Suivre ce blog Administration + Créer mon blog
28 février 2012 2 28 /02 /février /2012 15:00



Origine du Groupe : Brazil
Style : Alternative Fusion , World Music
Sortie : 2012

From http://wearsthetrousers.com

Brazilian-born Céu has been carving out a celebrated career since the release of her self-titled debut in 2005, which earned the accolade of being the first internationally released album on Starbucks’ Hear Music series. Her 2007 follow-up, Vagarosa, was equally gorgeous, and now the the Grammy-nominated artist, whose name comes from the Portuguese for ‘sky’ and ‘heaven’ is readying her third effort, Caravana Sereia Bloom for an April release.

The bossa nova and samba of her earlier releases have morphed into something more electric on this new affair, taking in the “post-psychedelia synthesisers and guitar effects of the typical sounds of Brazil’s popular music from the Northeast.” A string of UK dates are planned for April (see below), and preceding them comes a grainy video for the electrifying lead single ‘Retrovisor’.

Tracklist :
01 Falta de Ar
02 Amor de Antigos
03 Asfalto e Sal
04 Retrovisor
05 Teju Na Estrada
06 Contravento
07 Palhaço
08 You Won’t Regret It
09 Sereia
10 Baile de Ilusão
11 Fffree
12 Streets Bloom
13 Chegar Em Mim

icon streaming




Partager cet article
3 février 2012 5 03 /02 /février /2012 10:00



Origine du Groupe : U.K
Style : Alternative Fusion World Music , Electro
Sortie : 2005

By Chris Moss  from http://www.bbc.co.uk

The many avid fans of Afro Celt Sound System will no doubt applaud this, the band's fifth album, as another daring sonic landscape and a new phase of their ground-breaking ten-year cycle.

But the synth-driven incantatory sound goes back decades and this is essentially Deep Forest, Enya and Jean Michel Jarre mixed with some astute picking of guitars and pounding of exotic drums to produce a self-consciously globalised ethnic slush. Nothing wrong with that, of course, and with the volume cranked up, this is a powerful, brain-cleansing music for unfocused meditation, or ironing perhaps.

But Afro Celt Sound System are not strict ambientalists and employ many of the musical tricks advanced by pop-synth whizzos like Moby and the Chemical Brothers (and all those long-lost rave DJs). Track 3, "Mojave", is typical: we get a slow-building crescendo, dreamy swirling pipes, stadium-rock guitar, and a melting pot of music with Native American and Celtic elements in abundance. The title track takes you elsewhere, a great beat and pan pipes suggesting the band have one foot on Ben Nevis and the other on Aconcagua. It's a bit fly-by-night, but all good fun.

At other times, as on "Dhol Dogs", they seem to lean closer towards Glass-style minimalism, and it would be interesting to see them pushing further into atonality and abstract compositions.

The band contributed to the soundtrack of Hotel Rwanda and are joined again by singer Dorothee Munyaneza as well as Uzbeki star Sevara Nazarkhan. The range of elements across these nine tracks is considerable, and there's really not a bland moment. The clear, sometimes strident acoustic trills and samples in fact allow the synths to do what they do best: blast out massive chords and reach for zeniths of modulation.

Polished, formulaic, politically correct, this is easy listening for those with ethereal inclinations but its full of great tunes, impassioned vocals and little surprises along the way.

Tracklist :
1 When I Still Needed You
2 My Secret Bliss
3 Mojave
4 Sené (Working the Land)
5 Beautiful Rain
6 Anatomic
7 Mother
8 Dhol Dogs
9 Drake

icon streaming




Partager cet article
27 janvier 2012 5 27 /01 /janvier /2012 12:00



Origine du Groupe : Uganda
Style : Alternative Fusion World Music
Sortie : 1993

From http://realworldrecords.com

Beat the Border' is Geoffrey Oryema's second album for Real World Records. One of the cornerstones of this recording is French guitarist Jean-Pierre Alarcen, who wrote the music for 'Hard Labour' and co-composed 'The River'. He is joined by producers Bob Ezrin and David Bottrill.

On this album, the powerful roots of Oryema's African heritage have a more subtle influence on his music. The songs are now more universal, expressed in English, his second language, and influenced by Alarcen's pop-rock roots.

Tracklist :
01 - The River
02 - Kel Kweyo
03 - Market Day
04 - Lapwony
05 - Umoja
06 - Gang Deyo
07 - Hard Labour
08 - Payira Wind
09 - Lajok
10 - Nomad

icon streaming




Partager cet article
17 janvier 2012 2 17 /01 /janvier /2012 11:00



Origine du Groupe : Ethiopia
Style : Alternative Fusion World Music
Sortie : 2006

From http://www.amazon.com

The praise for Gigi was universal and unabashed. The Miami Herald rightfully called Gigi "Ethiopia’s gift to the world," while The NY Times described her sound as "full of unexpected angles and modal curves." Her vocals, according to XLR8R, "sounds sweeter than a cup of Ethiopian honey wine"; while the Village Voice agreed saying she has "not just a luxuriously rich voice but an unassumingly cosmopolitan presence." Gigi is an ambassador of ancient sound with modern sensibilities.

Taking the world music scene by storm with her self-titled debut, Ethiopian singer Ejigayehu "Gigi" Shibabaw picks up right where she left off five years ago with Gold & Wax. Producer Bill Laswell is again behind the boards, and he's assembled another cosmopolitan cast of backing musicians, who range from Guns N' Roses guitarist Buckethead and Indian production team Midival Punditz to P-Funk keyboardist Bernie Worrell and jazz trumpeter Nils Petter Molvaer. Ever the master aural architect, Laswell finds a way fuse styles as well as the players' strong personalities into a seamless whole. Gigi herself soars siren-like over the top of ambient leaning tunes, or she digs in with her plaintive high-pitched voice on more rhythmically anchored pieces. Standouts include the English-language "Utopia," the rhythmically churning and horn-driven "Salam," and the anthemic "Gomelayeye." Not much of a departure from her debut, but there's no point in complaining about more of a very good thing. -- Tad Hendrickson

The long-awaited follow-up to Gigi’s stellar debut has finally landed. On her second effort, Gold & Wax, Ejigayehu "Gigi" Shibabaw has again proven her ability to seamlessly work the songs of her Ethiopian ancestry into a contemporary vocal sound befitting the worlds of jazz, electronica and even dub-inspired African rhythms. Produced by Bill Laswell, Gold & Wax maintains an illustrious gleam; every instrument falls perfectly into place, centered on the singer’s near-angelic range.

The praise for Gigi was universal and unabashed. The Miami Herald rightfully called Gigi "Ethiopia’s gift to the world," while The NY Times described her sound as "full of unexpected angles and modal curves." Her vocals, according to XLR8R, "sounds sweeter than a cup of Ethiopian honey wine"; while the Village Voice agreed saying she has "not just a luxuriously rich voice but an unassumingly cosmopolitan presence." Gigi is an ambassador of ancient sound with modern sensibilities.

Tracklist :
 1/  Semena-Worck 6.28
 2/  Anten 5.46
 3/  Jerusalem 8.56
 4/  Salam 5.42
 5/  Gomelaleye 7.45
 6/  Ambasale 7.20
 7/  Hulu-Dane 4.50
 8/  Utopia 4.51
 9/  Acha 5.02
10/  Marena-Wotetea 5.25
11/  Enoralehu 3.55

Recorded at Orange Music Sound Studio, West Orange, New Jersey
Additional recording at Kebena Studio, SPringfield, Virginia

          Engineered at Orange Music by Robert Musso
          Assistant: James Dellatacoma
          Engineer at Kebena: Abegasu Shiota
          Produced by Bill Laswell
          Additional Production by Abegasu Shiota
          Executive Producer: Chris Blackwell
          Artwork, Design, Photos: Petulia Mattioli
          Post-Production: Diego Corsi
          Cloud Chamber: John Brown
          East End Management: Tony Dimitriades
          Material Unlimited, France: Michael Lemesre
          Invasion: Steven Saporta
          Mastered by Michael Fossenkemper at Turtle Tone Studio, NYC
          Second: Alex Theoret




Partager cet article
15 janvier 2012 7 15 /01 /janvier /2012 11:00



Origine du Groupe : Poland
Style : Alternative Fusion World Music , Experimental
Sortie : 2011

From http://unzippedfly.bandcamp.com

Neurasja quartet was founded in Warsaw in 2009 by vocalist - Asja and guitarist & producer Karol Czajkowski. Neurasja is largely an alternative folk band with jazz, blues & trip hop leanings, with musicians drawing more directly on the influences of Beth Gibbons, Tom Waits, Lhasa, and late 60' psychodelic works of The Beatles.

Recorded by Karol Czajkowski / home, Radosław Gierszewski / KingsTone Studio, Mothashipp / Western Jive, Warsaw 12.2009-07.2010

Produced & arranged by Karol Czajkowski
Mixed & mastered by Mikołaj Bugajak / Audio Games

Graphics design & layout – Hubert Czajkowski
Photography: Justyna Jaworska (portraits), Grzegorz Śledź (concerts)
Lyrics translations: Kaja Marczewska

Tracklist :
1. MAŁYMI KROKAMI / In a few little steps (In memory of Łukasz Jaworski) 04:21
2. IDĘ / Walking 06:49
3. KORALE / Bead necklace 05:30
4. NA MOIM CIELE / All over my body 04:03
5. STOJĘ W DESZCZU / Standing in the rain 03:59
6. DUSZE / Souls 03:58
7. NIE MA JUŻ MNIE / I am not anymore 03:01
8. JESTEM ZELIG / I’m Zelig 02:58
9. TU I TAM ZE SOBĄ / Here and there with myself 04:42

icon streaming




Partager cet article
2 janvier 2012 1 02 /01 /janvier /2012 19:30



Origine du Groupe : Switzerland
Style : Alternative Fusion World Music , World Jazz Groove
Sortie : 2011

From http://absinthemusic.com

Follow-up to 2010's acclaimed EP Addis-Abeba, Mercato is the debut album by Swiss band Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age.

Raphaël Anker, trumpet player from Geneva, one day decides to gather musicians for a live performance revisiting the golden age of Ethiopian music. It's 2007, and the experience is so memorable that the one shot happening becomes a band: Imperial Tiger Orchestra.

Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop) the Orchestra tests the grounds with an EP and a 7" breaking the boundaries of genres followed by a trip to Addis-Abeba where they perform with local luminaries and learn about the large diversity of Ethiopian music. A life-changing experience which brings them back to the studio for their debut album: Mercato.

Overseen with flair by Ethiopian music expert Jeoren Visse, Mercato is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s and filtered through the eclectic influences of the Orchestra. It's a fascinating retro-futuristic piece of music, close yet totally different from the songs that inspired the band. It's progressive Ethiopian rock!

Whether saluting Mahmoud Ahmed on "Lale Lale", re-interpretating the classic wedding theme "Shinet", or taking Martha Ashagani's "Zoma" to new heights, the Orchestra always does it with its unique vision while honoring the Ethiopian originals. Thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas, Mercato explores multiples paths and never loses its warm groove. A winter Mercato sure to bring fire to stages this summer!


Tracklist :
1. Yedao
2. Lale Lale
3. Zoma
4. Anchi Bale Game
5. Yefikir Woha Timu
6. Bemgnot Alnorem
7. Shinet
8. Demamaye
9. Tirulegn (feat. Bethelem Dagnachew)
10. Djemeregne (Canblaster Tribal mix)





Partager cet article
6 décembre 2011 2 06 /12 /décembre /2011 14:00



Origine du Groupe : Brazil
Style : Alternative , World Music , Bossa Nova
Sortie : 2010

icon streaming

By Renato from http://www.miolao.com/blog

É sempre uma alegria quando Vanessa da Mata lança um novo disco. A moça, que se tornou uma das artistas femininas mais influentes de nossa música na última década, pode inserir novas características ao seu som em cada lançamento, mas nunca perde sua essência e a doçura especial que lhe é peculiar, além do modo adorável de narrar historietas que só ela tem.

Aparentemente, eu havia me esquecido disso quando ouvi “Bicicletas, bolos e outras alegrias”, seu mais recente álbum nas primeiras vezes. Ansiosíssimo, não agüentei e o baixei antes mesmo dele chegar às lojas: o problema é que essa afobação, aliada a minha falta de tempo para lhe dar a atenção merecida, fez com que eu tirasse conclusões precipitadas. Julguei que o compacto não era tão bom quanto outros da cantora, incluindo seu antecessor de estúdio, o fantástico “Sim”. Ainda assim, desejei comprar sua versão física – e foi o que fiz no fim de semana passado.

O trabalho de Vanessa não pode ser levado de forma leviana: merece ser sentido, degustado como um prato saboroso. Ela não é uma artista de PC, cujas canções a gente baixa e escuta enquanto navega na Internet. Não dá pra tirar conclusões sobre elas sem se envolver, se deixar levar pelo calor e a humanidade presente nas faixas.

Uma vez que você se abre, é envolvido por tanto aprumo e frescor. O disco em questão apresenta alguém disposta a fuçar em seu baú de influências, arriscar ainda mais em sua sonoridade e em sua forma de compor, transitando entre lamúrios, declarações, cantigas de puro humor e reflexões que chamam nossa atenção para pequenas coisas do cotidiano que são tão valiosas, mas geralmente passam batidas por nós.

Vanessa parece assumir a voz de diversos personagens para expor esse mosaico, como em “Fiu-Fiu” , onde ela reflete sobre o efeito dos anos em seu corpo, cantadas baratas e a competição existente entre ela e suas amigas. “Bolsa de Grife” é uma gravação empolgante em que relata a experiência de tentar suprir as carências da vida – sem sucesso – comprando o tal objeto do título, pago a prestações. Com um coro “ingênuo” e engraçadinho ao fundo, é tão curtinha que automaticamente colocamos no repeat. A faixa que dá nome ao álbum, “Bicicletas, Bolos e Outras Alegrias” flerta com o frevo e prega que “açúcar e afeto”, contradizendo Chico Buarque, curam desilusões.

A cantora disserta também sobre o amor, tema recorrente em seus compactos – esse, bem como os anteriores, também é repleto de canções sobre o sentimento e seus diversos desdobramentos. “O Tal Casal”, primeiro single, é permeado de paixão e anuncia o retorno de um parceiro amoroso como o fim de todos os males. Longe de ser a melhor do disco, é uma entre várias que se encaixam na temática dos relacionamentos, como a quase tecnobrega (!) “Vê Se Fica Bem” e a delicada “Vá”: na primeira, Vanessa decide que não irá mais aceitar ser tratada como amiga pelo seu par, que o faz mesmo vivendo algo mais ao seu lado, enquanto na outra, nutre forças para não voltar atrás após o termino de uma união.

O ápice do romantismo está na quase melosa demais “Te Amo”: piegas, poderia facilmente estourar nas FMs e “banalizar”, virando o tema de diversos casaizinhos país afora por uma temporada. Mas existe algo de muito belo em ouvir Vanessa cantando a plenos pulmões o insistente “te amo” do refrão e contando sobre sua vontade de chegar a velhice ao lado de seu amado. Soa tão sincero que, mesmo achando adocicado demais, não dá pra não considerar no mínimo fofo.

Vale destacar ainda o singelo dueto da cantora e Gilberto Gil em “Quando Amanhecer”: a química entre as duas vozes torna a faixa, intimista e cheia de cumplicidade, perfeita para encerrar um disco excelente, com ar de grande encontro.

A verdade é que eu citei algumas, mas poderia comentar faixa por faixa de “Bicicletas, Bolos e Outras Alegrias”. Vanessa da Mata nos entrega um trabalho que pode causar estranheza a ouvidos desprevenidos, mas é coerente a mistura de sons e sensações que ela vem apresentando em sua discografia. A cantora compartilha seu imaginário com identidade própria e nos brinda com esse apanhado de novas faixas, que remete a aventuras de amor, questões íntimas, brincadeiras de criança e cheira a quitutes de vó, tudo ao mesmo tempo. :)

Tracklist :
1. O Tal Casal
2. Fiu Fiu
3. Te Amo
4. Meu Aniversário
5. Vê se Fica Bem
6. Bolsa de Grife
7. As Palavras
8. Bicicletas, Bolos e Outras Alegrias
9. Vá
10. Moro Longe
11. O Masoquista e o Fugitivo
12. Quando Amanhecer 




Partager cet article
25 novembre 2011 5 25 /11 /novembre /2011 11:00




Origine du Groupe : Italia
Style : Alternative Fusion World Music , Afro Jazz Funk , Brass Fusion
Sortie : 2009

icon streaming

By George De Stefano  from http://www.rootsworld.com

Brass bands became popular in Italian towns and villages in the 1800s, performing for funerals and religious processions and rituals. The bande also brought the music of opera houses and symphony halls - albeit in easily digested excerpts - to the workers and peasants who hadn't the means or inclination to enter those temples of high culture. Italian immigrants formed bande in North America, often under the auspices of Catholic parishes, and the tradition still endures. On religious feast days and other holidays, the marching band of St. Mary's Church parades through the streets of my Queens, New York neighborhood, playing their repertoire of hymns, marches, arias and Neapolitan songs.

In Italy, some noted jazz and pop artists have turned to banda as a vehicle for new forms of expression. Sicily's Roy Paci, who started out as a trumpeter in jazz bands, has collaborated with two groups, Banda Ionica and Banda D'Avola. The latter, which specializes in secular marches, is a typical Sicilian marching band, full of brassy exuberance. Ionica, especially on their Paci-produced album "Matri Mia" (2002), are far less traditional and much more irreverent - check their madcap version of folksinger Rosa Balestreri's lament, "Mi votu e mi rivotu." With its cabaret cum banda arrangement and vocal in Sicilian and German, it sounds like Paci's channeling Kurt Weill.

With his band Aretuska, Paci made something wonderful out of that cheesy bit of americanata called "Mambo Italiano." Paci's "Cantu sicilianu" opens with the horn section playing a slow and solemn intro before the full band bursts into rollicking ska, as if the coffin being carried through the streets of Palermo in a funeral procession suddenly popped open and the corpse leapt out and started dancing.

The debut CD of Banda Olifante isn't as innovative as Paci's work with Ionica and Aretuska. But Olifante has made a well crafted and thoroughly enjoyable recording that is grounded in the Italian banda tradition but isn't limited to it, either in repertoire or instrumentation. Besides brass and woodwinds, the 13-piece ensemble includes double bass and drum kit, as well as African and Afro-Cuban percussion. Led by two veteran jazz players, Stefano Bertozzi and Massimo Eusebio, this self-described "brass fusion band" exudes an infectious energy and joy in music-making.

The band's name refers to a medieval carved ivory horn - hence the rendering of an elephant on the CD jacket - celebrated in the Chanson de Roland. Most of the medieval olifants made in southern Italy were the handiwork of Arab craftsmen, according to the Oxford Companion to Musical Instruments. Perhaps in homage to this lineage, Banda Olifante serves up several Maghrebi-influenced numbers. But the record, which deftly straddles jazz and world music, also has the Balkans, Jewish Eastern Europe, Spain and Latin America, India, New Orleans, and Africa in the mix.

The album opens with a folksy touch - the creaky but jovial voice of an elderly Italian man offering a blessing of "pace and fortuna" (peace and good luck). That nicely sets the tone - warm and ebullient - for the twelve tracks, most of them original compositions, which follow. The band kicks in with "La Madonna dell'Uso," a stirring, echt-Southern Italian number that sounds traditional but was written by reedman Stefano Bertozzi. The players don't hang around the Mezzogiorno for long. The next track, the misleadingly titled "Casbah Funk," evokes Manu Dibango and the Average White Band. "Los Peces," a Christmas carol popular in Spain and Latin America, is of unknown authorship, but the melody has definite Arabic qualities. Olifante's rendition, however, brings the song closer to klezmer.

There's a pronounced klezmer flavor throughout the record - Italians are crazy for shtetl soul - and one of the best tracks, "Biba Zoom," features The Klezmatics' trumpeter Frank London. The band turns to India with "Man Chali," the theme of a popular 1970s Hindi film of the same name, while "Big Noise" is Latin jazz, complete with the rhythmic scrape of a guiro and a clave heartbeat. Saxophonist-composer Oliver Lake's "Africa" is the album's only other straight-up jazz number. It's well played, but I wish the soloists had been given a little more space to cut loose.

The members of Olifante are all strong players - it's no secret that the level of musicianship in Italian bands tends to be quite high - and their guests are pretty impressive, too. Besides Frank London, there's accordionist Simone Zanchini, whose solo heats up "Le Moko," its Gallic-North African ambiance inspired by "Pépé le Moko," the 1937 French film about a Marseille gangster hiding out in Algiers. "Eclipse," the only track with vocals, features Vincenzo Vasi, a self-described practitioner of "musica eterodossa" - we can call him an avant-gardist - whose wordless, percussive chant is reminiscent of Tuvan throat singing.

Banda Olifante reminds me of another Italian big band, the Orchestra di Piazza Vittorio. Led by an Italian, Mario Tronco, formerly of Avion Travel, but composed of immigrants to Italy, the orchestra's material reflects its members' musical cultures - Indian, Arabic, African, and Latin American. Olifante, though an all-Italian band, has a similarly multicultural repertoire. And both bands, their strengths not withstanding, suffer from the same weakness: so much eclecticism makes for a diffuse group identity. What is Banda Olifante, besides a group of highly proficient musicians playing various "ethnic" musics? Maybe their next record will give us a better idea.

Tracklist :
1. La Madonna dell’Uso (S. Bertozzi)
2. Casbah Funk (S. Bertozzi)
3. Le Moko (S. Bertozzi)
4. Big Noise (Blood Brothers)
5. Man Chali (trad.)
6. Africa (O. Lake)
7. Eclipse (S. Bertozzi)
8. Los Peces (trad.)
9. Biba Zoom (L. Militi)
10. Ksar el Souk (G. A. Coatti)
11. Barab (F. Tassani)
12. Grecale (S. Bertozzi)





Partager cet article
23 novembre 2011 3 23 /11 /novembre /2011 15:00




Origine du Groupe : Argentina
Style : Alternative , World Music , Folk , Experimental
Sortie : 2011

icon streaming

Par Paco pour http://delaluneonentendtout.blogspot.com

C'est grâce à Vincent Moon et La Blogothèque que nous avions découvert en 2010 Soema Montenegro : une artiste originaire de Buenos Aires profondément Argentine et difficilement catalogable. « Passionaria » son 2ème album après « Uno una uno » en 2008 est d'une intensité rare. Accompagnée du bandéoniste Jorge Sottile, elle prend parfois des airs de cantatrice et à l'instar de son ainée Yma Sumac, elle aime expérimenter avec sa voix hors du commun. Elle vient titiller la folie sur « Milonga de la ensoñada » , se lance à capella sur « Invocación a la passionaria », des cuivres et des percussions originales donnent  un côté bric à brac à « Flores del desierto » alors que « Profundidade » sonne plus traditionnel. Mais finalement c'est bien la folie qui l'envahit avec « Molecularmente ».
Soema Montenegro se place dans la lignée de ses contemporaines un peu barrées, Camille la Française, Bjork la pop star islandaise, ou encore Merrill Garbus de TuneYards, tout en s’imprégnant de la tradition et la mélancolie traditionnelle sud américaine à la manière de la regrettée Lhasa.

Tracklist :
01. Leyenda del cururú
02. Flores del desierto
03. Cuando pasa
04. Milonga de la ensoñada
05. Río arriba
06. colibrí
07. Invocación a la Passionaria
08. El camalote
9. Profundidade
10. Canción del dragon
11. En el viento
12. Molecularmente




Partager cet article
10 novembre 2011 4 10 /11 /novembre /2011 16:00



Origine du Groupe : France
Style : World Music , Afro-jazz , Alternative
Sortie : 2011

Pour http://hop.over-blog.com

D’un côté, le joueur de balafon Lansiné Kouyaté, de l’autre, le vibraphoniste David Neerman. Ensemble, ils forment un duo des plus détonants, jouant une musique aux consonances africaines mais nourries d’influences rock, jazz, qui lui donnent une originalité folle. Explications.
En 2008, le duo Kouyaté-Neerman débutait une collaboration avec un premier album assez remarquable "kangara", mélangeant déjà des sons africains à des musiques occidentales. Trois ans plus tard, leur second opus, "skyscrapers & deities", constitue une nouvelle étape dans le travail de collaboration entre le français et le malien, avec une volonté de proposer un album encore plus fouillé, proposant une palette sonore encore plus large. Bien leur en a pris ca cette album se révèle être une des choses les plus passionnantes entendues durant cette rentrée.
Réunissant autour d’eux la kora de Ballake Sissoko, la voix d'Anthony Joseph, la batterie de David Aknin ou la contrebasse d’Antoine Simoni,  ils revisitent le "Requiem pour un con" de Gainsbourg et mettent un peu de rock indé dans la musique africaine en construisant des morceaux savamment arrangés, entre jazz, rock ou dub, dans lesquels le son du vibraphone trouve des raisonnances toutes particulières grâce à un jeu de branchements assez audacieux. 
De tout ça, ils tirent un album d’afro-beat moderne, varié et très harmonieux, aux ambiances cinématographiques, ou par moment presque psychédéliques, et dont on n’a jamais vraiment fini de faire le tour. Une perle !

Tracklist :
01. Kalo Dié 4’36
02. Requiem pour un con 4’07
03. Diétou 4’23
04. Le Commissariat 2’22
05. Toumbéré 3’53
06. Phalènes 3’25
07. Haiti 5’21
08. Un Soleil Noir sur le Déclin 6’40
09. Hawagis 2’01
10. Djely 3’16




Partager cet article