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Christmas Number One

In England, the ranking of best-selling singles the week of Christmas has always been of great importance, thanks to Top Of The Pops on BBC importance the French Top 50, even in its heyday n ' has ever had. No wonder

so that all media will be English fans this week for the unlikely duel between

- to my left, Joe McElderry , the winner of X-Factor, a sort of Star-Ac on ITV, a transparent type as warm water, which takes The Climb, a song by Hannah Montana, terrible combination of two poisons killing a slow pop culture: Walt Disney and reality TV. The total horror.



- to my right (unless it's the reverse), well known Killing In The Name of Rage Against The Machine, a time of worship song Lovin 'Fun on Fun Radio and powered past few weeks bastion of "real music" against "the domination of the charts by the reality-karaoke" thanks to Facebook campaign launched by an anonymous wanted to see the smile disappear slicked (yes), self-satisfied Simon Cowell (Machiavellian prince who presides over the destinies of X-Factor and American Idol).



People History will record that Rage Against The Machine won, that this victory marks the emergence of a power-cons related to the Web cope with heavy machinery on private television, but in fact I am afraid that this whole affair has finally left only losers.
- Joe Machinchose that is deprived of his pacifier in chocolate, which is unfair when you think all the previous winners of X-Factor, equally uninteresting to him (at least at the time, I forget here Bleeding Love Leona Lewis of ) have had this lollipop.
- Tom Morello , the leader of the extreme left of RATM, which proved to be a cause aging has-been only too happy to exploit this ad nauseum unexpected ( his Twitter page is particularly depressing).
- Simon Cowell himself, Svengali painful and altogether harmless, must be delighted to be persecuted and high symbol of defiance of middle and upper classes to the simple tastes of the people.

How sad.

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My first time ... Sorry

... When I first bought a 33 rpm Francophone



... When I first bought a 33 rpm Anglophone



... When I first bought a 45 rpm (one of the few 45s I ever bought elsewhere), with the voice of Sandra, an icon if it is from this period:

http://www.youtube.com/watch?v=FfRAiTtOVEY

... first memory of clip:



Basically, I screwed up childhood.

Green And Pink Wedding Favors

applet Twitter seems to have been hacked. Tweets appearing in the right column are not mine. So I removed everything. You just have to go follow me on Twitter Live if you want.

And I have a dual reporting the Nits to write.

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This is very good



A white mixed voice far forward, Ultravoxienne an intro, a haunting mid-tempo, a refrain in suspension which resolves itself gradually into a long crescendo of layers, a guitar solo on the edge of the contry ,.... This piece has everything to please me. I know nothing Hurts , except that Popjustice loves and they are from Manchester. But do we really need to know more about a group to love his music?

The last time I was so thrilled for a song that came out of nowhere, it was in 2002. Already a clip black and white male English already a duet, a song already plying between pop and electronica.

I am very predictable actually.



At the time, when I predicted that this song would be a worldwide hit, it did not market. I've never heard of Syntax nowhere, not even in Inrocks (though still quite fond of trip-hop at that time). Hope that my enthusiasm is not new to the premise of a predicted failure.

PS: For those who do not follow me on Twitter, I want to RESIGNAL interview with Liz Fraser in the Guardian.

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+ The Big Pink The Germans, Ancienne Belgique, November 3, 2009

It was time that I was no longer entered the small hall of the Ancienne Belgique Club, at least three years I would say. Is it because my tastes have become more mainstream and the artists that interest me are now playing in larger venues, or more generally because the experience of live tempt me less than before? A bit of both probably. Yet, although I felt a little door at odds with the public already present, the case that I have been obliged to return from work did not help, I found some fun with this confined atmosphere, which reminds me of some concerts of Godspeed You Black Emperor, The Kills, Patrick Wolf or Sunn O ))).

The reason for my presence is Big Pink, London duo carried by a buzz that does not weaken (Google queries leading daily on this blog attest) and whose first two singles me everything both recalled an entire segment of the indie music of the 90s (somewhere between trip-hop, shoegaze of Slowdive and indie tinged crapoteux Electro of The Wolfgang Press ) and seemed totally original. This enthusiasm had initially been amplified by their signatures on my favorite label 4AD before falling back somewhat to listen to the album, not entirely convincing to the length.

But first things first is to say the first part provided by The Germans, Dutch-Belgian group, whose post-rock based on repetition and stacking layers of sound to me quite frankly in 2009 seemed a little anachronistic (or blows me parachronique Webster). There are a few ideas here and intriguing in including the use of voices, and the drummer is doing pretty well, but overall I thought it was pretty feeble. Yet I thought for a moment that would take the last piece on the wire my membership, with its icy synth line on which a monotone chant came a few desperate words. Alas, soon enough, the song falls into the shortcomings of the above. The tempo racing, bassist surbouge and the public goes back to sleep. Worse, we dig up the keyboard as a symbolic gesture of a rogue its ultra-low falling like a hair in the soup and return to very nearly the stomachs of all the public, which was undoubtedly the goal continued but hey, is not Sunn O))) which means I have to admit that the end of the set appeared to me as a deliverance.

then begins the ballet of the roadies setting up the gear, including racks of pedals to LF, while the smoke is injected into continuous streams into the room, so much so that one ends up wondering if the room will still contain enough oxygen for the survival of the public during the concert. Spot tests, ostentatiously aimed directly at the faces of the public also seem to indicate that the effect sought by technicians is a sunrise in the fog, which would not be so bad if this foggy had also presided over the sound balance.

Indeed, when the group enters, it immediately to erect a wall of guitars and bass that even the blows of the threshing machine, will never break down. The voice was at times covered so that it became difficult to recognize songs played. Too bad because, like listening to the album confirms, their best songs are chiefly for the way the singer's plaintive voice combines with blips, electronic effects and changes of atmosphere that dot the songs. If we add a communication with the public for close to absolute zero the very small hours of the concert, it is difficult not to come to the conclusion that the group has absolutely nothing to offer live. A missed opportunity.

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A-Ha, Ancienne Belgique, November 11, 2009 Five

I remember quite a lot of my first concert of A-Ha. It was already at the Ancienne Belgique in 2003 for the tour Lifelines. Survives only the memory of my enthusiasm for great baby face one of the leading bands of my twelve years, I never expected to see him live, tempered by a slight disappointment that they did not do a little more effort: its a little hot, rough arrangements, little communication with the public, tired voice. When a new concert at the AB was announced a few weeks ago, so I hesitated a bit before buying my place, to let me finally convinced by listening to some songs from the new album, which seemed to mark a return to sound synthetic pop of their (excellent) debut album. Took me well as a few weeks later, the group announced its future separation. So there's a good chance that this is the last concert of them which I have the opportunity to attend. Sniff, looks Beigbeder!

When I get to the room at 19.10, I see that Nadar Barriers have been placed on the sidewalk in order to channel the crowd wanting. It the first time that such precautions are taken to a concert I attend. Although it's been almost 20 years since A-Ha is a group more popular, organizers have planned a superstar device, which is probably deserved the world saw this 80 minutes before the concert. I sit in the queue, which fortunately advance fast enough. Once in the lobby, there is the question of placement. Will I put myself in the pit, as close as possible to the scene, as usual, or otherwise settle in the stands at the back of the room, just to soften the disappointment that I feel afraid already? I finally decided to put me in the pit and wait standing for the full hour of waiting, while listening to talk fans around me. The fan of pop music that I'm actually rather rarely attends concerts and I like pop, when the opportunity arises, discuss the public listen and see how it differs from the indie concerts: older (in their thirties average), enough pop to him, less indie-kid hairdos English, more ponytails and cutting mat, under t-shirts and more Kraftwerk held office workers, teachers and / or secretaries, a less jaded and come in just to have fun with friends. Many foreigners also, especially the French, whose some had attended the concert in Paris on the eve of (the community of French fans of A-Ha is surprisingly active and well organized ).

Once the lights, it seems clear that this concert will not be as rudimentary as that of 2003. An intriguing introductory soundtrack , a merging of synths disturbing and ragged voice makes it clear that this show was conceived as a true spectacle, and not simply as a sequence of approximate interpretations of excerpts from their repertoire. These laudable intentions are confirmed when, after the curtain raiser, the organization the scene is revealed to the public: maximum size, with the bottom covered with a giant screen on which succeeded each other for two hours still images, videos, live big shots, etc. .. The lights are also very successful.

Another pleasant surprise: the sound is perfect, with a very clear mix. The three band members are accompanied by two musicians on stage and it is difficult to say who does what. Clearly Magne Furuholmen not play everything live (the riff of Take On Me for example, is clearly pre-recorded, but that of Train of Thought seems to be interpreted locally) and if Pal Waaktaar keeps his guitar slung throughout the concert, it is sometimes difficult to distinguish what he really plays. Therefore, perhaps to silence the annoying (which I'd be very sorry to part), they are allowed a brief acoustic interlude in mid-concert, including if I remember well And You Tell Me and Velvet. That said, all these considerations matter. I was not there for the piano lines Magne (would not it have been funny he is a member of Depeche) or Pal guitar solos, but to listen and sing Morten was the balance of this perfect point of view, was the pride in her voice, set very forward.

Let's talk, moreover, that voice that I got used to characterize second-best tone of the music world (after the unattainable Lisa, of course). At this point, my unfailing honesty compels me and my objectivity land malhereusement to mention that the voice of Morten Harket , no longer quite the same souflle epic agility in the same registry changes as in the years 80. His falsetto in particular has lost its harmonics and sounds less full, more forced. Having said that, although the show on stage, we tend to forget (they have virtually not changed ... I surmises that somewhere in an attic in the suburbs of Oslo, a group portrait in their stead suffered the ravages of time), keep in mind that all these people kindly approach the half century and that it is quite admirable that, at fifty, Morten can still remonstrate to 95% of contemporary singers, especially since his voice type is not a priori the best aging (Stuart Staples is randomly this view quieter).

To continue the good news, the set-list is small onions and gives pride to the first two albums, and the youngest, the frankly very good Foot Of The Mountain . So of course, we may regret the absence of Living A Boy's Adventure Tale of I've Been Losing You or The Weight Of The Wind (which would all have advantageously replaced Velvet ) but hey, most of Tube-tracks and albums are just unavoidable. I confess with shame just claimed that intros Scoundrel Days Dream Myself Alive or gave me goosebumps.

Finally, I would say that Morten and Magne, very smiling, seem quite happy to be there (it's less safe for Pal, more sullen), perhaps feeling more comfortable with their status of aging pop stars after falling agree to dissolve the group in January 2011. Germany is one that communicates more easily, trying to French, and even a few words of Dutch, when the public calls. No mention is made of a possible return to Belgium for their farewell tour. The only real disappointment of an evening that left me gently euphoric. I'm more a fan now that two weeks ago. Proof? I listened to it again by writing this three albums recorded between 1990 and 2003, those I thought there was nothing to save and there have unearthed five pieces that I really like. Like what. Until a day perhaps, I launched here in an annotated discography of the band, I'm going to iron the next two albums. Maybe I should succeed even listen Analog with a new ear and reassess upward an album that left me at the time the memory of a huge misfires? Who knows. After a concert like this, anything is possible.

Setlist:

- The Sun Always Shines On TV (Hunting High and Low)
- Riding The Crest (Foot Of The Mountain)
- The Bandstand (Foot Of The Mountain)
- Scoundrel Days (Scoundrel Days)
- Stay On These Roads (Stay On These Roads)
- Manhattan Skyline (Scoundrel Days)
- Hunting High And Low (Hunting High and Low)
- The Blood That Moves The Body (Stay On These Roads)
- I Dream Myself Alive (Hunting High and Low)
- And You Tell Me (Hunting High and Low)
- Velvet (Minor Earth, Major Sky)
- Train Of Thought (Hunting High and Low)
- Sunny Mystery (Foot Of The Mountain)
- Forever Not Yours (Lifelines)
- Shadowside (Foot Of The Mountain)
- Summer Moved On (Minor Earth, Major Sky)
- Foot Of The Mountain (Foot Of The Mountain) ----

- Cry Wolf (Scoundrel Days)
- Analog (Analogue)
- The Living Daylights (Stay On These Roads) ----

- Take On me (Hunting High and Low)

(and I still have four more drafts of the minutes of the net to put together)

Transfer Pension Ireland To Australia

In a note, you'll get three good news, a link and a first impression . Are you ready? Here we go. Good news

1: The Tindersticks have reformed. Good news
2: They signed to 4AD.
link
3 Good news: A song of the album is downloadable in preview at the link above
First impressions: It starts well and then Stuart and his band tries renew themselves eyeing the side of Arcade Fire and introducing male choruses that seem at first somewhat questionable. But hey, I'd be lying by saying I am not happy to hear again.

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a Good Halloween from Dangerous Muse

http://tinyurl.com/yctl9j9

Vomiting After A Fall

Plan B for Plan Jeremy B

Most readers of this blog may recall that I had inflamed as a Cube Zip in 2007 for the album Plan B, a British rapper who seemed to have reached musically (if not necessarily in the lyrics any more) a kind of perfect balance between vocals and musical accompaniment, mostly acoustic.



Anyway, as often when I inflames (Lupen Crook, for example), the world takes a perverse pleasure in raining on it (why? Why? Is it Because I Lied When I was 17?) so the disc did not work. Bah! My good guy Ben Drew has more than one string to his bow, and he returns this year with a disc which adds to his usual rap that sounds like a piece furiously retro garage to the Hives ... and any different than any of his first album, I still find it amazing (my loyalty is unmatched in admiration). The song is listenable here or on his myspace page .

Whenonecanstartyogaaftergallbladderoperation?

If the video quality is judged by the value it brings to the song, Jeremy of Pearl Jam is one of the best Clips of the last 20 years. Musically, the band leaves me indifferent and the song itself is not exceptional (although this is by far one of my favorite Pearl Jam and if the voice of Eddie Vedder is rather interesting) but the combination of words, images and real news story on which the whole is based in fact an exemplary witness of its time (1992) and what was then the MTV culture, and protest rather iconoclastic and far from the glorification of consumerism and conformism of reality shows who are now bottom of the chain of commerce (Paris Hilton and others).

To be honest, this is an hour that I hum "Jeremy spoke in "correcting my exam papers and asking me if I become more severe or more lenient in my quote.

Finally, I realize now reviewing those images that I had in time misunderstood the end of the clip which, in its ascent to MTV, suggesting that Jeremy had gun in all directions, "the Columbine" when in fact, he shoots himself in the head, which goes to I think the video even more 'high'.

No, really, it's great art.

(this post is brought to you by listening to my Ten album, bought on sale five years ago though, but listened for the first When there are few)

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Vintage Nits



I have my concert ticket leyur Huy November 18 ... I wonder if I should also take one for December 10 at the Botanique.

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For those interested in the thing, the NME Videos identifies the most "exxxplicites" recent years.

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Link of the Day "The boy is doing fine" Klaus Schulze & Lisa

Until my next report of the concert at the Botanique Patrick Wolf:

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Gerrard, AB, 25 septembre 2009 (II)

(this is the sequel to this post )



I have rarely seen the Ancienne Belgique present an average age as high. A rigorous sociological study of the spectators are visible from my seat teach me that the average viewer was paunchy, wearing glasses and her hair looked with despair bleaching and / or disappear (straw, hollow, toussah).

The managers of the Ancienne Belgique familiar with their work, the room is configured for "music old "(as Lambchop, Sigur Ros, etc..), which means that two-thirds back from the pit are lined with bench seats. So much the better, the program announces first solo part for and Klaus Schulze the prospect of me lulled by its enveloping layers, prostrate snugly in a soft armchair, tempts me enough. There will always be time to prostrate myself at the feet of Queen Lisa during the second half.

When the curtain opens at 20:30, the scene has five enormous diffuser amps arranged in an arc of a circle and covered buttons to push, pull sliders, dials to turn and small lights flashing. Given the space thus defined are left and right in the middle of synthesizers and a Moog and a Mac. Amidst all this, a leather seat and sat on it, a guy with glasses, wearing ill, in jacket and shirt, thanked the public for its reception by a small wave of his hand ... (Same as what the legends can also look like sellers of household appliances.)

The large size of the whole machinery evokes a curious modern feel cheesy. Almost as if, with full consciousness of being a product of the 70s and quite confident in her status does not feel obliged to pretend to adapt technologies current, Klaus Schulze had bravely refused to replace most of his stuff at the time (except Mac). This refusal to participate in the race towards miniaturization in electronics rather nice to me.

Musically, it starts rather badly by a few voice samples that Klaus Schulze seems stacking member in common sense with the synth on its right, alternating it is unclear why the very acute and very serious. And I think an anxious that this is not because we invented a style and make records that worship is able to improvise and live
maybe an hour and a half concert would be composed of bits and pieces assembled with a trowel. Fortunately, this introduction failed only lasts a few minutes and Klaus Schulze takes place at the other end of the bunker. Immediately, it is clear that further consultation will be built and soon the music is close to what I expected: the flat sheet which follow one another like waves on a foam float which consisted of beats mid-light tempo and some lovely arpeggios. It's very nice, although one can not help thinking that compose and / or interpret these things should no longer require much effort, Klaus friend that does this only apply the techniques he introduced in the past and might as well stay at home (Klaus?) and ask a roadie to press Start at the beginning of the concert . Moreover, anecdotes, this is exactly what happened during a date in Essen in Germany a few days earlier
. KS, suffering, had been forced to stay in bed and Lisa Gerrard had assured the concert alone on stage without any problem seems to be logistical.

After a quarter of an hour, a long decrescendo in which the different layers of sound disappear one after the other seems to herald another phase of the concert, and indeed in contradiction with the official schedule, Lisa appears in a red evening gown, and took the microphone to the left of the stage.

See Lisa Gerrard singing is always an experience for me as strange: his eyes closed or turn abnormally bulging, his eyes fixed and hallucinating, his placement slight angle relative to the axis of the microphone, this surprising tic who regularly put his hand on the base of his microphone, perhaps to make sure it is always at the right distance, the slow swing from left to right her head when she wants to create a vibrato effect. Only by seeing her sing live that you understand how his art is also the result of an ongoing effort, the result of long years of work and development. Vocally speaking, Lisa appears here in full possession of his means. She found even at times some form of emergency in the voice that reminds Dead Can Dance ( Yulunga example), but those moments when she seems about to go into trance are never pushed to completion, even at the end of the song, despite accelerating tempo somewhat and increased interaction between voice and machinery. Anyway, overall I'm quite reassured ... except that once the curtain closes to the intermission, an anxiety grips me suddenly deaf. And if the official schedule (Part I: KS solo, part two, both) was simply reversed? And if Lisa never returned?

Fortunately, it is not, and if we except the fact that Lisa's dress changed from red to blue and a solo virtuoso Moog's friend Klaus in the first few minutes (which reminds those who 'Klaus Schulze have forgotten that comes when even progressive rock), the second part resembles much to the first better.

By way of summary, I would say that for the full hour and a half concert, Klaus Schulze and Lisa Gerrard sometimes give the impression that they seek, which is inevitable if, as I felt and as specialists seem to confirm, Lisa Gerrard sings really improvising and being guided by the impetus given by the music of Klaus Schulze. That said, when they are, they are good. When, during the last five to ten minutes of the second part (from here), best of any concert, Klaus and Lisa manage to marry their two sounds, blending them into one another, while taking a sense and new opportunities offered by this strange collaboration appear.

After such a moment of grace, the recall is at best anecdotal. I have also held that the sentence pronounced by Klaus Schulze fun going up on stage: "I'm going to start alone. She'll come back in a moment. She's getting air .... She's not a synthesizer you know. She's like. "which is I think it the best possible conclusion for this too long post.

For those who want a different story, you will find here chronicles the Paris concert by a friend who is above all a fan of Klaus Schulze.

(Image source here )

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Klaus Schulze & Lisa Gerrard, AB, 25 septembre 2009 (I)

In many respects this is a collaoration against nature. Synths of all Germanic coldness Klaus Schulze (I allow myself to use a cliché as trite as I know almost nothing of his works and it must be that I do illusion, especially in a paragraph of introduction) and vocalizations supra-terrestrial overflowing emotion of Lisa Gerrard should never have to meet, let alone to melt into a long-term collaboration. And yet ...

When their first album together Farscape was published in 2008, I was not sure at first what to think. After have been disappointed repeatedly during the 2000s by the artistic choices of Lisa Gerrard, I felt that sinking slowly in the anecdotal, refusing to be stuck with other than their own temperaments and no longer work with collaborators of the background which were careful not to push it to put themselves in danger, I ended up not expect much from it. Too often, Lisa chose to accompany her voice just tablecloths planouillantes without personality (of the Whale Rider Soundtrack particular) and the result was disappointing, because these webs were designed simply as a funnel that directs attention the listener to a voice, only to be well connected to anything, managed the feat of appearing trite sad. Even Lisa Gerrard has no right to proceed to freewheel and hope that I find it awesome by default (even if for the effectiveness of my argument, I pass over in silence here The Silver Tree (2006), an album who had already somewhat reconciled with his recent productions).

Knowing the reputation of Klaus Schulze as pope German synth hovering, so I was told initially that the new leadership would at least force it to adapt to abandon his strings usual to find a new way of singing, to put her voice to another artistic personality, possibly as strong and determined as his.

Listening to Farscape made me a little disillusioned. Like everyone else, Klaus Schulze has probably found initially paralyzed by the voice of Lisa Gerrard and did not dare endanger it, merely in the first five tables in a small carpet weaving arpeggios and dropping the reins to Lisa, who was probably only too happy to find his little habits. Things are just starting to become interesting in the last two tables at the end of CD2 where an early dialogue is established between the voice of Lisa Gerrard and Klaus Schulze accompaniment.

That said, the disc was already germinating a sign of a possible renewal. Indeed, the length of the pieces, twenty minutes on average, gave the singer a new freedom that it seemed not quite knowing what to do but probably had unconsciously to open new perspectives. After all, many world music (Nusrat Fateh Ali Khan for example) work on the mode of repetition until exhaustion. But it is a direction which, until now, the origins of pop-rock band Dead Can Dance had kept away. Perhaps this notion of time it would take her to rethink how she sees her singing, to find the desire to build songs and the unique ability to create and resolve tensions, a capacity that was the secret of manufacturing its production of the 80 and 90 and found in its purest form in songs like The Host of Seraphim or Cantara example.

That was my state of mind this Friday evening when, ensconced in a seat of the AB, I see the lights go out of the room (height): joy of seeing Lisa Gerrard in a room-sized, curious to see what is capable Klaus Schulze, but small hope of actually finding the exceptional intensity of my concerts by Dead Can Dance and Lisa Gerrard in the 90s. What was it? Find out by following the next episode the fabulous adventures of "Little Peter the country synths magical fairy godmother and Lisa" (tentative title).

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Maybe I cut myself all the pleasures of life to have not to miss them ......... Not

Not perhaps