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6 octobre 2011 4 06 /10 /octobre /2011 12:00




Origine du Groupe : North America
Style : Rock , Punk Rock
Sortie : 2011

Par Hugo Cassavetti pour http://www.telerama.fr

On peut tirer un coup de chapeau à Hanni El Khatib, rocker palestino-philippin de L.A. Ce n'est pas donné à tout le monde de réussir à insuffler un frisson neuf, surtout depuis sa relecture par John Cale, à l'inusable Heartbreak Hotel d'Elvis. Ça n'a pourtant l'air de rien : un accompagnement minimal, presque indolent, quelques chatoyants choeurs féminins lointains, et une voix légèrement trafiquée de crooner rockabilly blessé. Mais l'effet est saisissant. De l'incantatoire Will the guns come out à l'incandescent Fuck it, You win, une élégante tension se maintient sur la plupart des titres, plus crus, plus énervés, plus écorchés, de ce premier album d'esthète solitaire, avec un pied dans la mode, un autre dans le caniveau. Evidemment, on a le sentiment d'avoir déjà entendu cette rage incurable de puriste romantique (chez le plus radical Jon Spencer ou le plus sombre The Legendary Tigerman). Mais le plus médiatique Hanni El Khatib, avec sa crudité glamour, pourrait bien à son tour, dans la foulée des Kills, apporter sa pierre à une appréciation plus large d'un rock néoprimitif, viscéral et sensuel.


Tracklist :
01 Will The Guns Come Out 01:25
02 Build. Destroy. Rebuild. 02:58
03 Fuck It. You Win. 03:11
04 Dead Wrong 03:28
05 Come Alive 02:34
06 Loved One 02:37
07 Heartbreak Hotel 03:12
08 Wait. Wait. Wait. 03:56
09 Garbage City 03:54
10 You Rascal You 02:21
11 I Got A Thing 02:00



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3 octobre 2011 1 03 /10 /octobre /2011 11:00



Origine du Groupe : North America
Style : Rock Psychedelic , Progressive Rock
Sortie : 1974-1976

By Andy Perseponko from http://www.jptscareband.com

These recordings from the Kansas City threesome, JPT Scare Band, from 1973-75, have been
bootlegged for eons at pricey sums. Finally, Monster Records delivers the prime cut of
psychedelic hard rock to you, the people, and hopefully the band members will finally get to
see some cash flow out of their work.
If the band had a signed record contract back in the early ’70s, there is no doubt they
would be up there with Jimi Hendrix, Cream, and Black Sabbath for guitar overload
damage. Unfortunately, these recordings never really made it out of the inner circles of hard
psych heads. Of course, Sleeping Sickness isn’t a copy of those bands or their styles, but the
main focus here is very long (often 10 minute plus) jams that concentrate on the guitar playing
of Terry Swope.
Swope takes a riff and destroys it over and over, until you aren’t sure what came before the
moment you are in. A perfect example of this is the Hendrix-y opener and title song, "Sleeping
Sickness." After a funky opening, a tight riff starts to dominate the song. After the verse-chorus
part, Swope takes flight with about 10 minutes of pure guitar damage. Solos twine in and out of
each other, with excellent use of feedback and fuzz pedals, while drummer Jeff Littrell and
bassist Paul Grigsby seem almost telepathic and tapped into wherever Swope is taking his
Perhaps what makes Sleeping Sickness stand out more than anything is that it doesn’t sound
dated at all. I am sure there were bands all over America at that time, gathering in basements
and playing for hours and hours under a variety of conditions. The JPT Scare Band recorded
most of this stuff in the basement of their party house in Kansas City. While it does date from
the mid-’70s, Sleeping Sickness definitely has a "’60s" feel about it, in terms of the freedom of
the players and how well they play together, as opposed to the bass and drums sitting back
while the guitar player gets all the glory. Of course, the guitar is the star of this show, but it
wouldn’t be anywhere near as entertaining if the other musicians didn’t keep their collective
feet on the ground, at least a little bit.
While the sonic fidelity on this isn’t exactly up to Pink Floyd standards, that isn’t what you are
getting this for anyway. This is a classic snapshot into the basement of a true American Rock
Band doing what they do best. It is easy to imagine all their friends freaking freely to their
brand of tripped-out, space-vibe rock. Interesting liner and production notes round out this
great package (lots of photos, lyrics, etc.) and proves that, in the mid-’70s, not all of American
rock was asleep or staring at its navel.


Tracklist :
01 - Sleeping Sickness
02 - Acid Acetate Excursion
03 - Slow Sick Shuffle
04 - King Rat



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1 octobre 2011 6 01 /10 /octobre /2011 13:00



Origine du Groupe : Japan
Style : Alternative Rock , Psychedelic
Sortie : 1971

By christopher ballard from http://thenomadicsubject.blogspot.com

The released their third album in the year that was Japan's triumphant time to shine, 1971 (according to Julian Cope's Japrocksampler.com . This is a solid journey through Heavy Psych, Garage, Folk and Blues.

Often overlooked, The Mops were a band that obviously emulated the U.S. hippie scene (Jefferson Airplane) as well as the UK heavy rock scene (Black Sabbath) but did it with their own charismatic personality. At times acidic, epic and gritty; and at other times over the top with its campy heartwarming tenderness, Iijanaika runs the gamut of historically strange Japanese musical affinities.

And dig that crazy cover art, man.

The Mops:
Mikiharu Suzuki (drums)
Taro Miyuki (guitar)
Masaru Hoshi (lead guitar)
Kaoru Murakami (bass)
Hiromitsu Suzuki (vocal)

Tracklist :
01.Goiken Muyo (Ilja Naika)
02.Down Where I Was Born
03.Good Morning Good Afternoon Good Night
04.Nobody Cares
05.Gekko Kamen
06.Tracees Of Love
07.To My Sons
08.No One Knows What They Were
09. Alone


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30 septembre 2011 5 30 /09 /septembre /2011 13:00



Origine du Groupe : Japan
Style : Alternative Rock , Psychedelic
Sortie : 1979

By kidinquisitive from http://waxidermy.com

If I had to distill the essence of this album down to one word, I would go with Maelstrom. If I've got two words to work with then it's Shit Storm. Howard Nishioka, who plays electric and acoustic guitar and bass guitar (and vocals on a couple songs), sounds like a man tearing holes in the atmosphere to get at those bright stars shimmering above his secluded Hawaiian compound deep in the woods.
In truth, I don't know if he really recorded this out in the trees but that's how I imagine it. On the other hand, he called the record "Street Sounds" and the colors bordering the rather incongruous street scene could cause one to mistake this for a reggae record, instead of the uncompromising fried improvised pyschedelic folk masterpiece that it is. Maybe the disconnect between the cover and the music are what kept most psych afficianados off the scent for nearly 30 years (the album was released privately by Nishioka in relatively small numbers in 1979).

As ferocious and chaotic as this record gets at points, there's also an underlying calmness and gentleness and some mellower tracks that balance things out nicely. Howard is joined on two long songs by drummer Byron Kitkowsky  (who compliments Howard's shambolic style expertly),  and recording engineer Richard Kon contributes washboard and shouts. On the back cover, one finds a concise summation of Nishioka's approach to sound (and life?): "Screw Limitations!!!"

Tracklist :
1. Incresha 3:45
2. Ladies of the Seventh House 6:27
3. No Money, No Honey 4:05
4. Carnivourous Dogaramus 4:18
5. Fool's Paradise 5:09
6. Maria 8:21
7. Island Carol 6:27
8. Odyseas Over Seas 3:51
9. I'm a Pilgrim 3:33



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28 septembre 2011 3 28 /09 /septembre /2011 10:00




Origine du Groupe : Australia
Style : Alternative Rock Blues , Experimental
Sortie : 2010

Par pour http://ziknation.com

Parmi tout les superlatif qui me traversaient l’esprit après l’écoute du premier opus de Grinderman, le projet « secondaire » de Nick Cave et de trois membres de ses Bad Seeds (Warren Ellis, Jim Sclavunos et Martin Casey), venait se glisser une crainte : « pourvu que ça ne soit pas le groupe d’un seul album »!

Fort heureusement cette crainte ne s’est pas réalisée et le groupe nous revient avec une nouvelle oeuvre judicieusement titrée Grinderman 2.

Alors qu’en est il? :
– Blues experimental déjanté… check
– Bad trip psychédélique… check
– Country amphetamine… check
– Garage à la Stooges… check

Le groupe demeure en zone d’inconfort et ce disque est tout aussi intense que le précédent Grinderman!! Tout ça est inquiétant à souhait et terriblement sexy! Les attaques de larsen sont parfois plus brutales même si l’on sent sur quelques piste de cet album qu’il est plus « nuancé », proposant un What I Know sombre et tout en retenue ou l’étonnante Palaces of Montezuma aux couleurs pop FM des années 70. Vous l’aurez compris j’adore cet album et si vous ne l’avez pas encore écouté, je crois qu’il est temps!

Tracklist :
01. Mickey Mouse and the Goodbye Man
02. Worm Tamer
03. Heathen Child
04. When My Baby Comes
05. What I Know
06. Evil
07. Kitchenette
08. Palaces of Montezuma
09. Bellringer Blues



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27 septembre 2011 2 27 /09 /septembre /2011 14:00




Origine du Groupe : France
Style : Post Rock , Shoegaze , Indus , Instrumental , Experimental
Sortie : 2005

From http://www.thesilentballet.com

For the most part France is missing from the instrumental world. Every now and then a French band appears with an interesting sound, only to disappear again into obscurity without making a mark on the world. Don't Look Back might be the first French instrumental band you really need to pay attention to. Taking a multifaceted approach to the post-rock genere, Don't Look Back combines audio samples with gut-wrenching screams and slams it on top of a post-rock instrumentation that quickly drops from angelic, quiet sounds to blistering metallic riffs. Brighter is one of those albums that many will sit through with jaw wide-open, shocked and amazed by the sounds washing over their body. Much like Rosetta's The Galilean Satellites, Brighter leaves the listener with the punched-in-the-stomach feeling that begs for more. This may or may not be the beginning of a movement for French instrumental bands, but in any case Don't Look Back has shown that they are a band to be taken seriously.


Tracklist :
01 - Six feet under the ground
02 - Remote all trace
03 - Joyrider
04 - Nothing just happens
05 - Farewell to the bright side
06 - All day long
07 - Dark mobson
08 - 1887 / d.i.y.a.
09 - Kids got shadows in their eyes
10 - Ask the dust



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9 septembre 2011 5 09 /09 /septembre /2011 12:00



Origine du Groupe : North America
Style : Alternative Rock
Sortie : 2011

From http://ultra8201.blogspot.com

The debut EP Cities from Austin band Politics is out today and available for FREE download via the bands BC page or direct download by following the links below. We will be sponsoring the bands release party this Saturday at Emo's with Radiation City and Carver. You can purchase tickets for the show in advance


Tracklist :
1.Warning 02:54   
2.Fuel For The Flame 02:33       
3.City Living 03:03       
4.On Our Way 03:45   
5.Light In Your Eyes 03:49


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6 septembre 2011 2 06 /09 /septembre /2011 12:00

http://4.bp.blogspot.com/_zMrVcxqVinM/Sz9hco_sm8I/AAAAAAAAACo/w9ZgBHf0lAE/s400/samurai%28front%29.jpgOrigine du Groupe : U.K
Style : Alternative Rock , Progressive Rock
Sortie : 1971

Par Paskinel pour http://www.progressive-area.com

Amateur de longue date du groupe GREENSLADE, articulé autour du duo DAVE GREENSLADE (ex COLLOSEUM) et DAVE LAWSON, c'est avec grand plaisir que je découvris que ce dernier jouait auparavant au sein de SAMURAI, auteur de cette unique essai présentement chroniqué. Un album de 1971 qui peut être considéré comme majeur pour le rock progressif de l'époque encore en plein big bang créatif.
Si DAVE LAWSON est excellent aux claviers, il est aussi un chanteur convainquant et attachant, à défaut d'être essentiel.
Formé autour d'anciens musiciens de "WEB", SAMURAI jouait une musique profonde et délicate, évoquant parfois le "Acquiring The Taste" de GENTLE GIANT sorti la même année. On retrouve, logiquement beaucoup de similitude avec GREENSLADE : finesse des arrangements, beauté des thèmes, structure des morceaux très écrites…
Un sextet permet de nombreuses colorations sonores que cette formation a su mettre à profit (notamment avec le vibraphone et la flûte traversière). Les contrastes subtils sont nombreux et valorisent les compositions relativement homogènes.
"A I Dried The Tears Away" se distingue pourtant par sa durée (plus de 8 mn), sa complexité rythmique et ses développements plus conséquents évoquent avec délice, le rock de Canterbury.
Le charme des années profite à cette oeuvre, (un peu poussiéreuse pour certains) et mérite largement le détour.
Pour conclure, notez que les morceaux « Concerto For Bedsprings » et « Love You », présentes en bonus sur la réédition CD, sont extraits du répertoire de WEB.

Line-up / Musicians

- Lennie Wright / drums, percusion
- Kenny Beveridge / drums, percusion
- Tony Edwards / guitars
- John Eaton / bass
- Dave Lawson / organ, piano, keyboards, vocals
- Don Fay / winds
- Tony Roberts / winds

Tracklist :
01. Saving It Up For So Long (3:46)
02. More Rain (4:28)
03. Maudie James (4:57)
04. Holy Padlock (4:46)
05. Give A Little Love (3:41)
06. Face In The Mirror (6:45)
07. As I Dried The Tears Away (8:17)

Bonus tracks on cd release:
08. Give A Little Love (Live) (4:59)
09. Holy Padlock (Live) (7:52)
10. More Rain (Live) (4:49)
11. Concerto For Bedsprings (Live) (12:27)
12. Love You (Live) (4:33)


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1 septembre 2011 4 01 /09 /septembre /2011 16:30




Origine du Groupe : Austria
Style : Alternative Rock
Sortie : 2009

From http://www.guitar-channel.com

Austrian guitarist Gerald Gradwohl has been making great fusion records for years. A highly skilled soloist, Gradwohl's style combines the hip lines of a jazz player, with the technical proclivities of a shredder. Though he has loads of session and sideman work in his background, his solo projects - particularly ABQ (Emarcy/Universal 2003), and Tritone Barrier (EMC 2007) - are what put him on the map as a force to be reckoned with in the world-wide guitar community. Those albums featured keyboards, horns, and laudable guests such as Bob Berg, Kirk Covington, and Scott Henderson. For his latest recording, Sally Beth Roe (Gtone), Gradwohl changes things up and goes for a bare-bones, stripped down approach. It's a pure trio album, recorded with few overdubs, and no guests. The result is one of the rawest, rocking fusion discs I've heard in some time.

Right from the opening whammy bar outburst of the title track, the album's "live in the studio" feel is apparent. It's a fun, loose recording, and the chemistry between Gradwohl and his trio mates Farid Al-Shami (drums), and Jojo Lackner (bass) is palpable throughout the disc. If I had to label Sally Beth Roe stylistically, "Heavy fusion" would be the best moniker to use, though some tracks are closer to instrumental rock ("Time to Play"), or blues ("Blues For Ben," "Stevie"). Gradwohl seems to shine best on the groove-based fusion material, where he can stretch out harmonically (as a writer and soloist), and lock in with his band for some dynamic group interplay. "Tunnel Elevator" and "Maths" are two great examples of this.

"No Matter" is another standout track that is pure fusion. It features some of Gradwohl's most legato-oriented playing on the album (though he still throws in some insane Gambale-esque sweeps), a nice bass solo from Lackner, and a great memorable melody. Listening to this track and others, it's clear that Gradwohl knows well how to arrange this type of material for a trio setting. His chords are often deployed in short staccato bursts, and there's plenty of doubled lines with the bass. There's a couple of fine ballads on the disc as well - the acoustic and improvisational closer "Joni," and the deliberately paced "Hope" (which is not the Mahavishnu Orchestra piece of the same name, but it seems to take inspiration from some of that band's epic ballads).

Regardless of it's style, every song on Sally Beth Roe is driven by Gradwohl's guitar. Though he's got chops to spare (particularly with his picking), Gradwohl's great strength is how seamlessly he can drop in a cool altered line or triad-based idea in middle of a shred-filled solo. And while he has an original musical voice, he's not afraid to wear his influences on his sleeve either. Pieces like "Maths" and "Viper" have strong shades of post-Tribal Tech Scott Henderson, whereas "Wayne II" owes it's title and inspiration to Wayne Krantz. And like those great players, he's not shy about his tonal choices. Gradwohl favors a heavier rock-oriented tone throughout most of the disc, which he sometimes kicks up a notch by adding over-the-top fuzz effects. It's a very natural tone, however, which enhances the live feel of the entire album.

A lot of great fusion has come out of Europe lately, and Sally Beth Roe is no exception. Definitely recommended.


Tracklist :
01. Sally Beth Roe
02. Tunnel Elevator
03. Joe's Place
04. Blues For Ben
05. Maths
06. Viper
07. Wayne II
08. Time To Play
09. Hope
10. No Matter
11. Stevie
12. Joni



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28 août 2011 7 28 /08 /août /2011 15:00



Origine du Groupe : U.K
Style : Alternative Rock
Sortie : 1987

Wikipedia :

A Momentary Lapse of Reason est le treizième album studio du groupe de rock progressif britannique Pink Floyd, paru en septembre 1987.

En 1985, le guitariste David Gilmour commence à réunir des musiciens pour travailler sur son troisième album solo. Fin 1986, il décide que le travail fourni donnera naissance à un nouvel album de Pink Floyd, suite à quoi le batteur Nick Mason et le claviériste Rick Wright (qui avait quitté le groupe en 1979) sont intégrés au projet. Pour des raisons légales, Wright ne peut être crédité comme membre du groupe à part entière, mais il participe néanmoins à la conception de ce qui devient le premier album de Pink Floyd sorti après le départ du bassiste et parolier Roger Waters, en décembre 1985.

L'essentiel de l'album est enregistré sur l’Astoria, la péniche de Gilmour convertie en studio. Sa production est marquée par une querelle juridique d'intensité croissante entre Waters et le groupe quant aux droits sur le nom « Pink Floyd », et qui ne sera résolue que plusieurs mois après la sortie de l'album. À la différence des précédents albums du groupe, A Momentary Lapse of Reason ne présente pas de thème central, mais constitue une simple collection de chansons écrites essentiellement par Gilmour et Anthony Moore. L'album reçoit des critiques mitigées et Waters le tourne en dérision, mais grâce à une tournée mondiale couronnée de succès, ses ventes dépassent aisément celles de l'album précédent du groupe, The Final Cut. Aux États-Unis, A Momentary Lapse of Reason est certifié plusieurs fois disque de platine.


Tracklist :
1)Sign Of Life
2)Learning To Fly
3)The Dogs Of War
4)One Slip
5)On The Turning Away
6)Yet Another Movie/Round And Around
7)A New Machine (part I)
8)Terminal Frost
9)A New Machine (part II)



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