Français d’origine marocaine, enfant du hip-hop et de la culture DIY, Aziz Konkrite puise son inspiration dans des 45 tours qu’il chine et archive lors de ses voyages à moto à travers le Maroc, amassés dans son home-studio au fil des années.
Le résultat : un voyage dans les traditions musicales des sonorités Chaâbi, Aïta, Raggada, Amarg, Gnaoua, aux allures futuristes, réinventées et taillées pour embraser les dancefloors !
Sa dernière sortie Siba Sawt-System est le fruit d’une quinzaine d’années de recherches musicales, d’un retour aux sources dans sa région natale.
“Siba” pour anarchie, “Sawt” pour son et “System” pour l’idée d’une sono mondiale : héritée de luttes historiques, de la culture populaire et du folklore marocain, ici la musique contestataire se mêle aux racines nord africaines de l’artiste, unifiant trésors sonores du passé et allégresse de l’instant.
Jovin Webb est un artiste né et élevé en Louisiane, qui a su mêler les influences de la musique gospel et blues pour façonner un style unique et captivant. À un jeune âge, il est profondément touché par la musique exprimée dans les églises baptistes noires du sud, mais ce sont ses propres épreuves de vie qui l’amènent à découvrir l’attrait du blues. Alors qu’il était prêt à abandonner ses rêves musicaux, sa participation à l’émission télévisée American Idol en 2020, où il s’est hissé dans le top 10, a complètement transformé sa carrière. Jovin Webb sort en octobre 2024 son premier album intitulé Drifter, sur le label Blind Pig Records. L’album est un mélange vibrant de blues, soul, et rock’n’roll en douze titres. Produit par Tom Hambridge, multiple fois récompensé aux Grammy Awards, cet album se distingue par des morceaux comme Bottom of a Bottle, qui illustre son talent unique d’allier des paroles poétiques avec sa voix rauque et puissante. Drifter est le son d’une vie blues en quête d’une rédemption gospel.
Growing Eyes Becoming String’ is the sixteenth studio album from British noise-rock pioneers The Telescopes. Originally recorded over two sessions back in 2013 – one over a harsh Berlin winter in the Brian Jonestown Massacre studio with Fabien Leseure, and a second back in Leeds with early Telescopes producer Richard Formby – it’s a lost treasure that nearly never was. Succumbing to a hard-drive crash nearly a decade ago, the sessions were presumed lost and soon forgotten, until now. Miraculously rescued from the digital ether and finished by founding member Stephen Lawrie in his own studio over the pandemic, the album is now finally set for release in February 2024 via Fuzz Club and reveals another side to where The Telescopes were at in 2013.
Where their physical output at the time mostly consisted of experimental noise improvisations, so far removed from any obvious structure, ‘Growing Eyes Becoming String’ shows how The Telescopes – Lawrie backed by London experimental unit One Unique Signal – were actually creating more song-based music in a parallel existence. Across its seven tracks are all the trademarks of quality that longtime fans associate with The Telescopes’ music. Solid songs, melody, harmony, noise, dissonance, improvisation, experimentation and an all-embracing journey beyond the realm of natural vision.
“The objective with both sessions was to go in blind and be entirely in the moment”, Lawrie recalls: “There were no preconceived ideas, everything was written as it went along. Much like our drive to Berlin, through an intense blizzard with almost zero visibility, we were relying on the heightened instinct of being entirely in the now.” The result is another masterfully hypnotic set that matches its more melodic spaced-out moments against heavy drone-rock blow-outs: “Loaded with guitars, noise and melody, swirling around pounding repetition, this is a more vocal document of where The Telescopes head was at during that time.”
chez Fip :
Le producteur et multi-instrumentiste britannique Alexander Burke publie son premier album, une fresque musicale tropicale où les paysages grooves psychédéliques sont portés par un amalgame novateur de jazz, de MPB et de musiques électroniques.
Originaire d’Essex et ancien élève de l’académie Future Bubblers de Gilles Peterson, Alexander Burke a fait ses armes en parcourant le monde avec le groupe Afro-Synth d’Esa. Au cours de ces voyages parsemés d’une multitude de rencontres artistiques, le multi-instrumentiste et chanteur s’est façonné un langage musical au groove multiculturel. Dès 2017, pendant qu’il développait sa connaissance de la musique brésilienne et tropicale à Porto, le producteur a commencé à imaginer de nouvelles expérimentations sonores, développées ensuite dans un studio improvisé dans une ancienne usine de filets de pêche en Islande et achevées dans son abri de jardin à Romford, dans l’Est de Londres.
the BIG TUSK est un collectif musical franco-suisse qui se démarque par une direction artistique unique, défiant les conventions et les frontières entre musique improvisée et électronique.
Depuis 2018, le quartet se consacre à improviser en direct l’ambiance hypnotique et enivrante d’un live de musique électro, relevée d’une spontanéité explosive et d’une passion pour l’expérimentation sonore.
Dans la digne lignée de groupes tels que Knower ou Cabaret Contemporain, the BIG TUSK use d’influences diverses (Aphex Twin, Mr Oizo, Kurt Cobain) pour se forger une identité propre qui décloisonne complètement les genres..
Cette Saxophoniste d’origine Autrichienne, née à Paris et vivant à Ibiza , connait tous les codes du Spiritual Jazz. Elle est influencée par ses Maîtres : John Coltrane, Pharoah Sanders ou Gary Bartz.
A la tête d’une discographie d’une bonne dizaine d’albums en 15 ans de carrière – tous auto-produits – Muriel Grossman vient de sortir son nouvel Album ‘“ The Light of the Mind “ sur RR GEM RECORD . Jack White lui-même a flairé la talentueuse Saxophoniste en sortant l’année dernière son Album “DEVOTION” sur son prestigieux Label Third Man Record . Ses concerts son impressionnants comme en témoigne son dernier show au festival du Jazz de la Villette en sept 2024 dernier , salle Pierre Boulez à la Philarmonie de Paris .
R.M.F.C.
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(SYDNEY, AUSTRALIA // ANTI FADE Records, TOTAL PUNK Records, GOODBYE BOOZY Records)
ROCK MUSIC FIGHT CRINGE
What is modern music writing without the opening descriptor “long awaited”? To describe most records as being awaited is ridiculous. Nobody today has the patience to wait for a text or a tram or a traffic light… and yet… there is something here, I have a point to make…
Please resist cringe – I will not cringe, cringe is the mindkiller – I assure you, I never use words like “long awaited debut” in polite conversation and avoid those who do by general rule.
But.
ROCK MUSIC FINESSE CLASS
The imminent arrival of the R.M.F.C. long awaited debut means rules must be broken, tablets must be shattered, sacred pigs must be slaughtered…
In our age of media saturation and attention deficit, where every band has side project with a triple LP catalogue before they’ve played a show or had opportunity to tease or tantalise, there’s a lot of easy music being created… and forgotten… look back over the past decade and see how many hype bands you’ve forgotten, how many redundant “long awaited debut” ended up ashen within a month. Nobody is waiting for more easy music. We are waiting for the R.M.F.C. Club Hits LP.
Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.
ROCK MUSIC FANATIC CONVULSIONS
To your average German the sound of Bach made them reverent with Lutheran frenzy, and for the average rock music fan the sound of R.M.F.C. makes them catatonic with guitar overdose.
To your exceptional German composer that came after Bach, the sounds of Bach inspired genius invention, and for the generation of exceptional rock music creators that come to Club Hits, a great deal of easy listening rock music has become redundant and this is a new standard: the craft of these songs is precise, the flow of this record is masterful.
Club Hits is one of those rare records that sounds absolutely of its time without evoking depression, despair and disgust – for we live in times of desperation that most rock music bands are adorning with insipid, tedious tunes that couldn’t make most people put their phone down let alone believe in R.M. – but with the benefit of 80 years of ROCK MUSIC to draw on, there’s a lot of mistakes that Buz learned from and hasn’t replicated here.
ROCK MUSIC FOOTBALL CLUB
I like music and I like football. I like physicality, sweat, blood, I like music with guitar and drum… I like to experience being in the presence of violent movement that is graceful and produces goals or songs…
Great live band this R.M.F.C. Kicking goals, making songs.
If not for the experience of watching them play these club hits live, I don’t think we would be “awaiting” this record. Which is to say, on record FC President Buz takes on all duties: songs written, songs recorded and songs mixed by the Commander In Chief Clatworthy.
If this was the extent of it, if we couldn’t SEE and FEEL the rock music in R.M.F.C., if it was RECORDED MUSIC FAN CLUB – I’m sure you understand me – Buz has managed to make a solo bedroom project into a rock music band of great quality, and hearing these songs develop and stick in your head for days and weeks and months after the show, festering and waiting to be unleashed on the world this coming November 3rd.
ROCK MUSIC FAN CLUB
For those who read these things without listening first, you might ask: what does this R.M.F.C. sound like?
Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band.
Indulge me.
If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking.
Wire unpacked punk immediately and spent three perfect albums mapping what comes next – their “long awaited debut” came after a pub rock punk phase… and entered into the world of angular guitars and arctic ice feel.
Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band.
Few bands manage to sound like all 3 records, but R.M.F.C. are rock music fan club…
ROCK MUSIC FREAK CLUB
One day when I listened to the Velvet Underground ‘What Goes On’, I thought: this is a perfect song. I could listen to this song for hours on end. I did this – I listened to live versions, multiple ten minute plus jams, alternate mixes, and then back to the album. Over and over again. The song continually delivered new revelations, I saw a golden path leading through a dark cloud of misery, surrounded by spite and resentment, a golden path leading toward something better… and in Club Hits, I hear that same obsessive nature, I could imagine you understand this too, I know I am not alone in listening to rock music like I am encountering the sacred sound of a new religion… you must be obsessed to make music like this, and you must also respond with true passion and devotion… our times need the Club Hits…
ROCK MUSIC FINAL COMMENT
R.M.F.C. Club Hits LP on Anti Fade (AUS) / Urge Records (USA) will be released on November 3rd.
Written, recorded and mixed by Buz in Burrill Lake and Sydney between January 2022 & April 2023. Mastered by Mikey Young.
The Scissor Sisters, The Cure, Thick Pigeon, Eiffel 65, Ed Turner and Danilof Center. Du groove, de l’expérimentation, une énergie brute. Ainsi, The 8th Cumming “coupe dans le gras” et bouscule les oreilles avec des mélodies cyberféministes
