigo Heroes part.2</i>" worries about our evident torpor, a solution in sight or a possible exit from a sad tunnel? B-movie arabesques. </div><div>Intelligently titled "<i>Mirage</i>" the ultimate track aptly summarizes the whole - Deprived of an illustrious comrade, Boris Blank must face the facts, solitude brings about a healthy self-reassessment.<div><br /></div>🔵 <b><a href="https://borisblank.lnk.to/Resonance" target="_blank">Boris Blank</a></b><div>🔵 <b><a href="https://ianrecords.com/products/boris-blank-resonance" target="_blank">IanRecords</a></b></div><div><b><br /></b></div><div><b>⚫️ <a href="https://www.nocovision.com/search/label/Yello" target="_blank">YELLO </a></b><a href="https://www.nocovision.com/search/label/Yello" target="_blank">// more from <span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">...</span></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/0g8TqOp8OJ4?si=zPHmlgSHqCXiMgxF" width="480"></iframe></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-19501982626078671822024-02-14T17:47:00.025+00:002024-02-16T21:00:46.110+00:00EIDON // the larks and the framer<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm8VzxkV6CSIHfi-nF2BpA2o6lOkcEw0PrPbEPqXxMae6Skbl5XB_yqLzRNas3FRU2XYiMBkga_OsnHtFwXgu4bi6cVspZdDY7flDLMHDqf4OWmvUUDnPxCumCSN3qZ8pf4616xkivhF8nf73JPPAlqwPPG3XmFZj6wqzJvYEQOtpZxl-rlIIAzL4qkowY/s1018/EIDON%20Larks.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1018" data-original-width="803" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm8VzxkV6CSIHfi-nF2BpA2o6lOkcEw0PrPbEPqXxMae6Skbl5XB_yqLzRNas3FRU2XYiMBkga_OsnHtFwXgu4bi6cVspZdDY7flDLMHDqf4OWmvUUDnPxCumCSN3qZ8pf4616xkivhF8nf73JPPAlqwPPG3XmFZj6wqzJvYEQOtpZxl-rlIIAzL4qkowY/w315-h400/EIDON%20Larks.jpeg" width="315" /></a></div><p>Précaution utile autant que nécessaire, nous sommes le 23 mars 1973 et KING CRIMSON, groupe phare sinon pionnier du rock progressif, sort un album devenu iconique <i>LARK'S TONGUES IN ASPIC</i>. Carrefour d'influences entre improvisions fulgurantes et musique classique européenne, cet album mettait en lumière les bienveillantes intentions d'un musicien, <b>Robert Fripp</b>, entouré de quelques éminents confrères, afin d'ouvrir largement le portail d'une "pop music" au bord de l'encrassement fatidique que l'on sait. Rescapé du naufrage pop, Fripp pouvait s'en aller inventer l'Ambient music avec un autre complice.</p><p>Fin de l'histoire ? <br />Time capsule perdue dans les méandres ? <br />50 années et quelques naturels grains de poussière plus tard, Eidon Veda, musicien avisé, en encadre à raison la substantifique moelle et hommage légitime, lui dédie ce nouvel opus, THE LARS AND THE FRAMER.</p><p>Architecture facétieuse, sous influences aussi diverses et distinctes que puissent être le néo-classicisme (Seras) , le jazz Lovecraftien (en cours de définition) ou pas (<i>At The Mountains of Madness</i>) , la peinture de l'immense Paul (<i>Delvaux</i>) , l'expérimentation maxi ou minimaliste (<i>CronOstinato</i>) , <i>THE LARS AND THE FRAMER</i> agrége toutes ces jolies choses (et quelques autres) en une réjouissante, envoûtante et parfois surprenante osmose - Nous l'avons dit (ou pas encore) quelque part, la musique de <b>EIDON</b> donne ENVIE, une irrépressible envie de s'enthousiasmer ! Sentiment propulsé à l'inventivité incessante d'un parfait inclassable. Cette réalisation est une merveilleuse dopamine !</p><p style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">// 14 fevrier 2024</span></p>Useful precaution as necessary, it's March 23, 1973, and KING CRIMSON, a flagship if not pioneering group of progressive rock, releases an iconic album, <i>LARK'S TONGUES IN ASPIC</i>. A crossroads of influences between dazzling improvisations and European classical music, this album highlighted the benevolent intentions of a musician, <b>Robert Fripp</b>, surrounded by some eminent colleagues, to widely open the gateway of a "pop music" on the verge of the fateful stagnation we know. Survivor of the pop shipwreck, Fripp could go on to invent Ambient music with another accomplice.<br /><br />End of the story? <div>A lost time capsule in the meanders? </div><div>50 years and a few natural specks of dust later, <b>Eidon Veda</b>, a knowledgeable musician, rightly frames its essence and pays rightful homage, dedicating this new opus, <i><b>THE LARS AND THE FRAMER</b></i>, to it.<br /><br />With a playful architecture, under influences as diverse and distinct as neo-classicism (<i>Seras</i>), Lovecraftian jazz (still in definition) or not (<i>At The Mountains of Madness</i>), the paintings of the immense Paul (<i>Delvaux</i>), maximalist or minimalist experimentation (<i>CronOstinato</i>), <i>THE LARS AND THE FRAMER</i> aggregates all these lovely things (and a few others) into a delightful, captivating, and sometimes surprising osmosis - We've said it (or not yet) somewhere, <b>EIDON</b>'s music makes you WANT, an irresistible urge to be enthusiastic! A sentiment propelled by the incessant inventiveness of a perfect unclassifiable. This release is a wonderful dopamine!<div><div><br /></div><div>🟠 <b><a href="https://eidon.bandcamp.com/album/the-larks-and-the-framer" target="_blank">THE LARKS AND THE FRAMER</a></b></div><div>🟠 <b><a href="https://www.jottacloud.com/s/1900e1d2ae8b65d40d6a58ff279e919f41f/thumbs" target="_blank">Booklet</a> // </b>art by <b>Palmer Cox </b>from "Queerie Queers With Hands, Wings and Claws (ca. 1885)</div><div>⚫️ <a href="https://www.nocovision.com/search/label/Eidon%20Veda" target="_blank"><b>EIDON</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;">...</span></a></div></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=793899762/size=large/bgcol=ffffff/linkcol=e99708/artwork=small/transparent=true/" style="border: 0; height: 472px; width: 400px;"><a href="https://eidon.bandcamp.com/album/the-larks-and-the-framer">The Larks and the Framer de Eidon</a></iframe></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-66967926385424721972024-02-09T23:00:00.006+00:002024-02-11T14:33:15.533+00:00CHRISTOPHE BAILLEAU & JULIEN ASH // ekitai-on-keiho<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5PX487T2Z70RixQKSXx0XYhWHqOVqL6MlVIy9WXLg-RBUwsLGkwnhps1eqHDdNcWcV4rO9fYatrEIQka5ZFHZrAm4QYeQ7bXkVaMRSvKa_aW-kzZLbw-krc2FigeVmIiOHGmiKBEFoK_9szX0ciB5VTXFZdZzcE1RtdlTh0c9PKCW2M56GcCwcHakwVDe/s3500/cover.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3500" data-original-width="3500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5PX487T2Z70RixQKSXx0XYhWHqOVqL6MlVIy9WXLg-RBUwsLGkwnhps1eqHDdNcWcV4rO9fYatrEIQka5ZFHZrAm4QYeQ7bXkVaMRSvKa_aW-kzZLbw-krc2FigeVmIiOHGmiKBEFoK_9szX0ciB5VTXFZdZzcE1RtdlTh0c9PKCW2M56GcCwcHakwVDe/w640-h640/cover.png" width="640" /></a></div><br />crissements d'un coeur ... Hurler (encore) (toujours) (désespérément ?) !!! Faire sienne l'idée que nos envies de ces autres choses puissent enfin être (provisoirement) assouvies à la faveur immersive d'un saxophone inspiré, mutin (<i>Ocean of Sadness</i>). <div>Odyssée sonore à plus de cent lieues d'un hypothétique rivage, <b><i>EKITAI-ON-KEIHO</i></b> possède tous les atouts d'un objet domestiqué définitivement insaisissable (<i>La Propriété</i>). </div><div>Véritable crossover générationnel, sans en avoir l'air trouble, nous assistons (médusés) à la possible reconciliation d'un <i>TIMEWIND (</i>Klaus Schulze<i>) </i>égaré<i>, </i>en lévitation incertaine, avec ces architectures mobiles, émouvantes et volontaires (<i>The Road To The Seashore</i>) une émulsion protéiforme, savante. <div>Musiciens teigneux, mus par une exigence extrême, hors normes et limites, <b>Julien Ash</b> & <b>Christophe Bailleau </b>l'affirment autant dans leurs travaux personnels qu'avec cette formidable rencontre, 50/50 de l'aveu de Christophe Bailleau, un éclectisme intemporel, érigé sans nuisible compromis - Avons-nous l'absolue certitude que c'est ici que résident les enjeux d'un futur ? Les notes du piano de "<i>Prisoner Of The Sky</i>" en sont positivement une ébauche de réponse, à l'instar d'une fissure des classeurs et l'éviction de nos abjects manipulateurs d'onglets. Validation signifiante d'un featuring disséminé sur trois tracks de l'album, <b>Jordane Prestrot</b> n'est pas homme à décliner une opportune invitation à porter un autre regard.</div><div>Si c'est ainsi que "<i>Reflux</i>" egrène préalablement une miriade d'étincelles, il est des retournements de situations tendues pour lesquelles toute prévention demeure inopérante, quelques notes salvatrices aux allures de koto ? </div><div>Jeu de contrastes, de soundscapes larvaires, qui n'en finissent pas de s'entrelacer "<i>Hippocampe"</i> déroule une puissance contenue, nous sommes si proches et si éloignés de la surface. </div><div>.<br />.<br />.<br />Inspirant, expirant, "Das See" sème le doute, l'épreuve ultime, les amicaux artifices d'une rythmique convenue, contrariante, la juste remise en question préliminaire ... un fondamental ?</div><div><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">// 10 février 2024</span></div><br />the squeaking of a heart... Screaming (again) (always) (desperately?)!!! Making one's own the idea that our desires for these other things could finally be (temporarily) satisfied thanks to the immersive favor of an inspired, mischievous saxophone (<i>Ocean of Sadness</i>). </div><div>A sonic odyssey more than a hundred leagues from a hypothetical shore, <b><i>EKITAI-ON-KEIHO</i></b> possesses all the attributes of a domesticated object definitively elusive (The Property). </div><div>A true generational crossover, without seeming troubled, we witness (bewildered) the possible reconciliation of a lost <i>TIMEWIND</i> (Klaus Schulze) levitating uncertainly, with these mobile, moving, and willing architectures (<i>The Road To The Seashore</i>), a multifaceted, learned emulsion. </div><div>Stubborn musicians, driven by extreme, extraordinary demands and limits, <b>Julien Ash</b> & <b>Christophe Bailleau</b> assert this as much in their personal work as with this formidable encounter, 50/50 according to Christophe Bailleau, a timeless eclecticism, erected without harmful compromise - Do we have the absolute certainty that this is where the stakes of a future reside? The piano notes of "<i>Prisoner Of The Sky</i>" are positively a draft of an answer, akin to a crack in the binders and the removal of our abhorrent tab manipulators. A significant validation of a featuring scattered across three tracks of the album, <b>Jordane Prestrot</b> is not one to decline an opportune invitation to cast a different gaze. </div><div>If this is how "<i>Reflux</i>" initially scatters a myriad of sparks, there are tense turnarounds for which all prevention remains ineffective, a few salvaging notes reminiscent of a koto ? </div><div>Game of contrasts, of latent soundscapes, endlessly intertwining "<i>Hippocampe</i>" unfolds a contained power, we are so close and yet so far from the surface.</div><div>.<br />.<br />.<br />Inspiring, expiring, "<i>Das See</i>" sows doubt, the ultimate test, the friendly artifices of a conventional, conflicting rhythm, questioning preamble... a fundamental ?</div><div><br /></div><div><span>⚫️</span> <a href="https://emerge.bandcamp.com/album/ekitai-on-keiho" target="_blank"><b>EKITAI-ON-KEIHO</b></a> </div><div><span style="font-size: medium;"><b><br /></b></span></div><div><b>⚪️</b><span style="font-size: x-small; font-weight: bold;"> </span><a href="https://www.nocovision.com/search/label/Christophe%20Bailleau" target="_blank"><span style="font-family: inherit;"><b>Christophe Bailleau // </b>more from </span><span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">...</span></a></div><div><b><span style="font-family: inherit;">⚪️ <a href="https://www.nocovision.com/search/label/Julien%20Ash" target="_blank">Julien Ash // </a></span></b><a href="https://www.nocovision.com/search/label/Julien%20Ash" target="_blank">more from <span style="font-family: Slackey;">ncV </span>...</a></div><div>⚪️ <a href="https://www.nocovision.com/search/label/Jordane%20Prestrot" target="_blank"><b>Jordane Prestrot</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1533417775/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; height: 373px; width: 450px;"><a href="https://nouvelleslecturescosmopolites.bandcamp.com/album/ekitai-on-keiho">Ekitai-on Keiho de Christophe Bailleau & Julien Ash</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-49478599724926888162024-02-09T22:56:00.026+00:002024-02-19T10:06:10.548+00:00BURIAL // dreamfear - boy sent from above<p></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUEc0yzOI0bWt7LH4bOicXi0-sGFj6Pw-rxbirhGjX60qtJWwYa3Pp2b69jZkY2Fyu2LeIo1W9no75QerqyKpV5CLUgwyMU5B0Zrc6-XhDLny7vj6tPYZb3E9VdUJvKP0Cuvg2mfmkbMw8p-JMZo4mVEHzYWeOR3JhRvShwd22VpHbFMj0muHkZIr2mFOH/s4000/BURIAL.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="4000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUEc0yzOI0bWt7LH4bOicXi0-sGFj6Pw-rxbirhGjX60qtJWwYa3Pp2b69jZkY2Fyu2LeIo1W9no75QerqyKpV5CLUgwyMU5B0Zrc6-XhDLny7vj6tPYZb3E9VdUJvKP0Cuvg2mfmkbMw8p-JMZo4mVEHzYWeOR3JhRvShwd22VpHbFMj0muHkZIr2mFOH/w640-h640/BURIAL.jpeg" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUEc0yzOI0bWt7LH4bOicXi0-sGFj6Pw-rxbirhGjX60qtJWwYa3Pp2b69jZkY2Fyu2LeIo1W9no75QerqyKpV5CLUgwyMU5B0Zrc6-XhDLny7vj6tPYZb3E9VdUJvKP0Cuvg2mfmkbMw8p-JMZo4mVEHzYWeOR3JhRvShwd22VpHbFMj0muHkZIr2mFOH/s4000/BURIAL.jpeg"></a><br /><br />Qu'on le souhaite à défaut de le désirer, voir un peu moins, <b>Will Bevan</b> fait de moins en moins d'émules et l'unanimité. Exit les temps heureux, chez Hyperdub, où tout semblait si confusément simple. Un artiste brillant dans l'obscurité, discographie imparable, le meilleur d'un monde fomenteur de tendances et vanités, un cadenassage des ... chaînes ?<br />Tour à tour survinrent <i>Antidawn</i>, puis <i>Streetlands </i>ou plus récemment <i>Unknown Summer</i>, ambiances clairsemées autour de <b>BURIAL</b>, c'est un fait avéré, nous sommes désormais moins nombreux - Une bonne dose d'incompréhension généralisée alimentée par l'envie d'un curseur qui se devrait d'être et logiquement rester circulaire autour d'un épicentre enchanteur, tel le magnifique <i>UNTRUE</i>, pour n'en citer qu'un. <br />Seulement voilà, Monsieur Bevan n'est pas le musicien servile d'un public ou d'un label, une posture immédiatement passionnante en ces misérables temps de carences et d'orthodoxies sonores caractérisées. <br /><br />Toujours avides de visions investigatrices, nous l'affirmons <i><b>DREAMFEAR / BOY SENT FROM ABOVE</b></i> est non seulement une réalisation réjouissante dans son but premier, c'est également le signe très concret d'une identité fluctuante. Deux tracks, une perspective 3D musicalement fascinante car intégrant sa périphérie immédiate, hors-champ. Ce qui n'était qu'un gimmick signature est devenu une volonté véritablement auto-fictionnelle de la part de son auteur, comme en témoigne le stimulant traitement de "<i>Dreamfear</i>" tempo DnB soudainement desincarné, propulsé au cœur d'une rave, subrepticement remis à l'écart, bras d'une platine, cut-ups intempestifs, patchworks phoniques, citations et collagisme trash téléscopé par la manipulation d'une bombe de peinture (<i>Boy Sent From Above</i>). Nous étions dans le sombre sillon vinylique , BURIAL entend désormais nous en faire sortir.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 9 fevrier 2024</span></div><div class="separator" style="clear: both;"><br /></div>⚫️ <span style="font-size: medium;"><a href="https://burial.x-l.co/dreamfear" target="_blank"><b>dreamfear / boy sent from above</b></a></span><br />⚫️ <a href="https://www.nocovision.com/search/label/Burial" target="_blank"><b>BURIAL</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a><br /><p></p>Whether we wish it rather than desire it, <b>Will Bevan</b> is garnering fewer and fewer followers and less consensus. Gone are the happy times at Hyperdub, where everything seemed so confusingly simple. An artist shining in obscurity, with an impeccable discography, the best of a trend- and vanity-driven world, a locking down of... chains? <div>Successively came <i>Antidawn</i>, then <i>Streetlands</i>, or more recently <i>Unknown Summer</i>, sparse atmospheres around <b>BURIAL</b>, it's a proven fact, we are now fewer in number - A good dose of widespread misunderstanding fueled by the desire for a cursor that should be and logically remain circular around an enchanting epicenter, like the magnificent <i>UNTRUE</i>, to name just one. But here's the thing, Mr. Bevan is not the servile musician of an audience or a label, an immediately exciting stance in these miserable times of scarcity and characterized sonic orthodoxies.<br /><br />Always eager for investigative visions, we affirm that <b>DREAMFEAR / BOY SENT FROM ABOVE</b> is not only a delightful proposal in its primary purpose, it's also a very tangible sign of a fluctuating identity. Two tracks, a musically fascinating 3D perspective because it integrates its immediate periphery, an off-screen. What was once just a signature gimmick has become a genuinely self-fictionalizing intention from its author, as evidenced by the stimulating treatment of "<i>Dreamfear</i>" a suddenly disembodied DnB tempo, propelled into the heart of a rave, subtly pushed aside, arms of a turntable, untimely cut-ups, phonetic patchworks, quotes and telescoped trash collage manipulated by a spray paint bomb (<i>Boy Sent From Above</i>). We were in the dark vinyl groove, BURIAL now intends to lead us out of it.</div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-86326147094959409342024-02-08T17:17:00.005+00:002024-02-28T09:50:29.924+00:00MAXWELL FARRINGTON & LE SUPERHOMARD // please wait ...<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMt3C4OuRvhBSy6JyXSMymGO2b4ZNiiP8PYz2244Sb2Lvt0nCOK0VZp9BRo91P9_HsmE_PLG5jM_Sd3_S7EnuogAwa-4lOnw28IPTNIvbdNzy0ZQL9-f4Pq9B2zXFfJrZm3t63SA2gYI5pAGhKyxyA9Q4JgKGSwkt2NJW03uUwdO1OWUNxUtg2gDYhmITV/s1200/PLEASE%20WAIT.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMt3C4OuRvhBSy6JyXSMymGO2b4ZNiiP8PYz2244Sb2Lvt0nCOK0VZp9BRo91P9_HsmE_PLG5jM_Sd3_S7EnuogAwa-4lOnw28IPTNIvbdNzy0ZQL9-f4Pq9B2zXFfJrZm3t63SA2gYI5pAGhKyxyA9Q4JgKGSwkt2NJW03uUwdO1OWUNxUtg2gDYhmITV/w640-h640/PLEASE%20WAIT.jpeg" width="640" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;">L'instant feel good d'un hiver trop long. Les bonnes fées Australiennes et Avignonnaises, sur le berceau d'une rencontre qui ne devait probablement pas avoir lieu, qu'importe. Une presse indé pop, où ce qu'il reste, qui s'enflamme instantanément comme au bon vieux temps (lequel ?) et nous voilà, convoquant de lointains échos d'un pointilleux vocabulaire où les mots "arrangement" ou "songwriting" avaient un sens que nous avons oublié, satanée tyrannie mémorielle ... <i><b>PLEASE WAIT</b></i> est un album qui s'attrape comme une bonne nouvelle à la sortie d'un tunnel, l'insouciance enfin redevenue maîtresse du jeu dupé. À quoi bon évoquer les fantômes de B. Baccarach ou S. Walker, il est à craindre qu'ils ne soient ici d'une quelconque utilité, on vous l'a dit, nous avons tout oublié, ou presque.</div><div style="text-align: left;"><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 8 fevrier 2024</span></div><p></p><div><br /></div>The feel-good moment of a too-long winter. The Australian and Avignonian good fairies, over the cradle of a meeting that probably shouldn't have taken place, no matter. An indie pop press, where what remains ignites instantly as in the good old days (which ones?) and here we are, summoning distant echoes of a meticulous vocabulary where the words "arrangement" or "songwriting" had a meaning we have forgotten, darned memory tyranny... <i><b>PLEASE WAIT</b></i> is an album that catches you like good news at the end of a tunnel, where carefreeness finally regains mastery over the deceived game. What's the use of evoking the ghosts of B. Baccarach or S. Walker, it's to be feared that they might not be here of any use, as we've been told, we've forgotten everything, or almost.<div><br /></div><div>🔵 <b><a href="https://maxwellfarringtonlesuperhomard.bandcamp.com/album/please-wait" target="_blank">PLEASE WAIT ...</a></b></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1668456820/size=large/bgcol=ffffff/linkcol=0687f5/artwork=none/transparent=true/" style="border: 0; height: 472px; width: 350px;"><a href="https://maxwellfarringtonlesuperhomard.bandcamp.com/album/please-wait">Please, Wait... de Maxwell Farrington & Le SuperHomard</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-51780972154256527172024-02-07T16:17:00.007+00:002024-02-09T21:29:03.760+00:00KHΛOMΛИ // funeste<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQXZvijSvihaCNY7QC8vIkyNpsV0fPY_F18p2-vz8opyjaL9GfNk9bNJMSu1jC_LWUg37pKoL-Jlmdc6SFzq13cH7MMPFUY9S3vE3ewoIm__ZWmZ5Ef4rFY0H1OjUrdbKmhZrOwHy9jReKsOciv68cVoS09hq0HqBHSFgWEa_zHJqoUhIrdoDRDn5oWi4y/s1200/FUNESTE.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQXZvijSvihaCNY7QC8vIkyNpsV0fPY_F18p2-vz8opyjaL9GfNk9bNJMSu1jC_LWUg37pKoL-Jlmdc6SFzq13cH7MMPFUY9S3vE3ewoIm__ZWmZ5Ef4rFY0H1OjUrdbKmhZrOwHy9jReKsOciv68cVoS09hq0HqBHSFgWEa_zHJqoUhIrdoDRDn5oWi4y/w640-h640/FUNESTE.jpeg" width="640" /></a></div><div style="text-align: start;"><br /></div><div style="text-align: start;">Choc exacerbé, spectaculaire sans sa digression théâtrale et fanfreluches, <b>KHΛOMΛИ</b> a maintenant fait sienne une volonté féroce de nous confronter à la nécessaire question. Et maintenant que faisons-nous ?</div><div style="text-align: start;"><br /></div><div style="text-align: start;">Réalisations successives irradiantes, de colères, de révoltes, KHΛOMΛИ nous refuse notre silence, le repli discipliné, les regards fuyants l'oppression du réel, nos constantes et fatales trahisons quotidiennes.</div><div style="text-align: start;"><br /></div><div style="text-align: start;">Si nous n'étions pas aux abords d'un cyclone dévastateur, <i><b>FUИESTE</b></i> pourrait prétendre rassasier ou contenter une animalité d'opérette - Il est trop tard - Lucide, KHΛOMΛИ rédige une bande son d'un temps qui est <span style="background-color: white; font-family: inherit;">distinctement </span>le nôtre.</div><div style="text-align: start;"><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">// 7 février 2024</span></div><div><br /></div>Intensified impact, spectacular without its theatrical digression and frills, <b>KHΛOMΛИ</b> has now embraced a fierce determination to confront us with the necessary question. And now, what do we do?<br /><br />Successive radiant releases, of angers, of revolts, KHΛOMΛИ denies us our silence, the disciplined retreat, the avoiding gazes from the oppression of reality, our constant and fatal daily betrayals.<br /><br />If we were not on the brink of a devastating cyclone, <i><b>FUИESTE</b></i> could claim to satisfy or appease a operetta-like animality - It is too late - Lucid, KHΛOMΛИ writes a soundtrack of a time that is currently ours.<div><br /></div><div>🔴 <b><a href="https://khaoman666.bandcamp.com/album/fu-este" target="_blank">FUИESTE</a></b></div><div>🔴 <a href="https://www.nocovision.com/search/label/KHΛOMΛИ" target="_blank"><b>KHΛOMΛИ</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div><span style="font-family: inherit;"><br /></span></div><div><div style="text-align: center;"> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=755093774/size=large/bgcol=ffffff/linkcol=de270f/artwork=none/transparent=true/" style="border: 0; height: 373px; width: 100%;"><a href="https://khaoman666.bandcamp.com/album/fu-este">FUИESTE de KHΛOMΛИ</a></iframe></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-17804620055470262192024-01-22T13:29:00.009+00:002024-01-23T09:09:27.421+00:00ABU AMA // luxxor<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJptnMVc8h3rLpGIXsrW6PIO2YWHSAg_mKxTMXvCq6PFTYNBVxt8qW56EBnBwAgZHidjAzODCMVNANC5Qiu-4JgHdoWZSA35aiKsTJFG3Rr7EktoWkQLOrzDLtx8t22KFPEeqOmcmU2jsIGc21CCYqZGz69BjlYd9x07gMqo3Fkf-se94RHnstFuOo2DH/s1200/Luxxor.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="994" data-original-width="1200" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJptnMVc8h3rLpGIXsrW6PIO2YWHSAg_mKxTMXvCq6PFTYNBVxt8qW56EBnBwAgZHidjAzODCMVNANC5Qiu-4JgHdoWZSA35aiKsTJFG3Rr7EktoWkQLOrzDLtx8t22KFPEeqOmcmU2jsIGc21CCYqZGz69BjlYd9x07gMqo3Fkf-se94RHnstFuOo2DH/w640-h530/Luxxor.jpeg" width="640" /></a></div><div><br /></div><div>Après un récente collaboration avec <b>BedouinDrone</b> pour l'impressionnant <i><b>DAWLAT LĪBIYYA</b></i>, <b>Abu Ama</b> revient au triple galop. Dès les premières lueurs de <i><b>LUXXOR</b></i>, il devient évident que cette Bellydance sera véritablement hardcore. S'approchant au plus près du sensible et de l'épidermique, Abu Ama s'attaque résolument au tout noir et à son clair alter ego, reclassifiant les falsifications, les doutes et les illusions perdues au profit d'une grâce ultime, celle de nouvelles incertitudes pétries de couleurs et de sensations mutantes.<div><br />"<i>Untitled (1)</i>" est une collision matricielle délibérément saturée, un déferlement mécanique anguleux, une course effrénée d'arabesques tortueuses, fluides et glaçantes. La boucle rythmique scratchée de "<i>Untitled (2)</i>" pousse à l'extrême un glissando de cordes, perturbant le monitoring de manière incantatoire.<br /><br />Comme un sablier s'égrenant inlassablement, "<i>Red Demon vrsn</i>" se déploie en un fondu-enchaîné de paroles, de voix polymorphes et d'échos chimériques. Créant une atmosphère soudainement familière, aussi éphémère qu'un rêve ou aussi terrifiante que le pire des cauchemars, cette magnifique composition est véritablement tentaculaire. Les aspérités percussives et la rugosité crissante de "<i>Frog Tribe</i>" en font un intermède à la fois machinique et organique.<br /><br />En véritable alchimiste industriel, Abu Ama excelle dans l'art de l'hybridation impossible. </div><div>Ainsi, à la lisière d'un recording field sanctuarisé, "<i>Arabxo wrld - Muslimgauze vrsn</i>" devient une pièce maîtresse apaisée au sein d'un ouvrage souvent complexe, une densité à la fois mémorielle et structurelle. </div><div><br /></div><div>Dramaturgie répétitive, à effet Bold, "<i>Luxxor vrsn/mxprt</i>" plonge dans une transe contrariée, exultation infratonique sans issue connue. </div><div>Phaser en freestyle, les percussions finales de "<i>And They Will never...</i>" semblent vouloir nous dissimuler une trame profonde, révélant une dualité conceptuelle accentuée et inérente à un ouvrage offrant de nombreuses émulsions fortes et autant de magnifiques perspectives.</div></div><div><br /></div><div style="text-align: right;">thierry massard for <span style="font-family: Slackey;">ncV</span> // 22 janvier 2024</div><div><br /></div>After a recent collaboration with <b>BedouinDrone</b> for the impressive <i>DAWLAT LĪBIYYA</i>, <b>Abu Ama</b> returns at a triple gallop. From the first gleams of <i><b>LUXXOR</b></i>, it becomes evident that this Bellydance will truly be hardcore. Approaching the realm of the sensitive and the epidermic, Abu Ama resolutely tackles the all-black and its clear alter ego, reclassifying falsifications, doubts, and lost illusions in favor of an ultimate grace, one of new uncertainties kneaded with colors and mutant sensations.<br /><br />"<i>Untitled (1)</i>" is a deliberately saturated matrix collision, an angular mechanical surge, a frenzied race of tortuous, fluid, and chilling arabesques. The scratched rhythmic loop of "<i>Untitled (2)</i>" pushes to the extreme a string glissando, perturbing monitoring in an incantatory manner.<br /><br />Like an hourglass relentlessly trickling down, "<i>Red Demon vrsn</i>" unfolds in a fade-in of words, polymorphic voices, and chimeric echoes. Creating a suddenly familiar atmosphere, as ephemeral as a dream or as terrifying as the worst nightmare, this magnificent composition is truly tentacular. The percussive asperities and grating roughness of "<i>Frog Tribe</i>" make it an interlude both machinic and organic.<br /><br />As a true industrial alchemist, Abu Ama excels in the art of impossible hybridization. Thus, at the edge of a sanctified recording field, "<i>Arabxo wrld - Muslimgauze vrsn</i>" becomes a serene centerpiece in an often complex work, a density both memorial and structural.<br /><br />Repetitive dramaturgy, with Bold effect, "<i>Luxxor vrsn/mxprt</i>" plunges into a thwarted trance, infratonic exultation with no known exit. <div>Phasing freestyle, the final percussion of "<i>And They Will never...</i>" seems to want to conceal a profound weave, revealing an accentuated and inherent conceptual duality in a work offering many strong emulsions and as many beautiful perspectives.<div><br />🔴 <b><a href="https://abuama.bandcamp.com/album/luxxor" target="_blank"><span style="font-size: medium;">LUXXOR</span></a></b></div><div style="text-align: left;">🔴 <a href="https://www.nocovision.com/search/label/Abu%20Ama" target="_blank"><b>Abu Ama</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2037225275/size=large/bgcol=ffffff/linkcol=de270f/artwork=none/transparent=true/" style="border: 0; height: 400px; width: 400px;"><a href="https://abuama.bandcamp.com/album/luxxor">Luxxor de Abu Ama</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-71045015080419048262024-01-17T17:18:00.008+00:002024-01-23T09:09:54.748+00:00DJANE KI & INNOCENT BUT GUILTY // remote exploration<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKehCmSGUQEsXHrq_fRQwL7KuFv7ItUsPlbiVIOzcPH02Yv_qilyXy_8NUdCsa50zLuRN58KhZENO2XPwO-6uXSGrnn60jS6av0kiloTVg5yifbmRQ8uNL1LpNbdGHzzdFEUGpFq43AdWOKErmron2W0vHs-XRNK8MDu2UgufIJHwGIbq4P48BNc_Y0xag/s1200/remote%20exploration.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKehCmSGUQEsXHrq_fRQwL7KuFv7ItUsPlbiVIOzcPH02Yv_qilyXy_8NUdCsa50zLuRN58KhZENO2XPwO-6uXSGrnn60jS6av0kiloTVg5yifbmRQ8uNL1LpNbdGHzzdFEUGpFq43AdWOKErmron2W0vHs-XRNK8MDu2UgufIJHwGIbq4P48BNc_Y0xag/w640-h640/remote%20exploration.jpeg" width="640" /></a></div><div><br /></div>Juste le temps d'une petite ritournelle et c'est l'embrasement (<i>Last Night</i>).<div><b>Vanessa Jeantrelle</b> (Djane Ki) et <b>Arnaud Chatelard</b> (Innocent But Guilty) sont de retour !</div><div>Quelques mois après un sombre <i>TRANSMUTATION</i>, également disponible chez Foolish Records, <i><b>REMOTE EXPLORATION</b></i> précise, opportunément, la passionnante collaboration de deux musiciens aux parcours aussi intenses que farouchement complémentaires. Vile flagornerie de la part de votre serviteur ? </div><div>La réponse est pourtant là, sous vos yeux, qui vous attend avec impatience.</div><div>"<i>Remote Exploration</i>" ne délivre aucun secret, sinon la parfaite harmonie, combinant rythmique intrépide et volutes sinueuses, un recueillement téméraire dont l'issue est dans une poursuite frénétique. </div><div><i>Make up your mind</i> ... "<i>Aether</i>" invite au cheminement, à pas lents, mesurés, une détermination sans failles, mais non sans embûches, la parfaite illustration narrative d'un esprit clairvoyant, aux aguets.</div><div>Dès lors, nulle résilience n'est acquise, que tôt ou même un peu plus tard, "<i>Approaching Reality</i>" n'aura à coeur de bousculer en brandissant un tambourinage martial où viennent se fracasser les défricheurs de nouveaux territoires. <i>REMOTE EXPLORATION</i> est une réalisation à savourer jusqu'à la dernière et précieuse goutte.</div><div><br /></div><div><div style="text-align: right;">© thierry massard pour <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 17 janvier 2024</span></div><span face="Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"" style="color: #374151; font-size: 16px; white-space-collapse: preserve;"><div><span face="Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"" style="color: #374151; font-size: 16px; white-space-collapse: preserve;"><br /></span></div></span>Just the time for a little "ritournelle", and it's ablaze (<i>Last Night</i>). </div><div><b>Vanessa Jeantrelle</b> (Djane Ki) and <b>Arnaud Chatelard</b> (Innocent But Guilty) are back! </div><div>A few months after a dark <i>TRANSMUTATION</i>, also available on Foolish Records, </div><div><i><b>REMOTE EXPLORATION </b></i>outlines, opportunistically, the exciting collaboration between two musicians with journeys as intense as they are complementary. Skeptical flattery from your servant?<div>The answer is nonetheless there, eagerly awaiting you. "<i>Remote Exploration</i>" reveals no secrets, except for perfect harmony, combining fearless rhythm and winding spirals, a bold contemplation whose outcome is in a frenetic escape.</div><div><i>Make up your mind</i>... "<i>Aether</i>" invites you to journey, at a slow, measured pace, unwavering determination, but not without obstacles, the perfect narrative illustration of a clear, alert mind.</div><div>From then on, no resilience is assured, as soon as, or even a little later, "<i>Approaching Reality</i>" will be eager to disrupt with a martial drumming where the pioneers of new territories come crashing. </div><div><i>REMOTE EXPLORATION</i> is a creation to savor until the precious and last drop.</div><br />⬛️ <b><a href="https://apocalypsesounds.bandcamp.com/album/remote-exploration" target="_blank"><span style="font-size: medium;">REMOTE EXPLORATION</span></a></b></div><div>⬛️ <a href="https://www.nocovision.com/search?q=Djane+ki" target="_blank"><span style="font-family: Slackey;">ncV </span><span style="font-family: inherit;">// more from ... <b>DJANE KI</b></span></a><span style="font-family: Slackey;"> </span></div><div>⬛️ <a href="https://www.nocovision.com/search?q=Innocent+but+guilty" target="_blank"><span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // more from ... <b>INNOCENT BUT GUILTY</b></span></a></div><div>⬛️ Artwork // <b>Régis Blanchard</b><br /><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=892260020/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" style="border: 0; height: 274px; width: 350px;"><a href="https://apocalypsesounds.bandcamp.com/album/remote-exploration">REMOTE EXPLORATION de DJANE KI & INNOCENT BUT GUILTY</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-56314972315634216782024-01-16T10:56:00.003+00:002024-01-23T09:10:14.325+00:00VEKTROID // 777 pig dancer - cRASH 2: Mac +/- <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibu7iS6KgvEGJKe_HcQWeMdIh_w3UUOfGjmCoTKQWEYptyO2rLxoih7EZzbXn9FxDBGZWe2yJqn6-EGTNP6ioU__wIvlsbJmOBKH8mOWGVfjNBXNHsiC1fLDvB7kjPbEjnHKp-sZhehkxoYulzshPo_dCe1JMCApRAPsst7bsj2msZzGG4ZLxZNf5kftUI/s1200/crash2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibu7iS6KgvEGJKe_HcQWeMdIh_w3UUOfGjmCoTKQWEYptyO2rLxoih7EZzbXn9FxDBGZWe2yJqn6-EGTNP6ioU__wIvlsbJmOBKH8mOWGVfjNBXNHsiC1fLDvB7kjPbEjnHKp-sZhehkxoYulzshPo_dCe1JMCApRAPsst7bsj2msZzGG4ZLxZNf5kftUI/w200-h200/crash2.jpeg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieDZVz_PHQ-kS4fXnFdOZh1f3pOTTJZ_zvB4kLt3cRMYV2LRIkZpUJeab_mslQcj5HvS0sIqnRSHFNgfxity9A2s9nZwL555GidFJK1FNUCJJ_EfDlg7D8w4GHlcnML8UEa7UeIHvtZZts45beQwOLanv47Yf3ea8Jvwg2pKPUIiMyD1vA2dx5gtrmn4A9/s1200/777PIGDANCER.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieDZVz_PHQ-kS4fXnFdOZh1f3pOTTJZ_zvB4kLt3cRMYV2LRIkZpUJeab_mslQcj5HvS0sIqnRSHFNgfxity9A2s9nZwL555GidFJK1FNUCJJ_EfDlg7D8w4GHlcnML8UEa7UeIHvtZZts45beQwOLanv47Yf3ea8Jvwg2pKPUIiMyD1vA2dx5gtrmn4A9/w200-h200/777PIGDANCER.jpeg" width="200" /></a><br /><div style="text-align: left;"><br /></div></div>Icône incontestable, <b>Ramona Langley</b> n'en est pas, pour autant, demeurée le buste grec, sur fond rose fluo, que l'on pouvait attendre au virage, tranquillement installé sur une chaise longue, au bord de la piscine ultraviolette. Investie de l'impérieuse mission d'accélérer le cours des choses et, accessoirement, du temps, <b>VEKTROID</b> prend fermement position, à l'aube d'une année encore promise à tous nos souhaits. <div>Sorties simultanées, <b><i>777 PIG DANCER</i></b> et <b><i>cRASH 2: MAC +/-</i> </b>témoignent, si nécessaire, de la pluralité distante d'une artiste entièrement dévouée à l'ironie conceptuelle. </div><div><br /></div><div>Prolongement logique au <i>cRASH 1</i> de novembre dernier, ce second volume poursuit, en fulgurante superphonie échantillonnée, l'objectif d'atteindre le point de "<i>R.U.P.T.U.RE.</i>" ultime - Nous y sommes presque.</div><div><br /></div><div>Changement de décor, <i>777 PIG DANCER</i> acte l'éloignement graduel à l'instar d'une production empreinte d'un passéisme sonore récurrent à l'ensemble de la réalisation. Des vestiges de plunderphonics jusqu'aux soundscapes tourmentés, <i>777 PIG DANCER</i> plonge sans retenue dans une imagerie sonore (<i>Body C.R.I.S.I.S</i>) où notre mémoire risque d'être (souvent) mise en souffrance. Le tribut des multiples nostalgies.</div><div><br /></div><div style="text-align: right;">thierry massard pour <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 16 janvier 2024</span></div><div><br /></div>Unquestionable icon, <b>Ramona Langley</b> has not, however, remained a Greek bust on a neon pink background, as one might have expected, leisurely lounging by the ultraviolet pool. Entrusted with the imperative mission to hasten the course of events and, incidentally, time, <b>VEKTROID</b> firmly takes a stand at the dawn of a year still promised to all our wishes. Simultaneous releases, <b><i>777 PIG DANCER</i></b> and <b><i>cRASH 2: MAC +/-</i></b> attest, if necessary, to the distant plurality of an artist wholly devoted to conceptual irony.<br /><br />A logical extension of last November's <i>cRASH 1</i>, this second volume continues, in a dazzling sampled superphony, the objective of reaching the ultimate "<i>R.U.P.T.U.R.E.</i>" point - We are almost there.<br /><br />Changing the setting, <i>777 PIG DANCER</i> marks the gradual distancing akin to a production steeped in a recurring sonic nostalgia throughout the entire realization. From plunderphonic remnants to tormented soundscapes, <i>777 PIG DANCER</i> plunges unabashedly into a sonic imagery (<i>Body C.R.I.S.I.S</i>) where our memory is at risk of being (often) put to the test. The toll of multiple nostalgias.<br /><br />🟡<span style="font-size: medium;"> <b><a href="https://vektroid.bandcamp.com/album/crash-2-mac" target="_blank">cRASH 2: MAC +/-</a></b></span><div><span style="font-size: medium;">🔴 <b><a href="https://vektroid.bandcamp.com/album/777-pig-danger" target="_blank">777 PIG DANCER</a></b></span></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-57328321901162803022024-01-13T18:26:00.013+00:002024-01-18T18:45:03.179+00:00154 fRANKLIN // instru mentale<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnYblPc9Y-HvkH7MMBA-hqO-835ZB_vChPOHJHpy0KpE3opNnO9H2X672cFysJF3TigMZ77bERkuENJuLxxEV6FSqEJUbFgFT0vejas7iRJVHheikUduP7WVX7e-zYfbl-_kQGeCFriXafd16_5eCRJN39QyfWKEGGv_Ah_9mTBdxuUL5-sN1X1GjlyKtP/s1200/fRANKLIN.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnYblPc9Y-HvkH7MMBA-hqO-835ZB_vChPOHJHpy0KpE3opNnO9H2X672cFysJF3TigMZ77bERkuENJuLxxEV6FSqEJUbFgFT0vejas7iRJVHheikUduP7WVX7e-zYfbl-_kQGeCFriXafd16_5eCRJN39QyfWKEGGv_Ah_9mTBdxuUL5-sN1X1GjlyKtP/w640-h640/fRANKLIN.jpeg" width="640" /></a></div><div><br /></div>Ici s'achève une aventure où tout peut enfin s'initier.<div>Miroir des apparences, un jeu conjugué à la première personne singulière. Le cut-up jetté dans l'escalier.</div><div>Fuir les épicentres phénoménaux, protubérants, sacralisés, s'engouffrer dans le résiduel (<i>Combat</i>) et s'émerveiller à nouveau de la multiplicité de l'infime détail. </div><div>Préférer soudainement l'envers à nos opportunes maladresses de l'endroit. </div><div>Provoquer le jaillissement (<i>Préoccupations</i>) libérateur, accentuer le volume. </div><div>Matière sonore vénéneuse, souvent perfide et menaçante, <i><b>INSTRU MENTALE</b></i> ronge les DAW, magnats de passivité matricielle. Si l'aube est ici incertaine, elle n'en est que plus éclatante, harmonies parasitaires (<i>Au Point du Jour</i>). La substitution et le rejet des poussiéreux classeurs, "<i>À Vingt Lieues de là</i>" s'appuie sur l'onde de choc, l'atmosphère devient sepia, "<i>La Nouvelle Épée</i>" se cherche une histoire à raconter, orpheline - </div><div>Impassible, <b>154 fRANKLIN</b> déjoue tous les pièges et "<i>Mélancolie Inguérissable</i>" vient clore une bien troublante trilogie sentimentale, témoignages successifs d'une impitoyable solitude contrainte.</div><div><br /></div><div>Classicisme formel et élégance non obstentatoire, "<i>Contre le Mur</i>" déroule un soundscape latent assorti d'une mélodie rythmique contenue, une virtualité sensorielle, la mémoire tactile d'un glissement progressif. </div><div>Distante et loin de la récurrente asepsie consentie, <i>INSTRU MENTALE</i> est une étrange réalisation, qui suscite autant de curiosité que d'exaltante envie de "<i>Monter en Voiture Avec ...</i>".</div><div><br /></div><div style="text-align: right;">thierry massard pour <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 13 janvier 2024</span></div><br />Here ends an adventure where everything can finally begin. <div>Mirror of appearances, a game played in the first person singular. Cut-up thrown down the stairs. </div><div>Avoiding the phenomenal, protuberant, sacralized epicenters, plunging into the residual (<i>Combat</i>), and marveling again at the multiplicity of the minute detail. Suddenly preferring the reverse to our opportune awkwardness of the right place. Provoking the liberating eruption (<i>Preoccupations</i>), accentuating the volume. Poisonous sound material, often treacherous and threatening, <i><b>INSTRU MENTALE</b></i> gnaws at the DAWs, magnates of matrix passivity. If dawn is uncertain here, it is only more radiant, parasitic harmonies (<i>Au Point du Jour</i>). The substitution and rejection of dusty folders, "<i>À Vingt Lieues de là</i>" relies on the shockwave, the atmosphere becomes sepia, "<i>La Nouvelle Épée</i>" seeks a story to tell, orphaned - </div><div>Impassive, <b>154 fRANKLIN</b> avoids all traps, and "<i>Mélancolie Inguérissable</i>" concludes a very disturbing sentimental trilogy, successive testimonies of a relentless enforced solitude.<br /><br />Formal classicism and non-ostentatious elegance, "<i>Contre le Mur</i>" unfolds a latent soundscape accompanied by a restrained rhythmic melody, a sensory virtuality, the tactile memory of a gradual slide. Distant and far from the recurrent consented asepsis, <i>INSTRU MENTALE</i> is a strange release that arouses as much curiosity as the exhilarating desire to "<i>Monter en Voiture Avec...</i>".</div><div><br /></div><div>🟨 <b><a href="https://154franklin.bandcamp.com/album/instru-mentale" target="_blank">INSTRU MENTALE</a></b></div><div>🟨 <a href="https://154franklin.bandcamp.com" target="_blank"><b>154 fRANKLIN</b></a></div><div>🟡 <a href="https://www.nocovision.com/search/label/154%20fRANKLIN" target="_blank"><b>154 fRANKLIN</b> // more from <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> ...</span></a></div><div><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2018282467/size=large/bgcol=ffffff/linkcol=de270f/artwork=none/transparent=true/" style="border: 0; height: 472px; width: 100%;"><a href="https://154franklin.bandcamp.com/album/instru-mentale">INSTRU MENTALE de 154 fRANKLIN</a></iframe></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.comtag:blogger.com,1999:blog-5663836289705617078.post-20706183674061246822024-01-05T16:21:00.006+00:002024-01-18T18:45:23.540+00:00TALES FROM THE SLEEPING LAND // 23/24<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXvVQSQJglKBpZDV5JXWN_g_JKfuLYsgReaRg3ZV_KTqNYN58xhY7n8_EI1HZxHGLsuAU1pV2slOgwGWs9z9O3Rye8I_kRltWd1yeaarxkL_QWk819At1EJ_WzB6JsX6yMEQJVOdmTpBYDTmzw0tGk6CM3TJLgchlu-S0K1wSuT4OzAC8yAT3X1FPflk-a/s1200/23:24.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXvVQSQJglKBpZDV5JXWN_g_JKfuLYsgReaRg3ZV_KTqNYN58xhY7n8_EI1HZxHGLsuAU1pV2slOgwGWs9z9O3Rye8I_kRltWd1yeaarxkL_QWk819At1EJ_WzB6JsX6yMEQJVOdmTpBYDTmzw0tGk6CM3TJLgchlu-S0K1wSuT4OzAC8yAT3X1FPflk-a/w640-h640/23:24.jpeg" width="640" /></a></div></div><br />Commençons cette chronique par sa conclusion ...<div>Si ce n'est déjà fait, retenez bien ces trois noms : <b>Kaloyan Ivanov</b>, <b>Yasen Penchev</b>, <b>Angel Draganov</b>.</div><div>3 personnalités, désormais incontournables, le meilleur d'une scène Bulgare (et pas que) qui a, depuis quelques années, décidé de truster les avant-postes d'un renouveau musical véritable.</div><div><br /></div><div>Troisième réalisation, et seconde pour le label Mahorka, <i style="font-weight: bold;">23/24 </i>confirme l'intention pour <b>TFSL</b> de réinventer un prog-rock novateur, genre pour lequel aucun avenir n'était à priori prévisible. </div><div>Au printemps 2018 sortait le magistral <i style="font-weight: bold;"><a href="https://www.nocovision.com/2018/03/tales-from-sleeping-land-iii.html" target="_blank">III</a> </i>et TFSL devint, dès lors, une aventure sonore largement plébiscitée par les oreilles les plus insatiables. </div><div><br /></div><div>Éponyme, le track "<i>23/24</i>" est en mesure de provoquer une furieuse envie de réserver votre embarquement immédiat à bord du prochain vol pour Sofia. Enregistrement live durant une session radio, crescendo retenu dont l'intensité rythmique flirte volontiers avec toutes les nomenclatures du paroxysme, cette capsule supra-guitaresque permet l'utilisation de nombreux superlatifs - Suite logique, "<i>Voyager</i>" précise l'extrême rigueur de Kaloyan Ivanov, capturée talentueusement par <b>Mei Dark</b> (My Fury) dans le cadre d'un projet audio-visuel d'envergure.</div><div><br /></div><div>Défricheur d'espaces sonores, désir stylistique de poursuite, "<i>The Tale For The Tales</i>" est puissamment évocateur. Bande son d'un film fuyant son scénario, l'accélération et la vitesse comme seules issues. </div><div>S'il faut enfin conclure cette chronique par une introduction, il se pourrait que la double variation harmonique de "<i>Heartily</i>" puisse aisémment en construire le prequel, les fondations d'un futur classique.</div><div><br /></div><div style="text-align: right;">thierry massard pour <span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // 5 janvier 2024</span></div><div><br /></div>Let's begin this chronicle with its conclusion... <div>If not already done, remember these three names well: <b>Kaloyan Ivanov</b>, <b>Yasen Penchev</b>, <b>Angel Draganov</b>. Three personalities, now unavoidable, represent the best of a Bulgarian (and beyond) scene that, for the past few years, has decided to dominate the forefront of a true musical revival.<br /><br />The third creation, and second for the Mahorka label, <i><b>23/24</b></i> confirms <b>TFSL</b>'s intention to reinvent innovative prog-rock, a genre for which no future was initially foreseeable. In the spring of 2018, the masterful <i style="font-weight: bold;"><a href="https://www.nocovision.com/2018/03/tales-from-sleeping-land-iii.html" target="_blank">III</a></i> was released, and TFSL became, from then on, a sonorous adventure widely praised by the most insatiable ears.<br /><br />The eponymous track, "<i>23/24</i>" has the power to trigger a strong desire to book your immediate embarkation on the next flight to Sofia. Recorded live during a radio session, with a restrained crescendo whose rhythmic intensity willingly flirts with all the paroxysms of nomenclatures, this supra-guitaristic capsule allows for the use of numerous superlatives. As a logical continuation, "<i>Voyager</i>" underscores Kaloyan Ivanov's extreme precision, skillfully captured by <b>Mei Dark</b> (My Fury) as part of an ambitious audio-visual project.<br /><br />A pioneer of sonic spaces, a stylistic desire for pursuit, "<i>The Tale For The Tales</i>" is powerfully evocative. It serves as the soundtrack for a film escaping its script, where acceleration and speed are the only outcomes. <br />If we must finally conclude this chronicle with an introduction, it could be that the double harmonic variation of "<i>Heartily</i>" could easily construct its prequel, laying the foundations of a future classic.<div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="60" mozallowfullscreen="true" src="https://archive.org/embed/mhrk379" webkitallowfullscreen="true" width="500"></iframe> </div><div>🟧 <b><a href="https://mahorka.org/release/379" target="_blank"><span style="font-size: medium;">23/24</span></a></b><br /></div><div><b>🟧 </b><a href="https://www.facebook.com/mahorka.org/videos/2383779378472131/" target="_blank"><span style="font-size: medium;">"Voyager" video // <b>Mei Dark</b> </span></a>(facebook)</div><div>🟧 <a href="https://www.nocovision.com/search?q=TFSL" target="_blank"><span style="font-size: medium;"><span style="font-family: Slackey;">ncV</span><span style="font-family: inherit;"> // more from <b>TFSL</b> ...</span></span></a></div></div>thierry massardhttp://www.blogger.com/profile/08698810450689981475noreply@blogger.com