Artiste : 

Meteor c’est la rencontre de Kala et Jedeon, deux étudiants en école de graphisme. Kala est issu d’une culture empreinte de rock et de hip hop, tandis que Jedeon a lui reçu une formation de musicien plus conventionnelle avec passage par le conservatoire, l’apprentissage du solfège et du piano.

Leur démarche artistique consiste privilégier la qualité à la quantité et ne sortir que des morceaux aux univers singuliers. Leur style, résultat de diverses expérimentations musicales et de recherches quotidiennes, est proche du trip hop. Leur son est imprégné de diverses références, oscillant tour à tour entre des influences klezmer, jazz, mais passant également par la bossa nova ou la black music. Meteor est une sorte de melting pot des cultures.

Meteor - Indian Tropics (Original Mix)

My new album "Deaf Safari" (CD / LP) coming spring 2015 on Compost Records

Righteous  Red  Berets  = Felix Laband

Rune Lindbæk & Øyvind Blikstad - North (Short Original Version)

Sampler teaser from the annual Stella Polaris compilation.
"A Strobogrammatic Prime " will be released 28 aug. 2015.
This compilation includes 14 new amazing great tunes from such great artist as: Chris Coco, Tina Dickow, Helmet Compass, Museum of Love, Jimmy Somerville, José Padilla & Chris Zippel, August, John Lee Hooker and more
For more info see + follow us here:
Website: http://www.stella-polaris.dk/
Facebook: https://www.facebook.com/stellapolarisdk?fref=ts

10 Museum Of Love - Learned Helpness In Rats - T.O.M. And His Computer's Stella Polaris Remix

Beat 4

video: www.youtube.com/watch?v=-5E95SlNSSs
follow: www.facebook.com/PlayingSavageMusic

PLAYING SAVAGE - BIGGER

New EP - "Luna Silenti"
First track : Resonare Fibris

Available on vinyl July 5th . 
Pre-order it and support us on https://fr.ulule.com/silens/ 

Resonare Fibris

Format: CD + Digital + LP
Cat#: CCS105 + CCCD019
Release : 07.04.2017
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http://www.ezechielpailhes.com

Beautiful piano melodies, ballads drawing their inspiration from jazz, classical music and cinematic imagery, hummed choruses, a mood at the crossroad of nostalgia and reverie, instruments with uncanny timbre and charm, chiseled percussions, added to a subtle electronic production, this is the recipe for Tout Va Bien, the second solo album by French composer Ezechiel Pailhès.

All this is reflected in the opening track, River Day, which begins with “prepared piano” sounds (a technique mastered by Ezechiel, which consists in placing different objects on the strings of the piano, to create singular percussive notes). This deliberately mysterious and poetic introduction, supported by light electronic effects, is soon combined with a light beat, organ chords and vocalisations by the artist, which gradually transform the track into a ritornello, with both nostalgic and lighthearted tones.

As the artist states it: “We could describe this type of emotion as a kind of endearing nostalgia, close to saudade,” i.e. the Portuguese term expressing the idea of ​​a light melancholy stripped of its sickly aspect, or a “haunted craving” as the singer and composer Pierre Barouh nicely put it. “This feeling comes naturally to me when I write. Generally, in my music, I seek a form of soothing, of eternity even, (without meaning to sound pretentious). This is something I encounter in classical music, which is what I listen to most.”

Even if he defines himself as a “jolly fellow” (which is confirmed by the music and reputation of his electro-pop duo Nôze), when chatting to him, he comes across as quite gentle and stellar, just like this collection of eleven tracks that he composed “in autarky”, entirely alone, in his Montreuil home studio. Following the footpath of Divine, his first solo release from 2013, this album is however more intimate, marking Pailhès' taste for finely crafted moods and drifts. Songs like Tout Va Bien, but also Éternel Été and Promesse, whose lines have been borrowed from Shakespeare's sonnets, seem to shift between carelessness, bliss, bitterness and anxiety.

“Why didst thou promise such a beauteous day
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding they bravery in their rotten smoke?”
(Taken from William Shakespeare's Sonnets that inspired Promesse)

As for titles such as Octobre, Boyd London or Le Fou Du Phare, they illustrate Ezechiel’s gift for composing instrumental ballads, with equally versatile emotions though drawing from cinema, supported by whispered or sung vocalisations. Ezechiel explains: “No word can quite describe this type of singing, it's a kind of ritornello, these are songs without lyrics, which is all down to the fact that I always think of my melodies as songs. The absence of words is not a form of laziness. My songs simply say enough for people to imagine their own story. It is more about suggesting or evoking a feeling, an emotion. "

Even though he composed on the piano, in this album Ezechiel plays and toys with numerous other instruments, such as the Clavietta (a type of Melodica), a Moog Little Phatty synth, an analog Korg Lambda organ, rare virtual instruments, and a whole array of exotic percussions, gleaned along his tours. He insists, however, on the sculptural dimension of his compositional work. For him, it is about “revealing or masking the sound of the original melody” through various processes, including percussive ones, whether using a prepared piano (which he even calls "transformist”) or several digital cuts and superimpositions enabling him to generate what he calls “sound illusions”, through unusual associations between the timbres of various instruments.

Ezechiel Pailhes - How Long

Marlena Shaw - Woman of the ghetto (2Gascogne edit)

stones.WAV

Recorded years ago on an old guitar from the 70s.
This track got lost, never finished, never released.
Recently just found again and now finally with happiness re-recorded and mastered this symbiosis of oriental and jungle spice.
La Tunisienne, inspired by the howl of the night of the oriental east.

Righteous Red Berets = Felix Laband

felix laband