[Diesel]

Originally Posted by Severian

The new Spiritualized album is of course very good.
....

I listened to this during a bit of a wild blowout and... I didn't hate it. I remember hating these in the 90's, just boring. This new one: If you can stomach the gospel hippy shit it is actually not bad...not leastwhen yr loaded!!!

[Severian]

Originally Posted by Diesel

I listened to this during a bit of a wild blowout and... I didn't hate it. I remember hating these in the 90's, just boring. This new one: If you can stomach the gospel hippy shit it is actually not bad...not leastwhen yr loaded!!!

Ahem, gospel druggie shit.

[Diesel]

Aye. By incorporating gospel into his music Jason has this vision of being on drugs as some sort of equivalent to a transcendental religious experience, similar to the likes of Primal Scream on Psychedelica. I've always found Gospel music to be far too preachy sounding which obviously stems from the fact it is predominantly used to literally preach the word of god in the black church. Collective minds thinking and singing as one I find intolerable because of the lack of individualism and penchant for 'coming together as one' hippy hysteria shyte, plus it sounds naff. On the positive side, at least it's not Country music of foken Italo-Disco or summit. Every cloud n'that.

[Severian]

Originally Posted by Diesel

Aye. By incorporating gospel into his music Jason has this vision of being on drugs as some sort of equivalent to a transcendental religious experience, similar to the likes of Primal Scream on Psychedelica. I've always found Gospel music to be far too preachy sounding which obviously stems from the fact it is predominantly used to literally preach the word of god in the black church. Collective minds thinking and singing as one I find intolerable because of the lack of individualism and penchant for 'coming together as one' hippy hysteria shyte, plus it sounds naff. On the positive side, at least it's not Country music of foken Italo-Disco or summit. Every cloud n'that.

I dunno man, gospel can be pretty badass. Pastor T.L. Barrett has some proper fucking jams. Nobody Knows would likely be on any top 100 songs of all time list I made, if I were to make one.

Also yeah there’s definitely some similar stuff going on with some eras of Primal Scream (assuming you meant Screamadelica). But Spacemen 3 also incorporated a decent amount of gospel-adjacent stuff into their work. Just not the choral kind.

[Severian]

New Kendrick out today, so clearly that’s a best new album. And a “most anticipated” since, like, 2018.

 

[_tunic_]

The new Spinal Tap movie will be out in 2024!!
Why is there no 2024 thread yet?

 

[The Soup Nazi]

Originally Posted by _tunic_

Why is there no 2024 thread yet?

Because by then we'll all be part of Russia.

[Skuj]

Originally Posted by Severian

The new Spiritualized album is of course very good.
As are the new albums by Destroyer, Jenny Hval, Aldous Harding, Pusha T, Vince Staples, Huerco S, Loop, Billy Woods, Guerilla Toss, Axel Bowman, and others.

I still haven’t really found an “oh my god, this is breathtakingly good” album for 2022 yet though. I’m a bit behind the times I think.

Nevermind. Wilco Cruel Country is out in a few days.

[Skuj]

An upcoming conversation here:

"It's a country album."
"But hasn't Wilco always been a country band?"
"Well, sort of, but now they are actually calling it country music."
"So this will suck even more than usual Wilco."
"Fuck you."

[The Soup Nazi]

Originally Posted by Skuj

Wilco Cruel Country is out in a few days.

No date yet for the physical editions, though...

[Skuj]

"Physical Editions". Lol.

(That would be a great band name.)

[Dr. Eugene Felikson]

 

Album of the year

https://youtu.be/QBK-4eOzacU

[Moshe]

Amaryllis by Mary Halvorson is the my fav 2022 album so far
https://maryhalvorson.bandcamp.com/

[!@#$%!]

Originally Posted by Skuj

An upcoming conversation here:

"It's a country album."
"But hasn't Wilco always been a country band?"
"Well, sort of, but now they are actually calling it country music."
"So this will suck even more than usual Wilco."
"Fuck you."

lmao! this is good.

so...

...this will suck even more than the usual wilco?

Originally Posted by Moshe

Amaryllis by Mary Halvorson is the my fav 2022 album so far
https://maryhalvorson.bandcamp.com/

oh.... nice! i like what i'm hearing... A LOT

[The Soup Nazi]

Originally Posted by Moshe

Amaryllis by Mary Halvorson is the my fav 2022 album so far
https://maryhalvorson.bandcamp.com/

Amaryllis AND Belladonna! Mary calls them "modular and interlocking" works.

[Moshe]

I still need to give Belladonna a proper listen

[Dr. Eugene Felikson]

 

Okay, this has gotta be up there too

[Skuj]

OMFG I thought I was the only Gizzhead here.

I love Omnium Gatherum.

There's been quite a few 80min albums lately.

Big Thief's new one is fucking magnificent. (And 80min.)

[_tunic_]

 

WHAT ON EARTH (Que Diable) by OISEAUX-TEMPÊTE



this will most likely be the album of the year for me! Have I said that already for any other album, I don't recall. Anyway, this will be a heavy contestant. I've instantly pre-ordered it

releases September 1, 2022

!!! WARNING: TO BE OUT OCTOBER 28TH 2022 !!!



OISEAUX-TEMPÊTE

WHAT ON EARTH (QUE DIABLE)
Double LP | CD | DL SR531 & NAHAL016

For almost a decade, Oiseaux-Tempête has been slipping through the cracks of any music genre or definition one tries to apply and perhaps it is because, like the wild and furtive creatures that escape all tracking, it disappears then is reborn under new forms, sketches playful mirages where we eagerly come to collide. Not quite a collective nor a conventional band, Oiseaux-Tempête rather takes the form of the radioactive nucleus of an atom whose electron cloud is in constant mutation. At the center of this project, which blurs lines and genres, the duo turned trio of multi-instrumentalists Frédéric D. Oberland, Stéphane Pigneul and Mondkopf have been building dialogues between their own reality, their vocabulary, and those of fellow travelers met all around the surface of the world. From their Mediterranean trilogy (S/T, ÜTOPIYA?, AL-'AN!) to their forray into Canada with the explosive From Somewhere Invisible, deeply instinctive albums shrouded in mystery take shape, in parallel with feverish and incendiary live performances, punk in their urgency to tell the world by blasting the boundaries of space and time.

After having signed the soundtrack of the bewitching Tunisian film Tlamess (Sortilège) by Ala Eddine Slim in 2020, Oiseaux-Tempête immerses us with WHAT ON EARTH (Que Diable) in a collapsed future. A psychedelic/psychological roadmap, the album gathers around Frédéric D. Oberland, Stéphane Pigneul, Mondkopf and Jean-Michel Pirès (Bruit Noir), the voices of Ben Shemie (SUUNS), G.W.Sok (formerly The Ex), Radwan Ghazi Moumneh (Jerusalem In My Heart) or the electric strings of Jessica Moss (Thee Silver Mt. Zion). If the planetary reality of 2022 looks like a bad spin-off of a pre/post-apocalyptic series, this new record invites us to another kind of anticipative present where the only weapons are poems chanted against the wind. Ben Shemie opens the projection on Black Elephant and sets the tone for this magnetic dance. With his modulated and processed voice, he spews his spoken word into a robotic and sensual monster on a modular synth loop slashed by heart beats and bursts of electricity, between futuristic hip-hop and a bad-ass addictive ritornello. A fitting introduction to the sensory deluge which follows and will have you spellbound, lost in landscapes both radically urban and deserted. Drum machines, analog synths, percussions, guitars, mellotron, flute, saxophone, vocals, rhodes, piano, violin and electric buzuk come to life in a sort of disaster aesthetic, pushing back the walls of the decor, against the current of any calibrated music.

From the mammoth riffs of Partout Le Feu, progressively thickened by explosive sound textures and sirens ringing the alarm, we levitate on Terminal Velocity, a minimalist interlude with a crepuscular feel that is jostled by the hypnotic pulsations of Voodoo Spinning and then the call of the dungeon The Crying Eye - I Forget, an electro mystical trance that deploys its philters in a troubled moat haunted by the psalmodies of Radwan Ghazi Moumneh. The tempo speeds up in A Man Alone in a One Man Poem, a meeting of body and mind, of mechanical energy and burning breath where the spoken word of G.W.Sok sneaks in, before the pastoral crossing of Waldgänger and its forest of electronic chimeras. We dance naked under the comet, ridden by the whirlwind of piano and bass snaking over a drone before reaching the peak of this prophetic vision in Dôme, recorded live acoustic in Oscar Niemeyer’s abandoned architectural complex in Lebanon. The echo of a last discharge before the collapse.

Oiseaux-Tempête unveils a new facet of its mythology through a dense work that carries darkness towards the light of day, that rumbles, calms down and warms up again. Like the silhouette of a lighthouse that reveals itself as its torch rises and shines, the powerful beauty of WHAT ON EARTH (Que Diable) radiates into an expanding musical cosmos.

(Text by Alice Butterlin)




All tracks composed and performed by Oiseaux-Tempête

Frédéric D. Oberland : electric guitar, mellotron, flute, alto sax, analog synths, boîte à bourdons, sea shell, rhodes, piano, vocals, percussion
Stéphane Pigneul : modular & analog synths, electric bass VI & bass, drum machine, vocals, percussion
Mondkopf : drum machine, analog & modular synths, vocals, electric guitar, boîte à bourdons, percussion
&
Jean-Michel Pirès : drums and percussion on tracks 1, 2, 4, 6 & 8
Ben Shemie : vocals on track 1
Radwan Ghazi Moumneh : electric buzuk on track 4, vocals on track 5
G.W.Sok : vocals on track 6
Jessica Moss : electric violin on track 6
Racha Baroud : vocals on track 9
Roy Arida : percussion on track 9

Recorded at Mer/Noir, Hotel2Tango, Mikrokosm, Magnum Diva, Contre-Terre & 5th Chamber, Oscar Niemeyer’s Dôme in Tripoli - Lebanon, Montreal - Canada, Paris, Lyon - Europe by Radwan Ghazi Moumneh, Benoît Bel, Jean-Charles Bastion, the band // Arranged & edited by Oiseaux-Tempête except track 9 edited by Grégoire Orio & Grégoire Couvert // Mixed & produced by Jean-Charles Bastion & Oiseaux-Tempête at Mer/Noir // Mastered by Harris Newman at GreyMarket Montreal // Lacquer by François Terrazzoni at Parelies

Photographs by Frédéric D. Oberland www.fredericdoberland.com // Handwritten font by Thibault Proux // Graphic design by Mountain // Published by Alter K.

[The Soup Nazi]

Dry Cleaning - Stumpwork (October 21)