Fantômas - The Director's Cut (2001)
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Fantomas stand with their feet planted horizontally across the soft dimensions of your face, warping the shape of your skull and shoulders with their off-color explosions. With expectations withering on the floor, leaving a viscous stink, nothing in their hands is concrete. As a follow-up to their 30-song debut, throughout which vocalist Mike Patton never formed a single actual word, Fantomas offer these 16 new creations, all realigned versions of film soundtracks, ranging from the notorious theme to Rosemary's Baby to the obscure and peculiar wank of Henry: Portrait of a Serial Killer. While there are many similarities to the dispersed flip-flopping styles of their earlier work, The Director's Cut breaks new ground with a thick jagged axe. First, most noticeably, are the even more varied vocal stylings; Patton's sweet croon on "Experiment in Terror" is nothing you've heard before from him on a Fantomas recording, along with many of the other croaking, spitting, pissing, screaming noises he excretes. Yet another testament to the unabashed genius of Mike Patton and his co-conspirators, leaving those caught up in the rapture with mouths even more full with thick drool."
(Blake Butler @ allmusic.com)
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Una Corda - Proper Position For Floating [1881]----> cest ici que ça se passe <----
Una Corda hail from Birmingham, UK, and the self released Proper Position for Floating (1881) is the band’s first effort. The five piece curiously features two bassists, who typically play in different octaves (remember Ned’s Atomic Dustbin? Oh, well, anyway, they had two bassists). The four songs on the twenty-three minute EP are essentially untitled, only referred to as “One” through “Four”. The band’s addictive airy, melancholy post-rock meditations indicate that Una Corda may soon receive some visits from labels. Other than Fall of the Idols’ Agonies Be Thy Children, this is the best self released album I’ve heard this year. Not that it sounds like a homemade job, the production is outstanding for an unsigned effort.
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Tera Melos - Drugs To the Dear Youth (2007)intrumental rock
http://www.myspace.com/teramelos----> cest ici que ça se passe <----
One of the reasons, if not the biggest reason I went to see the Fall of Troy recently was so I could get my hands on a copy of the new Tera Melos EP,
Drugs to the Dear Youth, which the band decided to release only on vinyl. Needless to say I was excited to get home, get a joint out and let this record spin as I consider their self-titled debut to be among the best releases of 2005. Jagged riffs, constant time changes, and a very At the Drive-In type sound made that album a great record.
Drugs opens, much like their self-titled album, with an electronica track called "Ambassaders of All That Is Good." The difference between the elctronica elements of their self-titled album and the bits of electronica on this record is that where the first release seemed to contain a lot of pointless dabbling,
Drugs actually uses these techno elements to move the album along. Up next is a long cut called "40 Rods to the Hog's Head." I can't say how long this track is since vinyl doesnt have a time meter on it, but it's long, and sets the pace for an album that finds the band dipping more into their free-form jazz elements and ditching some of the post-hardcore elements of their debut.
"Guy vs. Sniper" and "A Spoonful of Slurry" continue the exploration of the jazz form. There also seems to be fewer chords played in favor of more finger picking and scale work, which on this album works well. There are a few times on the album where the sounds start to become disjointed and you think Tera Melos might be losing it, but then WHAP!, the band comes right back together and things get tight again. In my opinion, there aren't many bands better at doing this than Tera Melos. Next is my favorite track "The Werewolf and Ben"; the drums and bass take a bit of a background role as the guitar works stays slow and trippy. Did I mention this is a good album to listen to while enjoying your illegal substance of choice? Finally, the album closes out with "(Is Good for What Ails You)," which I believe has some kind of connection to "A Spoonful of Slurry" as the back of the vinyl cover has an arrow pointing from that track to the other. That last track is a short but sweet one which acts as more of a techno-flavored closer to the album. Take "Melody 1" and the end of "Melody 5" from the first album and throw them in a bag and "(Is Good for What Ails You)" is what you get.
Overall I like this album; it's not anywhere near as heavy and jagged as its predecessor, but
Drugs to the Dear Youth is still a very distinct Tera Melos sound. I believe the band has done a great job of expanding on the quieter aspects of their music and focusing a little more on the ambient than on the melting your face...which is something still available, much like
Drugs to the Dear Youth, via their live show.
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Earth - Hibernaculum (2007)----> cest ici que ça se passe <----Earth is an American drone band based in Seattle, Washington, formed in 1990 by Dylan Carlson, Slim Moon, and Greg Babior. Although they have played various styles of music, they are best known as pioneers of a minimalistic, long and repetitive form of heavy music known as drone. To a lesser extent their sound is referred to as doom metal. Earth however, has little to do with metal - at least in their current sound. Their early albums could be seen as a variation of the experimental doom-influenced metal of The Melvins.
Dylan Carlson has been the driving force within the band and has remained the core of an ever changing line-up. Outside of the underground music world, Carlson is perhaps best known for having been the best friend of grunge music icon Kurt Cobain and at the request of Cobain, purchased the infamous gun (for home protection; not suicide) that Cobain allegedly used to commit suicide with. [1] After Earth had moved to Seattle, Cobain sang lead vocals in the song "Divine and Bright", from a demo included on the re-release of the live album Sunn Amps and Smashed Guitars.
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Giant Squid- Metridium Fields (2006 re-recording)----> cest ici que ça se passe <----Fans of the anthemic pop hits on today's radio would probably not enjoy Giant Squid. But fans of stoner rock, jazz-fusion, and classic rock progression will absolutely love their sound. Giant Squid is gaining attention for their live shows as well as recorded music and one listen to 'Metridium Field' will make it clear why. These guys are good players, plain and simple, and not bad songwriters either. They are also not as technical as some modern progressive artists are, so a non-musician can actually listen to it and not feel insane. For kicking back and enjoying a most likely inebriated afternoon, these guys are the perfect listen.
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Neptune - Patterns (2006)http://www.myspace.com/neptuneandjupiter----> cest ici que ça se passe <----
Trio de Boston d'amérique du nord qui fabriquent tout seuls leurs instruments avec du métal et du plastique. très chouette disque évoluant entre rock dansant mais froid et impros de bruit. pochette sérigraphiée.
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65daysofstatic65 days of static (also known by the abbreviations 65dos, 65days, or simply 65) are an instrumental math rock and post-rock band from Sheffield, England. Their debut album, The Fall of Math, was released to critical acclaim and they have released a second album, One Time for All Time, which has been well received.
The band intersperses heavy, progressive, guitar-driven instrumental sections with live drums and off-beat sampled drums akin to those of Aphex Twin. Their albums, as a result, maintain a distinctively gritty, almost industrial feel.
| One Time For All Time (2005) |
(mediafire)
| Radio Protector 7" (2006) | 
(mediafire)
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Amon Tobin - Collaborations & Verbal Remixes | 
(mediafire)
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Rosetta - The Galilean Satellites (2005)
http://rapidshare.com/files/14229925/Rosetta__2005__The_Galilean_Satellites.part1.rar.html
http://rapidshare.com/files/14231149/Rosetta__2005__The_Galilean_Satellites.part2.rar.html
Dans cette chronique je distinguerais deux types d'explorateurs. Les explorateurs intérieurs comme ce cher Sigmund et toutes ses théories sur l'inconscient et le pourquoi du comment que quand on est petit on aime tous beaucoup notre maîtresse et toutes notre prof de sport. Et puis les explorateurs extérieurs, ceux qui parcourent le vaste monde à la recherche de nouveaux territoires, de plantes et d'animaux mystérieux. Et bien pour moi, je distingue les groupes de "post hardcore" (excusez l'emploi de ce terme déjà trop utilisé) en deux catégories similaires. D'abord les groupes inspirant une exploration intérieure comme Neurosis ou Cult of Luna, ceux qui vous plongent dans vos psychoses ou dans vos tourments pour en ressortir plus fort, ou en tout cas plus instruit. Et puis ceux dont les mélodies et les pulsations font voyager l'auditeur en dehors de son corps pour admirer l'extérieur avec un autre oeil, des groupes comme Isis ou Rosetta. Du moins c'est ce que je ressens et cela me semble être une comparaison pertinente puisque le thème de the Galilean satellites, comme le précise le groupe dans le digipack, est un astronaute. Un autre grand explorateur des temps moderne qui est partit voir ce qu'il y avait au dessus de la tête de Christophe Colomb et autre Vasco de Gama.
Cependant, le rapprochement avec Isis n'est pas (malheureusement) réservé à la thématique mais aussi à la musique. En effet, en écoutant ce premier effort je n'ai pas pus m'empêcher de songer a un album perdu que la bande à Aaron Turner aurait enregistré entre Oceanic et Panopticon. Mélodique sans jamais être aussi proche du post rock que l'est Isis sur son dernier album et toujours assez lourd, voir peut être autant qu’à l'époque de Celestial. Ce n'est jamais une tache réjouissante pour moi que de fonder une chronique autour d'une comparaison aussi simpliste et cela ne donne pas une très bonne opinion de l'artiste. Surtout quand il s'agit d'un groupe qui a manifestement plus a offrir qu'un simple ersatz surfant sur une vague de hype. Car bien que la comparaison entre les deux entités soit valide, elle n'est pas fort heureusement pas une fin en soi. Tout d'abord, le jeu des musiciens est beaucoup plus dense. La batterie surtout se veut plus puissante et beaucoup plus variée. Les guitares sont beaucoup plus agressives sans jamais perdre de vu l'aspect rêveur de la musique et la voix ne s'aventurent jamais dans un territoire chanté. Les hurlements gutturaux sont donc de la partie pendant toute la durée de l'album mais ils ne sont jamais lassants car les paroles sont ici plus compréhensibles et accrochent donc plus l'oreille que celles, souvent étouffées par la distorsion, de Mr Turner.
Et puis il y a le second CD. Oui, il y a un second album, je ne vous l'avais pas dit ? Donc oui, deux albums pour le prix d'un, et ce n'est pas une opération promotionnelle. Tout comme Neurosis pour les albums Grace et Times of grace, ce second CD est à jouer en même temps que le premier afin de donner une nouvelle dimension à celui ci. Et alors que je m'étais arrêté à cette image de groupe Isis-like, agréable et prometteur, autant vous dire que l'écoute de ce deuxième album m'a fait réviser ma copie. Ce n'est plus du tout le même groupe qui se dévoile et se déroule des enceintes mais une entitée beaucoup plus dense et fouillée. En fait, si Rosetta avait sorti cet album avec les deux albums mixés en même temps, je ne sais même pas si je les aurais classé en post Hardcore tellement il y a là une autre dimension bien loin du son Isis. Et je dis ça sans pour autant cracher dans la soupe, j'adore Isis. Mais Rosetta est un être différent et ce Galilean satellites mérite tout le bien que l'on a pu dire de lui dans les milieux autorisés quand les deux albums font corps. Toutefois, cette écoute étant tout de même réservée au plus patient d'entre vous, je ne sais pas si je peux recommander totalement cet album comme une merveille à ne pas manquer si l’on est juste intéressé de loin par des artistes jouant avec ce type de sonorités. J'ajouterais tout de même que malgré ma comparaison avec la vague post hardcore très à la mode en ce moment, Rosetta fait partit des groupes qui usent des « règles du genre » pour faire quelque chose de personnel et qu’ils auront et ont beaucoup à offrir, bien que leurs influences soient encore trop évidentes.
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The directorial debut from one of the screen’s greatest ever directors – Akira Kurosawa. Sugata Sanshiro is the tale of the emergence of the fighting art of Judo in old Japan. Set in the late 19th century, the film follows an awkward young man Sugata and his quest for knowledge. After witnessing some Ju-Jitsu bullies beaten by a man with a new fighting style, Sugata yearns to learn the emerging art of Judo. As Sugata aims to beat the Ju-Jitsu masters he also fights a battle with his inner self.
