Country : Mexico Genre : Folk Rock Style : Instrumental Guitar , Flamenco
Label : Auto Prod. Year : 2012
Rodrigo y Gabriela (souvent abrégé « Rod y Gab ») est un groupe de musique originaire de Mexico et composé de Rodrigo Sánchez (guitare solo) et de Gabriela Quintero (guitare rythmique).
Le duo s'est formé à Mexico, où les deux musiciens jouaient dans un groupe de thrash metal appelé Tierra Acida, anciennement Castlow. Se sentant de plus en plus frustrés par la portée limitée de la scène musicale mexicaine, ils se sont produits en Irlande puis dans le reste de l'Europe, où ils ont rencontré le succès. Ce duo joue depuis 2001 une musique latino très influencée par le rock 'n' roll, le folk, le jazz et le metal. Il enregistre pratiquement tous ses titres en live et a introduit dans son répertoire de nombreuses reprises, notamment de Metallica (Orion) ou Led Zeppelin (Stairway to Heaven).
Ces deux spécialistes de la guitare folk ont opéré leur mue à Dublin, où ils préparaient sans cesse de nouveaux morceaux. Leur album sorti en février 2006 est arrivé directement numéro un dans les charts irlandais.
Depuis 2009, ils vivent de nouveau au Mexique.
En mai 2012, ils ont joué devant les couples présidentiels américain et mexicain à la Maison-Blanche.
Il est notable que le groupe n'a pas de batteur : en effet, Gabriela emploie une technique de jeu lui permettant de jouer les percussions sur le corps de sa guitare en même temps que la guitare rythmique, en alternant avec la main droite le grattage des cordes et les coups de percussions. En 2011, ils participent à la bande originale du film Pirates des Caraïbes : La Fontaine de Jouvence, en accompagnement sur les morceaux du compositeur Hans Zimmer1. Ils participent aussi à la bande originale du film d'animation Le chat potté sorti fin 2011, et sont présents dans la bande originale de la première saison de la série américaine Breaking Bad
Parfois, on pourrait s’inquiéter. Mais elle nous rassure aussitôt. Punkette adolescente, égérie indie, et au final dépositaire de succès planétaires ("Mushaboom", "One Evening", "1234"…), la route aurait été beaucoup plus simple pour Leslie Feist, si elle s’était laissé aller à la facilité commerciale, à la reproduction de formules. Et pourtant non. Son dernier album, Metals, paru à l’automne dernier, est une preuve de plus de son gout pour le changement, et sa capacité à mettre ses acquis au profit de choses nouvelles. Et d’ainsi continuer à proposer sa folk dans des constructions riches, intelligentes, sensibles, mais toujours accessible. Oui, Feist est populaire, mais sans jamais tricher. Et elle est là l’explication de la carrière irréprochable de Feist, et c’est sans doute ce qui ressort le plus de cette Soirée de Poche : la sincérité.
The career of Matt Elliott feels like it's been conducted in a peculiar half-light. The Bristol expat doesn't appear to care too much for exposure, quietly releasing album after album either as a progenitor of the kind of dusky soundscapes dubstep would come to inhabit under his Third Eye Foundation guise, or turning to the mopey ruin of the folk-tinged work under his own name. The Broken Man is his latest stab at the latter, a rigidly austere set of seven songs enveloped in blood, sorrow, and torment. At times it feels like Elliott made it after falling flat on the studio floor, face down, choking on dust and bitter rumination. But these aren't "small" songs; this is an all-encompassing misery, grandiose in its own way, with great rushes of strings and doomy multi-tracked vocal hums zooming into the frame to pull Elliott up by his bootstraps. On the lengthy "Oh How We Fell", there's even the clang of an ominous church bell, acting as a wonderfully dramatic portent of changes in mood and focus.
Elliott has sunk down to this place before, on equally remorseful work such as the appropriately titled Drinking Songs from 2005. The touchstones here are similar. When he lets his pangs of grief flush out on lengthy tracks such as "If Anyone Tells Me 'It's Better to Have Loved and Lost Than to Never Have Loved at All' I Will Stab Them in the Face", it's reminiscent of the sweeping mixture of guts and grief that make up Dirty Three's stylistic métier. Like that band's music, there's a ruptured form of beauty here too, and it's one that takes a great deal of care and consideration to uncover. The standout "Dust, Flesh and Bones" takes numerous plays to really get to grips with its one-part Leonard Cohen-esque lament, one-part lawless-border-town feel. These songs are cloaked in darkness on initial plays, with Elliott building an impenetrable wall around them, only to remove it brick by brick over time.
It's a combination of his meticulous attention to detail and a knack for knowing how to let song structures softly contract into new shapes that makes it work. The joins don't show when "This Is For" turns from a quietly picked acoustic folk number into a stridently thumbed Spanish guitar piece. Elliott takes that initiative and picks it up again in the following song, "The Pain That's Yet to Come", matching the same guitar style to a backdrop of Caligulan cries and moans and great rushes of noise, providing a neat conceptual loop back to similar work earlier in the album. At times there's a mixture of the pit-of-despair weight of Townes van Zandt's best tracks and the light/dark dynamic the most recent incarnation of Swans is so immersed in. The close of "Oh How We Fell", where filmy acoustic work falls into a deep well of gravely sighs and operatic trills, feels like the world turning upside-down following a swift kick to the feet of Elliott's barstool.
The Broken Man is a brawny, robust album, the type of record that carries an uncommon weight and honesty. When Elliott darkly intones, "this is how it feels to be alone," on "Dust, Flesh and Bones", there's complete conviction in his dead-eyed delivery, conveying an unwavering faith in his emotional regression. In lesser hands it's a line that could read as trite; with Elliott it feels well-worn, as though it's been churning around his head for years, gathering emotional baggage with the passing of time. But this isn't just a highly crafted plummet to the depths. There's an eerie, unearthly sense of displacement to much of the material, such as the spindly cries of bowed saw (or something simulating the sound of one) on "How to Kill a Rose". Those atmospheric touches make this feel like Elliott's most complete work to date, forming a vital link between his sunless balladry and the shattered electronica of Third Eye Foundation.
Tracklist : 01 – Oh How We Fell 02 – Please Please Please 03 – Dust Flesh And Bones 04 – How To Kill A Rose 05 – If Anyone Tells Me ”It’s Better To Have Loved And Lost Than To Never Have Loved At Al”, I Will Stab Them The Face 06 – This Is For 07 – The Pain That’s Yet To Come
Of the many words that one might choose to define FETSUM’s long awaited debut perhaps the most accurate is ‘global’. It’s an adjective that not only summarises the sound that he has fashioned since he first started writing, but also his background. FETSUM’s parents were Eritrean revolutionists but he was born in Cairo after his mother had to flee because of a battlefield injury. After 18 months they moved to Rome for several years before heading on to Stuttgart, Germany.
It was during these formative years that FETSUM developed his love for music (from Bob Marley to Donny Hathaway and Bob Dylan) and tried to find his own voice – first in German and later in English. "It was a complete rational consideration. I always wanted to reach as many people as possible with my music. My lyrics shouldn't be only understood in these parts but all around the world."
His self declared "Urban Folk" soon proved popular. The German tabloid BILD celebrated his impressive voice and none other than reggae star Patrice began to support him after hearing his music. First by taking him on tour as opening act several times, then as a guest in his own Supow Studio in Cologne. Here FETSUM started to record his debut "The Colors Of Hope". An album rich in years of experience and astonishing maturity. Over the last three years the now Berlin-based musician shared stages with international and national acts like Estelle, K'NAAN, Peter Fox, Soehne Mannheims, Cassandra Steen and - as mentioned - Patrice. These treasures of practical experiences and also the touching story of his own and his family's life fully shine through in this first work. "The Colors Of Hope" is once again an album you have to hear at a stretch. On the opener "Say Who You Are" FETSUM searches for his own identity in a world which to him isn't defined by country's borders and status symbols, but is always full of hope and the belief in the good in mankind. Even when he criticizes the system and its injustice in songs like "Emotional Android" and "Divided By Thoughts" the positive outweighs at all times. With "Egypt", "Homeless & Free" and "Letters From Damascus" FETSUM adds his very personal stories and tales to this brilliant piece of work. There's rarely music coming out so intimate and life-affirming at the same time. All the more it's recommended to enter the world of FETSUM and to draw hope from his beautiful songs. This voice will find its audience. There's no hope for that - but certainty.
Tracklist : 1. Say Who You Are 2. One People 3. Trials of Time 4. Emotional Android 5. Divided By Thoughts 6. Egypt 7. Homless & Free 8. Letters From Damascus 9. Waitin' for You 10. Queen of My Heart 11. Birth of a River
Liz Green, la Blogothèque l’avait découverte il y a plus de 3 ans, et l’a depuis filmée en Concert à emporter. Il lui aura fallu tout ce temps pour sortir un premier album, O Devotion. Elle prodigue ses petites chansons folks fragiles, donnant pour une fois au concept de Retromania une couleur plutôt heureuse. Simplement beau.
En concert, elle est accompagnée de cuivres et d'une contrebasse, se déguise en oiseau, et fait parfois penser avec son excentricité et ses histoires bancales et loufoques à un certain Tom Waits, l'alcool en moins et l'ironie british en plus.
Tracklist : 1. french singer 2. midnight blues 3. luis 4. rag and bone 5. hey joe 6. who killed poor robin 7. displacement song 8. Bad medecine 9. Bei mir bist du schoen 10. bad medecine 11. gallows
À propos du roman de Jack Kerouac, Bob Dylan aurait dit « J’ai lu On the Road vers 1959. Ça a changé ma vie comme ça a changé la vie de tout le monde ». Dans le livre, bible de ce que Kerouac nomma la Beat Generation, on retrouve le personnage de Dean Moriarty, nom que l’auteur a attribué dans l’ouvrage à son ami Neal Cassady. C’est ce personnage, et pas le redoutable ennemi de Sherlock Holmes, qui a donné son nom au groupe franco-américain.
Voilà pour la Généalogie. Ou l’origine, la référence commune, plutôt : la route, l’errance, la liberté comme aspirations ultime. Au risque de tout y sacrifier.
Cette liberté, fil rouge de la carrière de Bob Dylan, on la retrouve chez Moriarty, dans son refus de ne pas suivre les sentiers balisés, d’incorporer à leur folk rock des instruments (xylophone, kazoo), voire des outils (cuillères, perceuses…) incongrus, comme dans se choix de s’investir dans des projets en marge (la bande originale de La Véritable Histoire du Chat Botté de Jérôme Deschamps et Macha Makaieff).
Au cours de ce concert hommage, Moriarty va s’intéresser surtout s’intéresser à ce qui a précédé Bob Dylan, toute la tradition de la protest song américaine : Hank Williams, Blind Lemon Jefferson, Leadbelly… et bien évidemment Woody Guthrie.
As part of his “Nightwatchman Speaks” YouTube series, Tom Morello explained that he switched from major label Epic to the smaller, indie label New West because “the artist came first …The way that the record industry has changed, major labels like Epic, and Sony who runs them, their revenue streams today are all about ringtones rather than about content, necessarily, and they’re looking for very polished pop, American Idol-like hit makers”. Ironically, though, Morello has made the most commercial Nightwatchman record to date with World Wide Rebel Songs. Commercial enough for a major label, perhaps not, but the very definitive line between Morello’s folk acoustic alter-ego and his Rage Against the Machine virtuoso has most definitely been crossed here.
On his first two albums, the Nightwatchman resembled Neil Young’s solo days, playing straight-up acoustic folk in which the lyrics served as the driving force of the songs, but having now enlisted a backing band dubbed the “Freedom Fighter Orchestra” (Dave Gibbs on bass, Carl Restivo on guitar and piano, Chris Joyner and keyboards, and Eric Gardner on drums), Morello just created his version of Crazy Horse (though he doesn’t come within a mile of writing “Down By the River”). It’s not that the album turns the amps to 11 like Rage Against the Machine or Audioslave, but minus “Branding Iron” and “God Save Us All”, there is no subdued song. Whether it’s the boisterous, riff-doubling rock of “It Begins Tonight” or the choir-heavy “Stray Bullets”, World Wide Rebel Songs looks to be the record that could mark the Nightwatchman’s transformation (or Morello’s reversion).
Lyrically, Morello wouldn’t even pursue this project if he didn’t intend for every track to be a tirade against the government and foreign policy, so unlike the music, none of that is any different here. In fact, coming off his EP, Union Town, which raised money for the Wisconsin campaign against Gov. Scott Walker and his bill to end collective bargaining, Morello gets even heavier into universal (as the title would assume) topics on Rebel Songs. On “Save the Hammer For the Man”, co-writer Ben Harper shouts one of the deepest concerns of the record: “Politics, apocalypse, start to look the same/ The price of my redemption will mean the end of living”. This bleak outlook on societal decadence is mirrored on “Speak & Make Lightning” when Morello states over country flair, “I’m pacing and worrying all night and day/ Neither you or your mama do anything I say”. As is the Nightwatchman’s purpose, he makes an effort to remind society that change is only inspired by the public’s desire to earn it.
In terms of the Nightwatchman’s transformation from acoustic folklore to electric rock godliness, that’s exactly where this record’s primary flaw resides. Though Rage fans could rejoice at his meshing of the two styles, Morello’s musical indecision ruins the integrity for which the Nightwatchman has always stood: choose a side and fight for it. Rebel Songs is too much of a mixed bag, though, blaring hard rock on one track, then walking a bass line with chimes on another, then playing solo folk for which this project’s always been known. It comes across as Morello’s own impatience with the project at this point. Barring that Rage’s set at LA Rising doesn’t end the Nightwatchman’s career this fall, Morello’s going to have to pick a side on the fourth LP, or else he might start to lose a few listeners.
Tracklist : 1. Black Spartacus Heart Attack Machine 2. The Dogs Of Tijuana 3. It Begins Tonight 4. Save The Hammer For The Man (Feat. Ben Harper) 5. The Fifth Horseman Of The Apocalypse 6. Speak And Make Lightning 7. Facing Mount Kenya 8. The Whirlwind 9. Stray Bullets 10. Branding Iron 11. World Wide Rebel Songs 12. God Help Us All 13. Union Town
Mirel Wagner is a 23 year old singer/songwriter, born in Ethiopia and raised in Espoo, Finland. Since age 16 she's writing gloomy Blues and Folk songs, stripped down to the bone. It's just about her airy but rough voice and a minimalistic guitar picking. Avoiding theatralic gestures effortlessly her music has a unique intensity and emotional weight.
"...Townes Van Zandt once said that there are two types of music. 'The blues and zip-a-dee-doo-dah'. This falls into the blues category and a graveyard full of black metal guitarists couldn’t create anything half as heavy and raw as Mirel Wagner’s self-titled debut album. ...In overall, this rugged, sad & beautiful blues/folk album is simply amazing. It is able to travel into such deep and muddy waters that sometimes I can just barely see the surface, but I’m still fairly confident that these songs are more likely to heal me than drown me." (One Chord to Another)
"...Mirel Wagner is the real deal, an innovator among imitators. In a genre ridden with cliches she cuts through with the sheer the power of her lyrics and intricately fingerpicked guitar. And that voice.When I first heard her perform at an open mic night in Helsinki a few years back, it was THAT voice that blew me away. Deep and dark, it is the antithesis of how a young woman in her early twenties should sound. It has those world-weary and resigned tones that make Billie Holiday and Leonard Cohen so appealing. It sounds like the truth...." (Jean Ramsay/Rumba)
".. In her words and her sound you can see a landscape lit by full-moonlight, fog swirling about like ghosts dancing a slow waltz, stately old trees hanging heavy with Spanish moss. You sense an eerie otherworldliness in the atmosphere she weaves, and you can't tear your ears away from that voice and that melody.
She has created something that you rarely or never hear these days. On the banks of the Mississippi Delta in the 1920s it might have been common. But the thing is, Mirel Wagner is here now, in the second decade of the 2000s, and she's from Finland." (Spydersden)
"...really beautiful recordings and songs..." (Steve Shelley of Sonic Youth on Vampire Blues)
Tracklist : 01. To The Bone 02. The Well 03. No Death 04. No Hands 05. Red 06. Despair 07. Joe 08. Dream 09. The Road
Il y a 10 ans, Iggy Pop enflammait les studios de Canal +, rejoint par Johnny Depp , Vanessa Paradis et Chrissie Hynde pour une soirée musicale intitulée Nightclubbing (en clin d'œil à l'une de ses chansons les plus célèbres).
Une décennie plus tard, à l'occasion de la sortie de son nouvel album, la chaîne cryptée a une nouvelle fois voulu manifester son amour à l' Iguane.
Nightclubbing II s'est donc imposé comme une évidence. C'est dans le cadre de La Musicale , présentée par Emma De Caunes , qu'aura lieu cette soirée magique.
Iggy Pop , qui est très attaché à la France et sa culture, a nommé son dernier album "Préliminaires", qui sortira en mai 2009. Il s'est inspiré d'un livre de Michel Houellebecq pour écrire les textes. On peut y entendre une reprise en français d'une chanson emblématique, "Les feuilles mortes" , écrite par Prévert et interprétée par Yves Montand en 1946.
Au cours de cette émission, celui que l'on surnomme le Parrain du Punk fera de nombreux duos notamment avec : Ayo, Keren Ann , Benjamin Biolay , Emma De Caunes , Arielle Dombasle , Stephan Eicher, Michel Houellebecq , Izia, Grace Jones , China Moses, Peaches et Catherine Ringer .
Tracklist : 01 - Motorcycle 02 - Nazy girlfriend 03 - Avenue B 04 - I felt luxury 05 - I'm a fool to want you (with C. Hynde) 06 - I wish you love (with C. Hynde) 07 - One for my baby 08 - Miss Argentina 09 - You go to my head (with V. Paradis) 10 - Don't smoke in bed (with V. Paradis) 11 - She called me daddy 12 - Hollywood affair (with J. Depp on guitar !!) 13 - Nightclubbing (with Hynde, Paradis & Depp)
Nick Rivera (Michele Sarti's solo project) was born under a bunk bed in a victorian house in Hackney, London. Born in Cagliari, Italy, Michele started playing drums in a number of rock bands, slowly developing a strong interest in more experimental and free-form styles of music. The new approach led him to rediscover the french horn, the instrument he studied for years but never used on any of his projects. He also started toying with lots of different instruments like guitar, trumpet, glockenspiel, percussions, synths and loop machines. His first personal project was a free reinterpretation of the music from german composer Kurt Weill, directing a band featuring banjo, piano, wind instruments, flute and percussions. In Italy he collaborated with Bron Y Aur and Franklin Delano, and after moving to London with Sunny Day Sets Fire and Oh Atoms. He also plays as a stable member of the lo-fi folk band Takoma. Nick Rivera comes from Michele's desire to play something as natural as possible. In his own works is music that would be "close to the image of a bud who sees the first light, the sounds of wood, nocturnal bugs, broken branches, birds, coppers, sliding water, shadows reflecting lights and glades in the forest... and everything that happens in the galaxy next to ours". He is now ready to release a Flying EP recorded at his home studio and mastered by Bill Gautier who works for Bella Union. ..
Tracklist : 01 - Renee Luise 02 - Happy song is a happy song 03 - Butter in my head 04 - Horn Y Orgy