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30 avril 2014 3 30 /04 /avril /2014 10:00



Country : U.K
Genre : Psychedelic Rock
Style : Shoegaze , Dream Pop , Folk , Alternative Rock

Label : Auto Prod.  
Year : 2014

DJ DEMONANGEL Rating : 4/5
FAN Rating : 5/5








It's been a while since the the last album, longer than i was hoping for. i thought about recording this album but thinking was pretty much all I was getting up to until i got an email last year asking if i would be interested in submitting a song for a compilation.

that turned out to be the spark/motivation/kick up the arse (cheers euan!) i needed because after i recorded that one song i couldn't stop and the whole thing was done pretty quickly.

the first album (the lights go out) was an unexpected but interesting spooky creative trip, the second (anomie or swimming in a black sea) was the heartbreak album and this one is back the more spontaneous feel of the first. a 40 minute trip around what was happening in my brain around that time.

i did have a concept for the album once i'd inadvertently ended up starting it. i wanted to record something was an album length sleep cycle. around the time of the recording i was having a strange time sleeping. i'd eventually drift off (i think) but i wasn't sure if i'd gone to sleep or not. i'd hallucinate and see spiders dangling over the bed and ants crawling over me and then wake up, do my normal just-woken-up things and then wake up for real. if not spiders and ants it would be drowning, being dragged under the waves and unable to pull myself up. it wasn't actually sleepwalking as far as i can remember but it was a strange time and that all filtered through to make the record.

i wanted the record to start with clarity (i'm awake) then slowly drift off into a peaceful sleep before disturbance and nightmare visions in the middle and then wake up again refreshed at the end (two moons).

one area of continuity is the haruki murakami references. people have emailed and mentioned them before and there are two songs in particular which are probably obvious to anyone who is interested by the titles. the other consistent thing is the environmental recording of children playing the same recording has been used in all of the albums.

as may be apparent, i've decided to be a bit more open an communicative starting with this album (there are also notes on the individual tracks if you click on them). i don't want to share too much but i realise from things i like and also from some emails i've had that some people are interested in knowing more and that it can add something to the music if there's a bit of context so although it's against my nature i'l do my best from here on in.

one final thing i should address is the thanks on the cassette sleeve. i forgot angie without whom none of this would have happened. i know i haven't exactly changed the world but releasing these records has been important to me and without angie's initial encouragement and help i never would have done more than the lights go out and no more than about 5 people would have heard my music so a huge thank you and apology.

(invisible elephant)  



Tracklist :


1.drift 06:13
2.from the bottom of a well [with maryliz guillemi] 03:34
3.slow wave 07:16
4.fugue state 10:09
5.never there 07:50
6.two moons [with maryliz guillemi] 04:27


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12 avril 2013 5 12 /04 /avril /2013 12:00



Country : USA
Genre : Psychedelic Pop  
Style : Experimental

Label : Trouble In Mind Records
Year : 2013





We music devotees spend far too much time arguing over artistic integrity purely based on arbitrary claims of "originality", as if it’s the end all be all to a much larger discussion. In an age where the standard music taste is drastically beginning to widen and widen, genres are beginning to spill into one another like the brush of a surrealist painter, and tiny micro-evolutions/niches in sound pop-up every year (thank you internet culture!), unclassifiability and anti-consensus rule. So why is there such a cold shoulder to those who enjoy updated sounds from the past? This question instantly popped into my head upon listening to Maston's debut album, as images of psychedelic's late 60s blossom began to float through my ears and into my head (while the sound was still relatively cute and innocent sounding, just before it got all blown up and over-saturated by whirling guitar-on-fire solos). Opening with a choppy organ line and a vintage set of dusty baroque instrumentation emulating 60s suburban drive-in film credits, Shadows wastes no time in taking us back to the past with a sugary, flamboyant gesture on the opener “Strange Rituals”. A mix of Pet Sounds sunshine, thick Sgt. Pepper sky, and twirling Binki Bottom clouds dissolve into "(You Were) in Love", a surfy polka dot pill ensuring a short but heavenly trip through a whimsical rainbow. The trip gets a little cloudy on "Messages", a suspenseful Apocalypse Now gun slingin' sunset pop crooner lost in a pitch black silhouette. Meanwhile the hazy pop nugget "Looks" sways around in a moody diner, somewhere out in the mountains. Like a smoggy daydream waterfall, "Young Hearts" pours out a misty up-tempo psych hook, elegant pop evaporation like Bradford Cox crooning under a Beach Boys single. Further evidence of Maston's modern influence point to the absolutely gorgeous "Judge Alabaster", guided by banging percussion like a horse sprinting off in the distance, with a lush americana harmony floating in the wind, similar to the folky atmospheres of Grizzly Bear. So once again I ask the question, why such a cold shoulder to those who enjoy updated sounds from the past? Clearly Maston borrow heavily from the pop sonics of The Beach Boys and The Beatles in order to create a retro-esque vibe splattered throughout the album, but carefully injected into their nostalgic world is appropriate modern influence, tropical exotica-laced hi-fi, lush instrumentals worthy of film-score, and irresistible, catchy hooks. It's a short burst of ten infectious, ultra-nostalgic pop songs that rarely pass the three minute mark, but no matter if recorded in 1967 or 2013, Shadows makes for some damn fine pop music in any generation. Source


Tracklist :

1.Strange Rituals 03:16
2.(You Were) In Love 02:41
3.Messages 02:28
4.Looks 01:38
5.Young Hearts 02:21
6.Judge Alabaster 01:58
7.King Conrad 02:20
8.Flutter 03:01
9.Mirror 04:43
10.Night 02:23



Info File :
Playtime: 00:26:54
Audio codec: MP3
Bitrate: 320 kbps
File: Zip
Size: 48.4 MB

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21 juillet 2012 6 21 /07 /juillet /2012 12:00



Origine du Groupe : North America
Style : Rock Psyché
Sortie : 1967

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From http://www.cicadelic.com

The Morning Dew Story (continued from the previous CD release "No More").  The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968.  Ten songs were recorded, eight of them penned by Robinson.  He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this".  Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”.  The influence of The Beatles’  “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator.  Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”.  “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions).  “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music.  Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.

The ten-song demo tape was circulated around to record labels and A & R men.  Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”.  A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records.  This occurred in the fall of 1968.  A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording).  Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
 A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days.  Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”.  Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries.  Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception.  The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.

Tracklist :
01. Crusader's Smile (3:42)
02. Upon Leaving (2:12)
03. Young Man (2:32)
04. Then Came The Light (4:15)
05. Cherry Street (4:09)
06. Gypsy (5:48)
07. Something You Say (4:29)
08. Country Boy Blue (2:39)
09. Save Me (3:40)
10. Epic: (4:33)


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17 juin 2012 7 17 /06 /juin /2012 12:00



Origine du Groupe : Australia
Style : Psychedelic , Surf , Funk , Indian Music
Sortie : 2012

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From https://freegankolektiva.wordpress.com

The Bombay Royale is a dedicated homage band, bringing the classic cult days of Bollywood into the fore with a storm. It is a cinematographic band in that the looks, the moves and the music video are at least of equal importance to the music. Actually, the whole enterprise here has totally integrated the aesthetics of 1960s and 1970s Bollywood, both visually and sound-wise.

At this point I have to admit that my knowledge of Bollywood’s golden age is rather limited; however, I  know that the sounds of that era constitute a bottomless vessel of invaluable sounds as they have been used routinely as samples in electronic music, hip-hop etc. I am sure that there are tones of exceptional music from that time & place still to be unearthed for the international audiences.

Some artists of Indian descent like Bally Sagoo have already tried to bring some Bollywood sounds in new music forms, but here we have a radically different approach. The Bombay Royale do not just feature some Bollywood samples here and there, they are a total recall in the most authentic way possible. The whole artistic direction, from the instrumentation, the production, the clothes, the cover, the video and the ways of singing reinstate the unruly cinematic imagination of that era.

They want to party, they want to create mayhem, they came to impress. In such cases, when artists are so provocative with the aim to attract as much attention as possible, I am usually on the skeptics’ side. More often than not the packaging is fancy but the essence is absent – and a band’s essence is to play good music. So what about the music here?

Led by the musical director and founder Andy “The Skipper” Williamson and the vocal duo Parvyn ‘La Femme Mysterieuse’ Singh and Shourov ‘The Tiger’ Bhattacharya, the Bombay Royale, surrounded by a host of skilled session musicians, deliver wholesome, fully instrumented, funky South Asian surf-a-delica. The music is high-octane masterfully orchestrated and adherently vintage in the vein of a growing number of retro-funky orchestras out there (e.g. The Funk Ark).

Right from the uncompromising instrumental opener ‘Monkey Fight Snake’ they set the stage borrowing the vibes of the Budos Band, the bizarre funk/soul maestros. The organ gives the command, the mysterious woody chords dance like rattling snakes, the tablas place the Asian timbres in the right place while the horns are lashing out insistent irreverent verses. Everything is consistent and tightly arranged with memorable parts but there is even room for some playful improvisation.

The title track is the first single of the album with both vocalists stepping closely on Bollywood tones – the horns are impressive again unleashing a massive sound. With a big band like this and such a quality analog production there a level above the rest of retro lovers. Production-wise and with all the spaghetti vintage atmosphere, Calexico come to mind.

‘Sote Sote Adhi Raat’ is laden with outrageous vintage bleeps and tape echoes which sound like a Hawkwind space rock revival while ‘The Perfect Plan’ is quite poppy with mysterious exotic melodies, a fiery rhythm section and blazing bhangra guitars. I bet that it is going to be their second single. ‘Bobbywood’ reveals more openly their ethio-jazz influences or their affiliation with Cambodian pop-influenced psy rockers Dengue Fever.

Every song reveals another facet of the Bombay Royale – their material is well-revised and the influences are as wildly diverse as they used to be in the era of Bollywood’s most boisterous experimentation. ‘Phone Baje Na’ is probably the perfect closer with an infectious dubbing pulse, slow, hypnotic and adventurous – a dose of evasion.

Gladly, bands like the Bombay Royale appreciate more the classic saturated colours and outward world mash-ups of the 1970s than the polished digital productions of today. ‘You Me Bullets Love’ is a strong debut, it sounds as if the band members were playing together for years. I am waiting with curiosity to see how far they can go with this ensemble.

Tracklist :
01. Monkey Snake Fight [03:33]
02. You Me Bullets Love [04:37]
03. Jaan Pehechan Ho [04:27]
04. Sote Sote Adhi Raat [04:14]
05. The Perfect Plan [03:39]
06. Bobbywood [04:16]
07. Mahindra Death Ride [03:41]
08. Oh Sajna [02:39]
09. Dacoit's Choice [03:46]
10. Phone Baje Na [07:26]


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23 mars 2012 5 23 /03 /mars /2012 12:00




Origine du Groupe : Nederlands
Style : Psychedelic Rock , Stoner Rock , Instrumental
Sortie : 2011

By Robin   from http://stonerobixxx.blogspot.fr

'Radar Men From The Moon': an old scifi b-movie & a fresh space rock band from the Netherlands. I originally found this gem through a site called prog-sphere.com, they have an excellent selection of Bandcamp picks over there (from indie to space & stoner rock), check it out.

With Radar Men From The Moon they had me on 'instrumental space/post/stoner rock'. Something that describes this Dutch band perfectly. We all know by now what to expect when it comes to the Netherlands & space rock (35007, Gomer Pyle, Het Droste Effect, Astrosoniq, Mother-Unit,..), these guys are no exception. Intergalactic Dada & Space Trombones is RMFTM's debut album & a highly impressive one in it's kind. A laid-back, fuzzy, warm, hypnotic & intergalactic trip, any fan of space/ psychedelic/ desert rock should give it a chance!

I'm still surprised these guys are so hidden, decided to give their wonderful tunes some exposure on here (and special thanks to the Radar Men for the sweet review copy). So here it is for all to hear, a 46 minute treasure of jammin' space rock, get this & spread the word!

Tracklist :   
1. Space Colonists (9:32)
2. The Wire (9:22)
3. Intergalactic Dada & Space Trombones (9:46)
4. The People Who Stay On The Earth Will Explode (9:17)
5. Moonjuice (8:38)

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18 janvier 2012 3 18 /01 /janvier /2012 13:00



Origine du Groupe : Germany
Style : Stoner Rock , Psychedelic Rock , Blues
Sortie : 2011

By  from http://stonerobixxx.blogspot.com

Lots of incredible releases this year. I'm just getting (absolutely) addicted to the latest jams of Elder & Tia Carrera (which I'll post later), and then this beast comes out of nowhere! Revelation & Mystery, just look at that cover art..

Samsara Blues Experiment is one of those bands who can instantly make my day. These fine German guys play stunning jams influenced by all the pages of the 70's/ stoner/ doom/ psychedelic/ space catalogue. They have a highly interesting & dynamic approach to the genres we all adore, and transform it into their own distinctive formula. A groovy, trippy mix of jammin' stoner psychedelica. They did it again with this record: and it's alot grittier & straightforward this time. Any fan of kick-ass rock with a psychedelic touch should give this one a try. Top 10 material right here..

Tracklist :
01 – …
02 – Flipside Apocalypse
03 – Hangin’ on the Wire
04 – Into the Black
05 – Thirsty Moon
06 – Outside Insight Blues
07 – Zwei Schatten im Schatten
08 – Revelation & Mystery




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24 août 2010 2 24 /08 /août /2010 20:00



Origine du Groupe : North America
Style : Alternative Rock Psychedelic , Folk , Jam
Sortie : 2005

From Wikipedia :
The Grateful Dead Movie Soundtrack is a five CD live album by the Grateful Dead. It was recorded from October 16 to October 20, 1974, and was released on March 15, 2005.

In 1974, the Grateful Dead were exhausted from touring, and their sound system, the "Wall of Sound", had proven too expensive to continue with. In response, the group decided to stop touring for an indefinite period of time. In October they played five nights at the Winterland Ballroom in San Francisco, California. As they were the last concerts before the hiatus, the Grateful Dead wanted them to be properly recorded and documented by a film crew.

The results were a rather unsuccessful live album, Steal Your Face, and a film, The Grateful Dead Movie. The movie was released in theaters in 1977, and on videotape in 1981. In 2004 it was expanded to a double DVD with bonus cuts and documentaries. A few months later, a five CD album was released as The Grateful Dead Movie Soundtrack. The album included even more previously unreleased tracks, including a rare "Tomorrow Is Forever". The DVD contains one track not released on the soundtrack ("Sugaree" from October 18).


Tracklist :

Disc one

   1. "U.S. Blues" (Robert Hunter, Jerry Garcia) – 5:13
   2. "One More Saturday Night" (Bob Weir) – 6:33
   3. "China Cat Sunflower" (Hunter, Garcia) – 9:14
   4. "I Know You Rider" (traditional, arr. Grateful Dead) – 6:07
   5. "Eyes of the World" (Hunter, Garcia) – 13:01
   6. "China Doll" (Hunter, Garcia) – 6:16
   7. "Playing in the Band" (Hunter, Mickey Hart, Weir) – 31:44

Disc two

   1. "Scarlet Begonias" (Hunter, Garcia) – 13:56
   2. "He's Gone" (Hunter, Garcia) – 13:01
   3. "Jam" (Grateful Dead) – 7:31
   4. "Weirdness" (Grateful Dead) – 8:05
   5. "The Other One" (Bill Kreutzman, Weir) – 7:34
   6. "Spanish Jam" (Grateful Dead) – 1:48
   7. "Mind Left Body Jam" (Grateful Dead) – 3:10
   8. "The Other One" (Kreutzman, Weir) – 2:28
   9. "Stella Blue" (Hunter, Garcia) – 9:04
  10. "Casey Jones" (Hunter, Garcia) – 5:23

Disc three

   1. "Weather Report Suite" – 16:44
          * "Prelude" (Weir)
          * "Part I" (Eric Andersen, Weir)
          * "Part II: Let It Grow" (John Barlow, Weir)
   2. "Jam" (Grateful Dead) – 8:54
   3. "Dark Star" (Hunter, Garcia, Hart, Kreutzman, Phil Lesh, Pigpen, Weir) – 24:10
   4. "Morning Dew" (Bonnie Dobson, Tim Rose) – 13:54
   5. "Not Fade Away" (Buddy Holly, Norman Petty) – 8:34
   6. "Goin' Down the Road Feeling Bad" (trad., arr. Grateful Dead) – 7:33

Disc four

   1. "Uncle John's Band" (Hunter, Garcia) – 9:08
   2. "Big Railroad Blues" (Noah Lewis) – 5:02
   3. "Tomorrow Is Forever" (Dolly Parton, Porter Wagoner) – 6:26
   4. "Sugar Magnolia" (Hunter, Weir) – 5:26
   5. "He's Gone" (Hunter, Garcia) – 13:49
   6. "Caution Jam" (Grateful Dead) – 4:30
   7. "Drums" (Kreutzman) – 1:23
   8. "Space" (Grateful Dead) – 9:14
   9. "Truckin'" (Hunter, Garcia, Lesh, Weir) – 9:48
  10. "Black Peter" (Hunter, Garcia) – 10:10
  11. "Sunshine Daydream" (Hunter, Weir) – 3:14

Disc five

   1. "Playing in the Band" (Hunter, Hart, Weir) – 13:24
   2. "Drums" (Hart, Kreutzman) – 4:09
   3. "Not Fade Away" (Holly, Petty) – 14:44
   4. "Drums" (Hart, Kreutzman) – 4:53
   5. "The Other One" (Kreutzman, Weir) – 10:56
   6. "Wharf Rat" (Hunter, Garcia) – 9:35
   7. "Playing in the Band" (Hunter, Hart, Weir) – 8:38
   8. "Johnny B. Goode" (Chuck Berry) – 3:55
   9. "Mississippi Half-Step Uptown Toodleloo" (Hunter, Garcia) – 7:34
  10. "We Bid You Goodnight" (trad., arr. Grateful Dead) – 1:59



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14 juillet 2010 3 14 /07 /juillet /2010 14:00


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Qu'est ce qui peut bien pousser deux des guitaristes les plus inspirés de ces 20 dernières années à enregistrer un album instrumental ? La création bien sûr ! La recherche, l'expérimentation... Mais ici point d'élucubrations psychédéliques, de délires inabordables, seulement des morceaux d'une grande pureté, très simples, très personnels aussi. Une poignée de chansons sans chant, calmes, apaisées et délicieusement introspectives servies par deux guitaristes faits pour jouer ensemble.

Les deux copains n'en sont pas à leur coup d'essai... John Frusciante est crédité sur plusieurs albums des Mars Volta et Omar Rodriguez apparaît sur les productions personnelles de l'ex-Red Hot. Les interviews de l'un ou de l'autre ne laissent aucun doute sur le plaisir qu'ils ont à travailler ensemble. Mais cet album est la première véritable collaboration des deux compères. Et à eux deux ils font tout... Tout c'est un bien grand mot car outre quelques interventions de clavier, une basse timide, une boucle electro qui tourne le temps d'un morceau, le reste de la musique est assurée par les guitares du duo, toutes en sensations, en couleurs, en images...

En toute décontraction, Fruciante va développer des arpèges aériens et des petits bouts de rien qu'il va étirer pendant quelques minutes... Puis sur le délicat canevas crée par ce dernier le génial Rodriguez va venir déposer des notes tenues, gorgées d'effets, des bouts d'arpèges noyés de delay et à deux, ils vont créer une musique incroyable, riche et dépouillée à la fois. Dépouillée car simple, très accessible, pas du tout intellectualisée mais au contraire totalement viscérale. Riche car bourrée d'idées géniales, d'ambiances travaillées - très « visuelles » - d'harmonies audacieuses, pour un ensemble des plus aériens.

D'aucuns pourrait sans doute craindre l'absence de chant ou de percussions. Mais à aucun moment la sensation d'un manque se fait sentir tant les deux guitaristes semblent converser à travers leur instrument. A travers 7 morceaux aux ambiances éthérées, Frusciante et Rodriguez nous prouvent que la somme de deux talents est parfois supérieure à la simple addition de ses composantes. C'est l'album de deux musiciens qui se sont trouvés.

Par Les Eternels

Origine du Groupe : North America
Style : psyché Rock
Sortie : 2010

Tracklist :
7)5:45 am



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1 juin 2010 2 01 /06 /juin /2010 12:30


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Origine du Groupe : North America

Style : Psychedelic Rock , Alternative Rock

Sortie : 2008

Traclist :
1. Víctor Jara's Hands
2. Two Silver Trees
3. The News About William
4. Sarabande in Pencil Form
5. Writer's Minor Holiday
6. Man Made Lake
7. Inspiración
8. House of Valparaíso
9. Slowness
10. Bend to the Road
11. El gatillo (Trigger Revisited)
12. Fractured Air (Tornado Watch)
13. Falling from Sleeves
14. Red Blooms
15. Contention City


Hola a todos!!!
Bon je ne vais pas vous parler d'un artiste hispanique cette fois-ci (enfin presque) mais plutôt d'un groupe se nommant Calexico, originaire de Tucson en Arizona, que je viens tout juste de voir en concert sur Madrid. Après avoir écouté en boucle leur dernier album "Carried to dust" (à l'écoute en ce moment sur cet article), il me fallait donc vous faire partager un peu l'univers de ce groupe que j'apprécie beaucoup pour ces mélodies, son métissage de cultures musicales et aussi parce que sur le dernier album, Amparo Sanchez, une chanteuse andalouse y chante ("Inspiracion" est un morceau magnifique, à écouter!!!). En première partie de ce concert, j'ai découvert également un artiste espagnol "Depedro" qui tourne beaucoup avec Calexico et qui joue d'ailleurs avec eux sur scène durant leur tournée. Je vous met donc, un de ces morceaux "Como el viento" à la fin de l'article et de l'album "Carried to dust". Voilà j'espère que vous apprécierez...

Calexico est un groupe oscillant entre mariachis et musique planante originaire de l'Arizona. Joey Burns et John Convertino sont les deux membres fondateurs du groupe ; ils jouèrent ensemble pour la première fois à Los Angeles dans le groupe Giant Sand.

L'origine du nom du groupe vient de la ville de Calexico, une ville en Californie du Sud bordant la frontière mexicaine.

Antithèse du groupe américain de rock violent et replié sur lui-même, ils jouent une musique apaisante et « planante », et ils n'hésitent pas y à intégrer des éléments de culture étrangère (paroles en français, musiques latines, orchestres mexicains et musiciens canadiens). Un savant dosage de rock, de blues, de jazz, de country et de mariachi rend leur musique indéfinissable dans le monde du rock.

A Propos : "Carried to dust"
Les ambiances mariachi démarrent ici au septième titre, le bien nommé « Inspiracion », aux cuivres pimentés autour de la voix lumineuse d’Amparo Sanchez. Jusque là, ce n’était que ballades inspirées (« Victor Jara’s Hands », qui ouvre l’album) et tout ce foutu songwriting neurasthénique que le duo a balisé comme son territoire depuis toujours.

Carried To Dust n’est en rien une révolution, on y croise ces pedal steels languissantes, ces voix en unisson paresseux, et ce savoir-faire d’artisans de luxe de la musique américaine dans ce qu’elle a de plus sudiste, à la Carson McCullers. Une musique de cartes postales, et bien sûr de films, puisqu’elle ne ressemble qu’à cela, un story telling hanté de personnages vrais comme au cinéma, mis en scène dans une science exacte du décor musical. Il y a quelques années, Jean-Louis Murat avait collaboré avec Calexico pour le superbe Mustango.

Par Tonton

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6 avril 2010 2 06 /04 /avril /2010 18:40


Note :


Sortie :1975

Style : Rock Folk Psyché


Tracklist :

Magical Power Mako - Super Record - 01 - Andromeda - 5.53
Magical Power Mako - Super Record - 02 - Tundra - 3.13
Magical Power Mako - Super Record - 03 - Silk Road - 4.18
Magical Power Mako - Super Record - 04 - Woman In South Island - 2.36
Magical Power Mako - Super Record - 05 - Pink Bitch (Lalala) - 6.46
Magical Power Mako - Super Record - 06 - Rock Baby In Meadow - 3.27
Magical Power Mako - Super Record - 07 - Majorica Resistance Song - 6.48
Magical Power Mako - Super Record - 08 - Cosmos Sandglass - 3.39
Magical Power Mako - Super Record - 09 - Sound, Mother Earth - 6.44


The second (and all-time best) Mako album, originally issued by Japanese Polydor in 1975; there have been a couple Japanese CD reissues of this in the past, which are no longer available. One of the key documents of Japanese underground psychedelic music, presented in truly sublime fashion. Although MPM went on to record 20+ more records after this one, he would never exceed the spatial exuberance of Super Record. From the liner notes: "Mako's music possesses a certain strange kind of texture. It's certainly is what they call rock, but contains elements that we can't describe so succinctly. It clearly goes beyond the various genres of music, and while full of them all, it sends forth a fierce glow. This 'Super Record' shows Mako looking down upon the earth from above, wandering through Alaska and Siberia, the Near East, Okinawa, and South America. Adding to the variety of folk music of India, Turkey, and Russia, his mandolin or Taisho koto, and especially his marvelously performed guitar, expressing fully the odor of the soil and mankind's universality."


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