Archive for ‘Pop’

octobre 21, 2010

Chromeo – Business Casual

https://babylonburnradi0.files.wordpress.com/2010/10/chromeo_business-casual-cover-500x500.jpg?w=300

http://www.chromeo.net

http://www.myspace.com/chromeo

Origine du Groupe : Canada , North America

Style : Electro-Disco , Pop

Sortie : 2010

On n’a pas si souvent que ça l’occasion de baisser les vitres de la 309 GTI ,de mettre l’autoradio à fond et de faire cracher le boomer en écoutant un bon vieux disque de dance music. L’occasion
nous en est donnée avec le troisième album de Chromeo  qui se présente, tout simplement, comme le disque le plus fun de la rentrée 2010 !

Composé de deux canadiens, Chromeo joue une musique electro funk disco retro, assez irrésistible, comme a pu l’être en son temps celle des Rythmes Digitales sur l’album Dark dancer, ou encore
l’electro pop régressive et jouissive du moins connus, mais non moins fameux, DMX Krew.

Après un fameux « DJ Kicks » paru en 2009, dans lequel le duo « Dave 1 + Pee Thug » faisait valoir ses références disco 80’s, Chromeo revient dans les mêmes dispositions avec un album produit cette
fois par Zdar, alors que les deux précédentes l’avaient été par Tiga.

Guitares Rock FM, rythmes disco endiablés, synthés vintage, refrains et gimmicks hits des clubs estampillé 1985, le duo s’amuse comme un fou avec les clichés 80 ‘s et persiste dans un genre où il
est passé maitre, à savoir l’art du recyclage toujours à la limite du mauvais gout. Mais justement, leur grande force est de ne jamais sombrer dans le mauvais gout et de toujours trouver le
parfait équilibre pour que leur musique reste parfaitement écoutable et digeste de bout en bout. Résultat on écoutera « Business Casual » en boucle encore pendant une paire de jours.

par Pop Revue Express

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Tracklist :

01. Hot Mess (3:39)

02. I’m Not Contagious (3:39)

03. Night By Night (3:44)

04. Don’t Turn The Lights On (4:33)

05. You Make It Rough (7:19)

06. When The Night Falls (Feat. Solange) (3:31)

07. CDon’t Walk Away (3:30)

08. J’ai Claque La Porte (2:25)

09. The Right Type (3:54)

10. Grow Up (3:01)

 

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octobre 21, 2010

Asobi Seksu – Acoustic At Olympic Studios

http://www.onelittleshop.com/contents/image.php?sizex=&sizey=&image[0]=images/products/TPLP1013CD.jpg&

http://www.asobiseksu.com

http://www.myspace.com/asobiseksu

Origine du Groupe : North America

Style : Folk , Pop

Sortie : 2009

What a start to the year Asobi Seksu are having! Not content with releasing the incredible ‘Hush’ album and undertaking a mammoth tour, they slip in a low key release to boot, talk about keen.
‘Acoustic At Olympic Studios’ isn’t technically a full release, it’s only available at the bands shows and the One Little Indian website so truthfully this is a release specifically for the
initiated.

I’d heard about this a while before I received it and have to say that I was sceptical on the whole. Asobi Seksu acoustic? How would that work? Considering the first two albums are chocker full
of multi-layered guitars and the newly released ‘Hush’ is awash with big sounds and sugar coated production it wouldn’t work, would it? The answer is yes and no, the band sound great but you are
left wondering whether some of these tracks really suit the acoustic mould.

It takes a while to acclimatise yourself to the contrast in sound, tracks like ‘Familiar Light’ and ‘Walk On The Moon’ that usually soar into the echelons are now condensed and fragile,
exhibiting a different side to their persona. ‘Gliss’ and ‘Blind Little Rain’ work well as acoustic numbers, Yuki’s haunting vocals are perfectly suited to the minimal arrangements. The acoustic
element allows the music room to breath and the listener to explore aspects perhaps unavailable previously. My only issue is with the BIG songs that somehow seem incomplete without the wall of
sound accompaniment, they feel like they are built to reach that crescendo so when they don’t it’s slightly frustrating.

For the unfamiliar ‘Acoustic At Olympic Studios’ will not endear you to the band and would obviously be a bad place to start. For fans of ‘Hush’ this serves as ideal accompaniment that should be
sought out and persevered with.

by The Music Fix

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Tracklist :

01. Breathe Into Glass

02. Walk On The Moon

03. Meh No Mae

04. New Years

05. Blind Little Rain

06. Urusai Tori

07. Suzanne

08. Gliss

09. Familiar Light

10. Thursday

 

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octobre 3, 2010

The Brunettes – Structure and cosmetics

https://i1.wp.com/detour-mag.com/assets/wp-content/uploads/2007/08/brunettes.jpg

http://www.myspace.com/thebrunettes

Origine du Groupe : New Zeland

Style : Indie , Pop , Psychedelic

Sortie : 2007


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the Brunettes: More guilty of wanton clique infiltration than Ronald Miller, the geek-turned-chic from the campy ‘80s masterstroke Can’t Buy Me Love. With enough Spector pop instrumentation and
lyrical bullcrap (“I wanna be Jimmy Dean / ‘Cause he was bad / A human ashtray in a Jag”) to dry out and fertilize the Tucson lawns our hero Ronald power-mowed, the Brunettes weren’t content with
merely crashing the E6 / Ann Arbor-Detroit indie party—they wanted to filch the scene’s socialites and host next weekend’s gala at their place.

But here’s the rub: It worked. Partly because the Auckland, New Zealand duo are quite adroit at emulating the sonic approach of said peers, bands like Apples in Stereo and Saturday Looks Good to
Me. And partly because the Brunettes are self-aware of their fetish for U.S. pop culture (“It’s no secret that when I sing,” chief songwriter Jonathan Bree confesses in “The Moon in June Stuff,
“I like to sound American”). In “Summer Love,” Heather Mansfield croons, “And when it hits December / I want a love to remember,” leaving one to scratch their head over an apparent seasonal
mix-up before realizing, well, they are from New Zealand.

The husband / wife team of Bree and Mansfield finally penetrated indie’s inner sanctum in 2005, nabbing tour dates with the Shins and inking a deal with U.S. independent giant Sub Pop. A
recording stint at the most faddish of indie haunts then followed (Portland, Oregon), resulting in the twosome’s third LP, Structure & Cosmetics.

Desperate quests for upper crust acceptance are only absolved by what the individual finally does with their newfound rank. If you’re Ronald Miller, you lob shitbombs at best bud Kenneth Wurman’s
house. If you’re the Brunettes, you deem the classic, three-minute, get-in / state-your-peace / get-out pop gem—a staple on your two previous releases—too confining (seven of nine tracks check in
at four minutes plus), trading in your lo-fi leanings for woah!-fi puffery. I’m still trying to decide which is the more egregious of the two.

The overwrought, choir-like vocals on “Brunettes Against Bubblegum Youth” is nothing more than Polyphonic Spree apery. The approach is repeated at the onset of “Stereo (Mono Mono)” before
withdrawing quickly, allowing for other recording mishaps to take the fore: Mansfield and Bree’s cringey, we-just-discovered-stereophonic-sound! exchanges and a rather drawn-out, sodden coda.

Bree’s compositions are always heavy with texture, but the high points on Structure & Cosmetics emerge when the song’s thick fabric doesn’t fully swaddle its brio: “Small Town Crew,” the
guitar picking and Mansfield’s poignant vocals calling to mind vast swaths of the Sarah Records catalogue, and “Obligatory Road Song,” where the layers of multi-tracking never sap the track’s
roseate energy.

There’s also less pop culture moseying: fewer mentions of Gidget, the fun-fun-fun Brian Wilson, ‘57 Chevys, and Rebel Without a Cause-inspired jaunts to the planetarium. On previous efforts,
“Wall Poster Star” would be treated as a honeyed hosanna to the day’s American idols; on Structure & Cosmetics, it’s noticeably darker: over a reverb-drenched melody, Mansfield touches upon
stardom’s frailties with a chorus of, “Down, down they come / Wall poster star.” And “Credit Card Mail Order” finds Bree covering rather doleful themes in his customary throaty manner: “You
bought in / And you sold out / But girl you need love.”

Structure & Cosmetics is the sound of an act attaining in-crowd status, and then quickly illustrating both sonic and lyrical maturity to justify the open-arms acceptance. We don’t expect the
Brunettes to be retreating to Ronald Miller-like obscurity any time soon, but a slight return would be welcome.

by Ryan Foley

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Tracklist :

1 Brunettes Against Bubblegum Youth 4:15

2 Stereo (Mono Mono) 5:03

3 Her Hairagami Set 4:39

4 Credit Card Mail Order 4:11

5 Obligatory Road Song 4:13

6 Small Town Crew 3:53

7 If You Were Alien 4:28

8 Wall Poster Star 3:35

9 Structure and Cosmetics 4:35

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août 31, 2010

Takako Minekawa – Roomic cube

https://i2.wp.com/i161.photobucket.com/albums/t215/ptcs-photies/RoomicCube.jpg

Note :

http://www.polystar.co.jp/takako/index2.html

Origine du Groupe : Japan

Style : Alternative Fusion , Electro Pop

Sortie : 1996

From Wikipedia :

As an accomplished all-around musician, Minekawa’s musical skills set her firmly outside of the J-Pop « idol » tradition: she writes and composes most of her material, singing quirky lyrics about
subjects such as clouds, cats, and the color white (her personal favorite), with her love of Kraftwerk  and French Pop Music[1]  also showing through her unique experimental sound. She
often makes use of vintage Casio  keyboards[1]  and analog Moog synthesizers,[2]  as well as vocoders and other electronic instruments.

Her live debut was in 1990, calling herself Mamene Kirerie as a member of the group Fancy Face Groovy Name alongside Kahimi Karie and backed by Flipper’s Guitar. She was also a member of the band
L⇔R before releasing her solo debut, Chat Chat in 1994.[citation needed]

Although as a child Minekawa had a short acting career, this interest has not resurfaced in her adult life (aside from her voice exclaiming « PlayStation! » in a recent commercial for the
product).[citation needed]

She has written professionally, as regular columnist in the Japanese edition of Keyboard Magazine; she also contributed a serialized novel to the Japanese quarterly Bungei.[citation needed]

She married fellow musician Keigo Oyamada (aka Cornelius) in 2000.[3] The pair have collaborated on several projects. Cornelius remixed some of her songs, including the well-received « Milk Rock ».
He also produced her album Fun9.

Tracklist :

   1. « Sleep Song » – 3:01

   2. « Fantastic Cat » – 3:58

   3. « Never/More » – 4:17

   4. « Klaxon! » – 4:28

   5. « Wooooog » – 3:53

   6. « Dessert Song » – 2:59

   7. « Destron » – 3:57

   8. « Pop Up Squirrels » – 0:27

   9. « 1.666666 » – 6:24

  10. « Rainy Song » – 2:19

  11. « T.T.T. (Turntable Tennis) » – 2:05

  12. « Black… White » – 3:16

  13. « More Pop Up Squirrels » – 0:49

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avril 1, 2010

Norah Jones – The Fall

https://i2.wp.com/static1.purepeople.com/articles/5/44/77/5/@/322523-norah-jones-the-fall-637x0-2.jpgNote :

http://www.norahjones.com
http://www.myspace.com/norahjones

Sortie : 2009
Style : Folk , Pop , Jazz

Tracklist :
1. Chasing Pirates
2. Even Though
3. Light As A Feather
4. Young Blood
5. I Wouldn’t Need You
6. Waiting
7. It’s Gonna Be
8. You’ve Ruined Me
9. Back To Manhattan
10. Stuck
11. December
12. Tell Your Mama
13. Man of the Hour

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Disons-le d’emblée : ce nouvel album de Miss Jones, son quatrième, constitue son meilleur disque jusqu’ici. Pourquoi? Parce que les 13 pièces du cd (il y en a six supplémentaires, enregistrées devant public, sur l’édition de luxe) dévoilent une chanteuse de 30 ans qui en a marre d’être étiquetée comme une artiste lounge ou jazz. Oh, bien sûr, comme on s’y attendait, l’ambiance générale de The Fall en est une feutrée et douce, mais on retrouve parfois des moments nettement plus rythmés et surtout une impression de prise de maturité de la part d’une auteure-compositrice-interprète qui veut désormais faire partie des grands sans singer (même involontairement) les grands. Bref, avec The Fall, Norah Jones, très inspirée, nous laisse savoir qu’elle a expressément pondu le genre d’album qui consacre une carrière, déjà joliment établie dans son cas.

L’opus commence avec l’excellente Chasing Pirates et se termine avec une compo pleine d’esprit, Man Of The Hour. Entre les deux, la voix chaude de Norah se charge de rehausser les mélodies efficaces sans être envoûtantes, et l’artiste s’assure ainsi de gagner une fois de plus à sa cause ses fans, qui seront charmés à coup sûr. Dans le cercle des critiques de musique dite «pop adulte», The Fall sera indéniablement considéré comme un des fleurons de 2009.
par Richard Legault
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mars 4, 2010

AM And The UV – Candy Thunder

https://i2.wp.com/www.beatservice.no/bs072.jpgNote : +

http://www.lastfm.fr/music/AM+and+the+UV

Sortie : 2004
Style : Electro , Pop , Vocal

Tracklist :
01 In this kiss
02 Everybody’s girlfriend
03 Whisper
04 Mysterin
05 Candy thunder
06 Speak
07 Wonderful, beautiful
08 Lovegood
09 Alone again
10 Spacedust
11 Everywhere we go
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PREVIEW

Introducing Anne Marie Almedal, the heart-breaker voice and sensual spotlight of norwegian indie heroes Velvet Belly (Boilerhouse/RCA). The girl you’ve been in love with, but never met. Now joined forces with anglo/arctic electronica pioneers Nicholas Sillitoe (Illumination, Chilluminati, Ultraviolet & Café del Mar fame) and Ken Theodorsen (super sonic studio wizard, also recording as Ultraviolet). Together at last…AM and the UV For this long awaited album debut, Anne Marie and her cult collective deliver an elysian bliss of pop cinematics, a sublime selection of addictive chanson – written and performed by a nonchalant artiste ready to make her finest statement yet… AM and the UV first made waves with their space-echo overdose Everybody’s Girlfriend, the opening track on the Way Out North compilation released in conjunction with Jockey Slut. Two stunning EP’s have followed, Tomorrow Is All Like Flowers, and Silently The Birds Fly Through Us – all seductive teasers for the album masterpiece… Candy Thunder. Pop where it really ought to be, in a post-millennial melodic haze of scandinavian electronics, classic acoustics, timeless songs and bitter-sweet attitude. the true new cool of Norway.
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