The Echelon Effect - Pacific (2014) [Instrumental , Post Rock , Ambient]

http://www.theecheloneffect.com

Le Dimanche - Colour Of Shade (2009) [Alternative , Trip Hop]

http://ledimanchemusic.com

Country : Netherlands
Genre : Trip Hop
Style : Alternative , Cinematic Beats , Post Rock

 

 

 

 

Tracklist :

1 Bright Sky 5:01
2 The Calm 5:58
3 Blood Red Chevy 5:26
4 Two Minutes East of Everything Else 8:13
5 Panorama 6:01
6 Reminise 4:47
7 Xiao Mei 4:59
8 Le Quartier Latin 7:43


All songs mixed & produced by Le Dimanche
All songs mixed by Jurgen Krooshoop
Mastered by Paul Matthijs Lombert
Lyrics by Marjolein Kooijman

Aafke de Bruijn | sax
Marjolein Kooijman | guitar | vocals | doublebass
Jurgen Krooshoop | keys
Michel Manders | bass
Martijn Smits | drums

guests:
Marijke Damen | viola
Jos van den Dungen | violin
Erik van Hoof | trumpet
Vincent Houdijk | vibraphone
Marije de Jong | cello
Fernand de Willigen | trombone

Deadfile - Deadfile (2012) [Experimental , Post Rock]

http://deadfile.bandcamp.com
https://soundcloud.com/deadfile

Origine du Groupe : Greece
Style : Alternative , Post Rock , Experimental , Psychedelic

 

 

 

 

 

 

 

 

 

 

 

 

Tracklist :
1.This Hollow Land 07:53
2.Jericho 08:54
3.Arachnae 07:15
4.A Girl Called Dust Storm 14:33
5.Mojave 09:25
6.Zeitökonomie 07:25
7.Consulting Maps That Lie 05:53 

Godspeed You! Black Emperor - 'Allelujah! Don't Bend! Ascend! (2012) [Post Rock]

http://www.brainwashed.com/godspeed

Origine du Groupe : Canada
Style : Experimental , Post Rock

 

 

 

 

 

 

 

 

Tracklist :
01 – Mladic
02 – Their Helicopters’ Sing
03 – We Drift Like Worried Fire
04 – Strung Like Lights At Thee Printemps Erable

Collapse Under The Empire - Shoulders And Giants

http://collapseundertheempire.com

http://www.myspace.com/collapseempire

Origine du Groupe : Germany

Style : Post Rock , Shoegaze , Experimental

Sortie : 2011

By Rory Purcell-Hewitt from http://www.guerrillageek.com



Fusion music is a style that’s often fraught with risk. The blending of two or more musical styles can either produce something quite extraordinary or crash and burn spectacularly. When one of
the base genres is itself a fusion derivative of other genres, then it is clear that a masterful hand is required to make the resulting music a success. One band who has managed to achieve this
and carve out for themselves a somewhat unique sound are the instrumental project, Collapse Under The Empire. Their folding of electronica into post-rock is subtle and delicate, intelligent and
skilful, and this is truly reflected in their new album, Shoulders & Giants.



Collapse Under The Empire, who chose the name specifically so they could use C.U.T.E. as an acronym, are Martin Grimm (guitars, drums) and Chris Burda (keyboards, synthesiser, drums), hailing
from Hamburg, Germany. Formed in 2007, they chose early to focus on instrumental post-rock, wanting their music to give the listener a certain feeling, emotion, and “story” to experience – a trip
in which listeners could fully immerse themselves in. In a short period of time, several key international magazines took notice of the duo and proved themselves excited about the intense
cinematic sound of their music.



Shoulders & Giants is the first half of a two-part concept work that thematically deals with the human existence, the dream of advancement, a life of absolute freedom, isolation, and death.
The album is bleak and severe, but subtly lit from within with touches of hope and beauty. It immerses the listener in the sensation of being alone in the mountains and crevasses of an arctic
environment – the harshness of the bitter solace, the joy at the soaring beauty of nature’s splendour.



Considering the average band of the post-rock genre is often comprised of at least four members and is very guitar-heavy, it could be said that this genre is ambitious for a two-man band to keep
up with, let alone stand out in. However, Grimm and Burda do an excellent job of delivering the subtle ebbs and flows as well as the “wall of sound” and roaring crescendos – one would easily
think they’re listening to a larger band.



As electronica and post-rock have a number of commonalities in their use of the repetition of musical motifs and subtle changes with an extremely wide range of dynamics, it may not be too
surprisingly that the elements of this album fit so well together. However, one of Grimm and Burda’s talents is recognising where the more traditional drums and guitars don’t utilise the full
sound spectrum, and knowing just the right amount of synthetic melodies to inject, without overloading the music. The electronic aspects are integrated seamlessly, providing just the right
touches in either the foreground or behind the guitars, and feel unexpectedly organic.



2011 has been an excellent year for post-rock releases, and Shoulders & Giants is a welcome addition to this plenitude. I was pleasantly surprised at the quality of Collapse Under The
Empire’s work, and I think that this ambitious project will definitely raise their profile with the post-rock genre. Sounding like the bastard child of Clint Mansell and God Is An Astronaut, this
band have created an album that stands out for its uniqueness and embraces the core aspects of the styles it represents, yet is highly accessible for more mainstream listeners. This is easily one
of the best albums I have listened to this year and I strongly recommend trying it out.

Tracklist :

01. Shoulders

02. Giants

03. There’s No Sky

04. The Last Reminder

05. The Sky Is The Limit

06. Disclosure

07. After The Thaw

08. Days Of Freezing

09. Incident

10. A Riot Of Emotion

Collapse Under The Empire - Shoulders And Giants

http://collapseundertheempire.com

http://www.myspace.com/collapseempire

Origine du Groupe : Germany

Style : Post Rock , Shoegaze , Experimental

Sortie : 2011

By Rory Purcell-Hewitt from http://www.guerrillageek.com



Fusion music is a style that’s often fraught with risk. The blending of two or more musical styles can either produce something quite extraordinary or crash and burn spectacularly. When one of
the base genres is itself a fusion derivative of other genres, then it is clear that a masterful hand is required to make the resulting music a success. One band who has managed to achieve this
and carve out for themselves a somewhat unique sound are the instrumental project, Collapse Under The Empire. Their folding of electronica into post-rock is subtle and delicate, intelligent and
skilful, and this is truly reflected in their new album, Shoulders & Giants.



Collapse Under The Empire, who chose the name specifically so they could use C.U.T.E. as an acronym, are Martin Grimm (guitars, drums) and Chris Burda (keyboards, synthesiser, drums), hailing
from Hamburg, Germany. Formed in 2007, they chose early to focus on instrumental post-rock, wanting their music to give the listener a certain feeling, emotion, and “story” to experience – a trip
in which listeners could fully immerse themselves in. In a short period of time, several key international magazines took notice of the duo and proved themselves excited about the intense
cinematic sound of their music.



Shoulders & Giants is the first half of a two-part concept work that thematically deals with the human existence, the dream of advancement, a life of absolute freedom, isolation, and death.
The album is bleak and severe, but subtly lit from within with touches of hope and beauty. It immerses the listener in the sensation of being alone in the mountains and crevasses of an arctic
environment – the harshness of the bitter solace, the joy at the soaring beauty of nature’s splendour.



Considering the average band of the post-rock genre is often comprised of at least four members and is very guitar-heavy, it could be said that this genre is ambitious for a two-man band to keep
up with, let alone stand out in. However, Grimm and Burda do an excellent job of delivering the subtle ebbs and flows as well as the “wall of sound” and roaring crescendos – one would easily
think they’re listening to a larger band.



As electronica and post-rock have a number of commonalities in their use of the repetition of musical motifs and subtle changes with an extremely wide range of dynamics, it may not be too
surprisingly that the elements of this album fit so well together. However, one of Grimm and Burda’s talents is recognising where the more traditional drums and guitars don’t utilise the full
sound spectrum, and knowing just the right amount of synthetic melodies to inject, without overloading the music. The electronic aspects are integrated seamlessly, providing just the right
touches in either the foreground or behind the guitars, and feel unexpectedly organic.



2011 has been an excellent year for post-rock releases, and Shoulders & Giants is a welcome addition to this plenitude. I was pleasantly surprised at the quality of Collapse Under The
Empire’s work, and I think that this ambitious project will definitely raise their profile with the post-rock genre. Sounding like the bastard child of Clint Mansell and God Is An Astronaut, this
band have created an album that stands out for its uniqueness and embraces the core aspects of the styles it represents, yet is highly accessible for more mainstream listeners. This is easily one
of the best albums I have listened to this year and I strongly recommend trying it out.

Tracklist :

01. Shoulders

02. Giants

03. There’s No Sky

04. The Last Reminder

05. The Sky Is The Limit

06. Disclosure

07. After The Thaw

08. Days Of Freezing

09. Incident

10. A Riot Of Emotion

Don't Look Back - Brighter

http://www.dontlookbackmusic.com

http://www.myspace.com/dontlookbackmusic

Origine du Groupe : France

Style : Post Rock , Shoegaze , Indus , Instrumental , Experimental

Sortie : 2005

From http://www.thesilentballet.com



For the most part France is missing from the instrumental world. Every now and then a French band appears with an interesting sound, only to disappear again into obscurity without making a mark
on the world. Don't Look Back might be the first French instrumental band you really need to pay attention to. Taking a multifaceted approach to the post-rock genere, Don't Look Back combines
audio samples with gut-wrenching screams and slams it on top of a post-rock instrumentation that quickly drops from angelic, quiet sounds to blistering metallic riffs. Brighter is one of those
albums that many will sit through with jaw wide-open, shocked and amazed by the sounds washing over their body. Much like Rosetta's The Galilean Satellites, Brighter leaves the listener with the
punched-in-the-stomach feeling that begs for more. This may or may not be the beginning of a movement for French instrumental bands, but in any case Don't Look Back has shown that they are a band
to be taken seriously.

 

Tracklist :

01 - Six feet under the ground

02 - Remote all trace

03 - Joyrider

04 - Nothing just happens

05 - Farewell to the bright side

06 - All day long

07 - Dark mobson

08 - 1887 / d.i.y.a.

09 - Kids got shadows in their eyes

10 - Ask the dust

Don't Look Back - Brighter

http://www.dontlookbackmusic.com

http://www.myspace.com/dontlookbackmusic

Origine du Groupe : France

Style : Post Rock , Shoegaze , Indus , Instrumental , Experimental

Sortie : 2005

From http://www.thesilentballet.com



For the most part France is missing from the instrumental world. Every now and then a French band appears with an interesting sound, only to disappear again into obscurity without making a mark
on the world. Don't Look Back might be the first French instrumental band you really need to pay attention to. Taking a multifaceted approach to the post-rock genere, Don't Look Back combines
audio samples with gut-wrenching screams and slams it on top of a post-rock instrumentation that quickly drops from angelic, quiet sounds to blistering metallic riffs. Brighter is one of those
albums that many will sit through with jaw wide-open, shocked and amazed by the sounds washing over their body. Much like Rosetta's The Galilean Satellites, Brighter leaves the listener with the
punched-in-the-stomach feeling that begs for more. This may or may not be the beginning of a movement for French instrumental bands, but in any case Don't Look Back has shown that they are a band
to be taken seriously.

 

Tracklist :

01 - Six feet under the ground

02 - Remote all trace

03 - Joyrider

04 - Nothing just happens

05 - Farewell to the bright side

06 - All day long

07 - Dark mobson

08 - 1887 / d.i.y.a.

09 - Kids got shadows in their eyes

10 - Ask the dust

SGT. - Capital of Gravity

http://sgt-web.net

http://www.myspace.com/sgtofficial

Origine du Groupe : Japan

Style : Post Rock , Shoegaze , Alternative Rock , Experimental

Sortie : 2009

By McNutsack from http://mirr0rshades.blogspot.com



"sgt. bring their noise, emo, jazz and improv infused cinematic soundscapes back for their second mini album. This instrumental band melds a violin seamlessly into the thought evoking music into
42 minutes of bliss. It has only been a year since their last release, Stylus Fantasticus which was rated as one of the top 50 albums in 2008 by The Silent Ballet as well as the top 50 album list
of 2008 from ZB's A-Z of J-Music. Their second mini-album capital of gravity is aptly titled as there is definitely a heavenly force of the likes of gravity which is pulling this band further
into their musical groove. This could be due to the band returning to a 4 person lineup creating a new marketplace for original and creative ideas unleashing the potential masterpiece that was
previously a brewing latency.



Not only has capital of gravity brought back their four member lineup, but it also is graced by multiple guest musicians such as Keisaku Nakamura (from kowloon and stim)(track 4 and 5) as well as
the saxophonist Nobuo Ootani (track 5) who is a famous writer. This mini-album also features a rearranged version of "Ginga no Shasou kara" by Tyme (Tatsuya Yamada) which appeared on their first
mini album in 2005. This song is a spaced out version of the original that adds another layer of freshness to this album. The cover artwork was done by mitchel who produces music videos for RUMI,
TamakiROY, etc.



The album reverberates with amazing and powerful sounds which make this one of the most artistically crafted instrumental albums of 2009. sgt. simply has the artistic audacity and fine sense to
produce another breathtaking release"



"After "Kalliope," the brief introduction, the band jump full force into "Apollo Program." It's a song that has all of the band's most bold hallmarks, from its relentlessly looping rhythms, to
its fuzzed out guitars and heavily effected violin wails. "Teas of Na-Ga" brings in guest musician Keisaku Nakamura on piano, the first sign of Capital's broader sound pallet. The song quietly
percolates along until the break mid-way in where the piano drops out and things get back to the usual frenetic pace. "Ant's Planet" pushes things into an overtly upbeat direction with, again, a
jaunty piano riff, some squelchy synth noise and even a few hand-claps and sampled laughter.



The length of "Epsilon," 10 minutes and 20 seconds, and its proximity to the former peppy and (relatively) short song, should be easily recognized indicators of its corresponding "far out" ness.
It is indeed the most free-form and improvisational track on Capitol, and even included another guest musician, Nobuo Ootani, on saxophone. The song does find a sort of coherence near the end as
the band starts to gel back together, then again explodes into space at the end. It's also a great lead-in to the final track, a remix of "Ginga no Shasou kara," a song from the band's first
release, by Tyme. Unlike so many other remixes, this one doesn't feel tacked on or at all out of place with the rest of the album. It's a muscular, throbbing space-out.



Capital of Gravity shows a band in full control of its skills, as well as its own vision. While the album does breathe a bit more than their previous releases, it is still very much under sgt.'s
control."

 

Tracklist :

1. Kalliope (2:26)

2. Apollo Program (6:56)

3. Tears of na-ga (8:22)

4. Ant's planet (4:52)

5. Epsilon (10:18)

6. Ginga No Shasoh Kara (Reprise) (Tyme. Remix) (8:30)

SGT. - Capital of Gravity

http://sgt-web.net

http://www.myspace.com/sgtofficial

Origine du Groupe : Japan

Style : Post Rock , Shoegaze , Alternative Rock , Experimental

Sortie : 2009

By McNutsack from http://mirr0rshades.blogspot.com



"sgt. bring their noise, emo, jazz and improv infused cinematic soundscapes back for their second mini album. This instrumental band melds a violin seamlessly into the thought evoking music into
42 minutes of bliss. It has only been a year since their last release, Stylus Fantasticus which was rated as one of the top 50 albums in 2008 by The Silent Ballet as well as the top 50 album list
of 2008 from ZB's A-Z of J-Music. Their second mini-album capital of gravity is aptly titled as there is definitely a heavenly force of the likes of gravity which is pulling this band further
into their musical groove. This could be due to the band returning to a 4 person lineup creating a new marketplace for original and creative ideas unleashing the potential masterpiece that was
previously a brewing latency.



Not only has capital of gravity brought back their four member lineup, but it also is graced by multiple guest musicians such as Keisaku Nakamura (from kowloon and stim)(track 4 and 5) as well as
the saxophonist Nobuo Ootani (track 5) who is a famous writer. This mini-album also features a rearranged version of "Ginga no Shasou kara" by Tyme (Tatsuya Yamada) which appeared on their first
mini album in 2005. This song is a spaced out version of the original that adds another layer of freshness to this album. The cover artwork was done by mitchel who produces music videos for RUMI,
TamakiROY, etc.



The album reverberates with amazing and powerful sounds which make this one of the most artistically crafted instrumental albums of 2009. sgt. simply has the artistic audacity and fine sense to
produce another breathtaking release"



"After "Kalliope," the brief introduction, the band jump full force into "Apollo Program." It's a song that has all of the band's most bold hallmarks, from its relentlessly looping rhythms, to
its fuzzed out guitars and heavily effected violin wails. "Teas of Na-Ga" brings in guest musician Keisaku Nakamura on piano, the first sign of Capital's broader sound pallet. The song quietly
percolates along until the break mid-way in where the piano drops out and things get back to the usual frenetic pace. "Ant's Planet" pushes things into an overtly upbeat direction with, again, a
jaunty piano riff, some squelchy synth noise and even a few hand-claps and sampled laughter.



The length of "Epsilon," 10 minutes and 20 seconds, and its proximity to the former peppy and (relatively) short song, should be easily recognized indicators of its corresponding "far out" ness.
It is indeed the most free-form and improvisational track on Capitol, and even included another guest musician, Nobuo Ootani, on saxophone. The song does find a sort of coherence near the end as
the band starts to gel back together, then again explodes into space at the end. It's also a great lead-in to the final track, a remix of "Ginga no Shasou kara," a song from the band's first
release, by Tyme. Unlike so many other remixes, this one doesn't feel tacked on or at all out of place with the rest of the album. It's a muscular, throbbing space-out.



Capital of Gravity shows a band in full control of its skills, as well as its own vision. While the album does breathe a bit more than their previous releases, it is still very much under sgt.'s
control."

 

Tracklist :

1. Kalliope (2:26)

2. Apollo Program (6:56)

3. Tears of na-ga (8:22)

4. Ant's planet (4:52)

5. Epsilon (10:18)

6. Ginga No Shasoh Kara (Reprise) (Tyme. Remix) (8:30)

Bogatzke - Fragments & fundations (EP)

http://bogatzke.goneoblog.de

http://www.myspace.com/bogatzkelectro

http://www.digitalkunstrasen.net

Origine du Groupe : Germany

Style : Electro Folk , Post-Rock , Experimental

Sortie : 2009

By osenboz from http://lemonjohn.blogspot.com



fragments & foundations is the 3rd release from bogatzke,

a solo-musician from germany.

(all released on digitalkunstrasen... links below)



when i heard the first track of this release, i was not sure

what to think about it. electronic beats, a piano

and a guitar, mixed together in a nice interesting song.



then "the sound of one hand clapping" came, and this one was a bit

too "old-scool-disco-electronic" for me... but, i didn't stop

listening, because even if i didn't like it very much,

it was catchy enough to make me wanna hear more.

"ten years strong" brought this release back to where it came from -

spheric electronic sounds with decent beats and a leading

guitar-melody, all merged together to another great song.



"how to reanimate a ghost", the 4rd song from the ep

finally managed to enthuse me, and to fix the decision

to add this release to the blog.



at last "at the golden waterfalls"

(the reason why this album is tagged as "post-rock")

worthy ends this ep



concluding i want to say, that i think that "bogatzke" got talent.

you can hear the development within his 3 releases,

and i'm really looking forward to what's comming next.



Tracklist :   

01. Lights Will Guide You Home

02. The Sound Of One Hand Clapping

03. Ten Years Strong

04. How To Reanimate A Ghost

05. At The Golden Waterfalls

FREE DOWNLOAD FROM NETLABEL digitalkunstrasen.net

Bogatzke - Fragments & fundations (EP)

http://bogatzke.goneoblog.de

http://www.myspace.com/bogatzkelectro

http://www.digitalkunstrasen.net

Origine du Groupe : Germany

Style : Electro Folk , Post-Rock , Experimental

Sortie : 2009

By osenboz from http://lemonjohn.blogspot.com



fragments & foundations is the 3rd release from bogatzke,

a solo-musician from germany.

(all released on digitalkunstrasen... links below)



when i heard the first track of this release, i was not sure

what to think about it. electronic beats, a piano

and a guitar, mixed together in a nice interesting song.



then "the sound of one hand clapping" came, and this one was a bit

too "old-scool-disco-electronic" for me... but, i didn't stop

listening, because even if i didn't like it very much,

it was catchy enough to make me wanna hear more.

"ten years strong" brought this release back to where it came from -

spheric electronic sounds with decent beats and a leading

guitar-melody, all merged together to another great song.



"how to reanimate a ghost", the 4rd song from the ep

finally managed to enthuse me, and to fix the decision

to add this release to the blog.



at last "at the golden waterfalls"

(the reason why this album is tagged as "post-rock")

worthy ends this ep



concluding i want to say, that i think that "bogatzke" got talent.

you can hear the development within his 3 releases,

and i'm really looking forward to what's comming next.



Tracklist :   

01. Lights Will Guide You Home

02. The Sound Of One Hand Clapping

03. Ten Years Strong

04. How To Reanimate A Ghost

05. At The Golden Waterfalls

FREE DOWNLOAD FROM NETLABEL digitalkunstrasen.net

Grails - Deep Politics

http://www.myspace.com/grailsongs

Origine du Groupe : North America

Style : Alternative Fusion , Post Rock , Trip Hop , Psychedelic

Sortie : 2011

Par  (The) Aurelio  pour http://www.w-fenec.org


Quand on y pense, on pourrait dresser un parallèle assez ironique entre le titre du nouvel album de Grails (soit Deep politics) et celui du morceau chargé de l'inaugurer (Future primitive). Une
certaine noirceur dans le propos, un soupçon de résignation dans l'émotion que distille la musique du groupe, tout ceci transparait sur la première piste du disque, ondulant entre bande-son de
film (imaginaire), western post-moderne et folklore des îles britanniques, pour un rendu qui dépasse allègrement les frontières du spectre post-rock psychédélique habituel des américains. Sans
pour autant laisser augurer de ce que va être la suite. Laquelle va s'offrir une magistrale descente chromatique de dégradés de noir et gris sur une première partie proprement brillantissime,
avant de basculer vers quelque chose de plus lumineux, contrastant absolument avec ce qui a précédé... et va suivre, puisque le final du même morceau voit le groupe se livrer à un tour de voltige
post-prog à la grandiloquence épique. Risqué mais réalisé avec brio.



Un peu de trip-hop, un soupçon d'electronica pour matérialiser des ambiances orientalisantes, "Corridors of power" change du tout au tout, les Grails semblant vouloir passer d'un plateau à un
autre à chaque nouvelle séquence, livrant par la même occasion une partition d'une rare variété, qui trouve son apothéose sur ce qui constitue le, ou tout d'un moins l'un, des climax de l'album,
l'éponyme "Deep politics". Le piano y est sentencieux, porteur d'une mélancolie à fleur de peau, la mélodie fragile comme un fil de soie et les arrangements dépouillés portés par un groove
légèrement jazzy, le résultat est magique et montre l'autre visage d'un groupe qui, après l'emphase des premiers titres, a voulu verser dans l'intime, la retenue harmonique, sans fausse-pudeur ni
artifice superflu. Maître de son sujet, la formation originaire de Portland (Oregon, USA), enchaîne alors avec une nouvelle pépite et un "Daughter of Bilitis" organique, mélangeant à merveille
post-rock et musique (post-)classique avec un sens aigu du songwriting à la fois fouillé et classieux.



Les morceaux se suivent et ne se ressemblent que très peu, la griffe de Grails n'étant pas de celles que l'on reconnait aisément dès la première écoute, on a tendance à se laisser porter par les
huit pistes qui composent l'album et semblent être autant de tableaux illustrant un plan-séquence, une scène d'un scénario écrit à l'avance. La "faute" à des compositions très changeantes, qui
partent parfois un peu dans tous les sens jusqu'à en devenir insaisissables ("Almost grew my hair"). La ligne directrice semble de plus anarchique lorsque survient "I led three lives" et son
mélange post-prog/drone/art-rock/psychédélique halluciné, on s'accroche pour suivre, le groupe laisse libre cours à toutes ses aspirations artistiques et le résultat a, de fait, les qualités de
ses défauts, les avantages de ses inconvénients. Parce que Deep politics est assurément de ces albums qui nécessitent d'innombrables séances d'écoute attentive afin que l'on puisse l'appréhender
dans sa globalité et non plus piste par piste, pour pouvoir contempler l'étonnante palette de nuances utilisée par le groupe, avant son ultime twist narratif et l'acoustique "Deep snow". Les
guitares débranchées quasiment tout du long, Grails laisse tourner les dernières bobines d'un disque mélangeant les genres pour mieux trouver sa propre identité.

New "Daughters of Bilitis" Video!

Tracklist :

01 - Future Primitive

02 - All The Colors Of The Dark

03 - Corridors Of Power

04 - Deep Politics

05 - Daughters Of Bilitis

06 - Almost Grew My Hair

07 - I Led Three Lives

08 - Deep Snow

Port Royal - Dying In Time

http://www.port-royal.it

Origine du Groupe : Italia

Style : Ambient , Electronica , Post-Rock

Sortie : 2009

Chroniqué par Camille  pour http://www.dmute.net



Si le nom Port-Royal ne vous évoque rien en matière musicale, il serait urgent d’y remédier. Impératif même. Après deux opus et un album de remixes, le groupe italien sortait il y a quelques
jours Dying in time, son nouveau bijou de musique électronique.



Habilement nichée entre l’ambient, le shoegaze, l’électronica et le post-rock, la musique de Port-Royal fait rêver. Les nappes synthétiques, omniprésentes sur tous leurs albums, enveloppent la
romance comme une douce couverture de coton. Volatiles, légères, les notes de guitare illuminent les mélodies célestes empruntées à un monde imaginaire.



Sans être triste, la musique de Port-Royal invite à la mélancolie, au rêve. La fluidité des transitions y est pour beaucoup. Jamais le quatuor ne brusque ses voyageurs, amenant chaque changement
avec délicatesse. Dying in Time poursuit cette odyssée et fait même plusieurs fois escale en terre click n’cuts. A commencer par Hva (Failed revolution), qui rappelle sans complexe Telefon Tel
Aviv.



Mais Port-Royal a surtout renforcé ses destinations ambient, comme sur le sublime Exhausted Muse/Europe. Plus nappé qu’un mudcake au chocolat, Dying in Time ne reste pourtant pas figé. Chaque
morceau évolue à sa manière, pour parfois terminer sur un beat techno puissant (l’énorme Bolding Generation) et même flirter avec la pop sur Photoshoped Prince. Nights in Kiev se rapproche
beaucoup d’Anya: Sehnsucht présent sur Afraid to Dance, pour replonger l’auditeur dans des sonorités connues.



La conclusion des trois Hermitage est tout aussi belle et mélancolique, la part 3 fermant en apothéose par un post-rock impalpable. Soulignons également l’artwork sublime en couverture de
l’album, qui embrasse à merveille la musique des Italiens.



Dying in time est un chef d’œuvre à se procurer, à écouter, à méditer, à partager, à inclure dans sa sexlist pour quiconque en possède une. Les génies transalpins ont encore frappé fort, sans que
l’on sache réellement où ils s’arrêteront. L’admiration que je porte pour Port-Royal n’est pas mesurable. A l’image de leur musique. Je vous aime.

 

Tracklist :

01 - Hva (Failed Revolutions)

02 - Nights In Kiev

03 - Anna Ustinova

04 - Exhausted Muse/Europe

05 - Used To Be Sad

06 - Susy: Blue East Fading

07 - The Photoshopped Prince

08 - Balding Generation (Losing Hair As We Lose Hope)

09 - Hermitage pt. 1

10 - Hermitage pt. 2

11 - Hermitage pt. 3

Port Royal - Dying In Time

http://www.port-royal.it

Origine du Groupe : Italia

Style : Ambient , Electronica , Post-Rock

Sortie : 2009

Chroniqué par Camille  pour http://www.dmute.net



Si le nom Port-Royal ne vous évoque rien en matière musicale, il serait urgent d’y remédier. Impératif même. Après deux opus et un album de remixes, le groupe italien sortait il y a quelques
jours Dying in time, son nouveau bijou de musique électronique.



Habilement nichée entre l’ambient, le shoegaze, l’électronica et le post-rock, la musique de Port-Royal fait rêver. Les nappes synthétiques, omniprésentes sur tous leurs albums, enveloppent la
romance comme une douce couverture de coton. Volatiles, légères, les notes de guitare illuminent les mélodies célestes empruntées à un monde imaginaire.



Sans être triste, la musique de Port-Royal invite à la mélancolie, au rêve. La fluidité des transitions y est pour beaucoup. Jamais le quatuor ne brusque ses voyageurs, amenant chaque changement
avec délicatesse. Dying in Time poursuit cette odyssée et fait même plusieurs fois escale en terre click n’cuts. A commencer par Hva (Failed revolution), qui rappelle sans complexe Telefon Tel
Aviv.



Mais Port-Royal a surtout renforcé ses destinations ambient, comme sur le sublime Exhausted Muse/Europe. Plus nappé qu’un mudcake au chocolat, Dying in Time ne reste pourtant pas figé. Chaque
morceau évolue à sa manière, pour parfois terminer sur un beat techno puissant (l’énorme Bolding Generation) et même flirter avec la pop sur Photoshoped Prince. Nights in Kiev se rapproche
beaucoup d’Anya: Sehnsucht présent sur Afraid to Dance, pour replonger l’auditeur dans des sonorités connues.



La conclusion des trois Hermitage est tout aussi belle et mélancolique, la part 3 fermant en apothéose par un post-rock impalpable. Soulignons également l’artwork sublime en couverture de
l’album, qui embrasse à merveille la musique des Italiens.



Dying in time est un chef d’œuvre à se procurer, à écouter, à méditer, à partager, à inclure dans sa sexlist pour quiconque en possède une. Les génies transalpins ont encore frappé fort, sans que
l’on sache réellement où ils s’arrêteront. L’admiration que je porte pour Port-Royal n’est pas mesurable. A l’image de leur musique. Je vous aime.

 

Tracklist :

01 - Hva (Failed Revolutions)

02 - Nights In Kiev

03 - Anna Ustinova

04 - Exhausted Muse/Europe

05 - Used To Be Sad

06 - Susy: Blue East Fading

07 - The Photoshopped Prince

08 - Balding Generation (Losing Hair As We Lose Hope)

09 - Hermitage pt. 1

10 - Hermitage pt. 2

11 - Hermitage pt. 3

Dirty Three - A Strange Holiday

http://www.anchorandhope.com

http://www.myspace.com/dirtythree

Origine du Groupe : Australia

Style : Post Rock , Alternative Rock , Instrumental , Experimental

Sortie : 1998

From Wikipedia :

Dirty Three est un trio de rock instrumental expérimental formé en 1992 à Melbourne.



Ils ont effectué des tournées en première partie de groupes emblématiques du rock indépendant comme Sonic Youth ou Pavement. Grâce au soutien de John Cale, le groupe a signé chez Touch and Go
Records en 1995, label sur lequel ont été publiés bon nombre de ses enregistrements depuis lors.



Tracklist :

1. Summer's Lost Heart (2:54)

2. Somewhere Else, Somewhere Good (4:21)

3. A Strange Holiday (5:21)

4. Xmas Song (1:36)

5. Au Revoir Petit Chat (8:20)