"Mondrian n’est pas seulement un peintre néerlandais adepte des couleurs primaires et des lignes droites verticales et horizontales. Mondrian c’est aussi un quatuor parisien pop rock né en 2007, qui a décidé de soigner nos yeux et nos oreilles en faisant le pari fou d’être plus connu que son homonyme.
Encore un groupe parisien me direz-vous. Oui, mais celui-ci est à moitié rennais. Le chanteur Roman Oswald et le multi-instrumentiste Marc Mifune, alias Morning Crash, se sont rencontrés sur les bancs de la fac. Ils ont été rejoints depuis par « Demoiselle » au synthé et Cyrille Fournel à la batterie.
Demi-finalistes du concours CQFDau printemps 2010, aux côtés de pas moins de 59 artistes, ils sortent leur premier EP « Pop Shop » l’été suivant. Une boîte de production espagnole, NYSU Films, et leur réalisateur attitré, Jesus Hernandez, leur font des clips originaux et chatoyants. Emballez, c’est pesé ! Aujourd’hui ils reviennent avec « Whippersnapper », un EP 3 titres fort sympathique. Ainsi baptisé, cet opus n’a pourtant rien d’insolent, ni de présomptueux. Bien au contraire. Ce jeune groupe compose avec talent une pop folk rafraîchissante aux influences 80′s, colorée d’une électro cadencée et enjouée, qui vous donne envie de bouger votre fesse droite comme un métronome.
« A Kiss a Day » est terriblement entraînant et grisant tel un lent survol aérien des Caraïbes. Détendez-vous, vous êtes bien arrivés à destination. La température extérieure est de 25 degrés et une légère brise sud-est souffle sur les plages. Le commandant de bord ainsi que l’équipage du vol Mondrian vous souhaitent un agréable séjour et espèrent que vous avez passé un joli moment musical en leur compagnie." = http://cequejecoute.wordpress.com/2011/05/25/mondrian-bienvenue-a-bord/
Um incrível mosáico de imagens do deserto, feitas por Kate Mccabe, montado com músicas do Brant Bjork.
A música, embora seja o a mais transitória forma de arte, muitas vezes tem o poder de criar um senso palpável de tempo e espaço. O cinema é especialmente indicado para ser reforçada e aprofundada através da música. Quando os dois se encontram, o resultado pode ser banal, irregular ou brilhante - mas são melhores quando são surpreendentes. Tal é o caso com Sabbia, uma colaboração entre o músico Brant Bjork e o cineasta Kate McCabe.
Este é um split do Doomriders com o Boris. As duas bandas gravaram após encerrarem suas turnês nos Estados Unidos em 2006. O Doomriders, gravou ao vivo no "backroom of a pizza" em Vasalia (California). Enquanto que o Boris, gravou ao vivo no "Slin's" em San Francisco. Esta é uma edição limitada do disco, que teve sua arte feita por "Fangsanalsatan", em homenagem à capa do álbum "Screaming for Vengeance" do Judas Priest.
On August 9th 1995 Jerry Garcia died in Forrest Knolls, California. I was enjoying the remainder of the summer on the beach in New Jersey before my Senior year of high school and Bob Weir was in Hampton Beach, New Hampshire with his band Ratdog (unofficially the worst name for a band devised). Bob recieved word a few hours before the show, then summoned up a great deal of courage and decided to go on stage.
To Bob Jerry was more than just a band mate and a friend. Raised by his adoptive parents possessing a genius level intellect but managing to be expelled from every school attended, young Bob was an adrift sixteen year old looking for guidance and a way. New Year's Eve 1963 Bob and friend (who would help pen the majority of Weir's Grateful Dead songs) John Barlow were looking for a bar that would let them in when their heard banjo music seeping out of Dana Morgan's Music Store in Palo Alto. They walked in and met a 21 year old Jerry Garcia. From that date on Jerry taught Bob to play guitar and in my opinion gave him the father figure he was searching for. These two massive minds possessing incredible talent would form a creative relationship outside of Mccartney-Lennon-Harrison and Richards-Jagger the world had never seen; I venture to say we will never see it again in our lifetimes.
So that night Bob Weir took the stage and addressed the audience in a shaky voice on the verge of tears "Well, if there's anything our friend taught is, it's that music can be used to ease us through the sad times." With that the crowed clapped in a reserve manner and the opening riffs of "Bombs Away" hustled through the amps. The show itself would be the best Ratdog 'leg I ever heard. Every line carried a mournful weight and gravitas, Weir's usually subdued and technical rhythm playing was sharper and forceful, louder and more apparent.
It is interesting he chose this song to start the show with, possibly summoning up the title words and dropping into an unknown enviroment, except this time instead of love it was death. I find it interesting also because Weir always had a push towards the disco infused rhythms while in the Dead with songs such as "Feel Like a Stranger" and of course the entire Shakedown Street album; this track certainly has disco-mainstream vibes in direct contrast to the usual Dead tried and true combination of traditional American music and trickling extended solos.
It was a sad day to be sure but I would reckon that most beautiful songs and performances can find their conception within sad times; as different as this studio version is of this track is upon hearing it I can never get the image of Bob standing on a stage, truly alone, starting it off and leaping into, for him, the abyss.
O Necronomicon é uma banda originada na cidade de Maceió (Alagoas - Brasil). É bem difícil hoje, rotular o som de algumas bandas, os caras tocam uma espécie de rock n roll setentista com algum toque de progressivo da mesma época, algo tipo "Iron Butterfly", "Jane", "Crucis" ou até mesmo o "Soft Machine" (fase Bundles). O material tem uma qualidade muito boa, com destaque à timbragem de guitarras e teclados. Muito bom o som dos caras, vale o download!!!!
Line-up:
Lillian - Guitar
Alexander - Bass
Pedro - Organ, Vocals and Drums
Recorded in 2009 at Pedrada Studios, Maceió, Brazil
O Venomin James lembra muito as bandasclássicascomoBlackSabbatheLed Zeppelin, ao mesmo tempo que tem fortes influências de bandas contemporâneas comoKyuss,COC,AcidBathe Entombed.Abandadescreveo seu som como sendo"StonerMetal"ou"HeavyDoomrock". Muito foda!!!
"Parisian band Mondrian talk us through their five favourite albums.
Beach House - Teen Dream
Another turning point for Mondrian! Despite the number of rave reviews and overrated buzz, this album remains for us one of our favorites in 2010. Raw rhythms, carefully produced synth… and a voice which takes off the songs: soft, evanescent, dreamlike. Chimeric Reine de Saba. There’s nothing to say about this album or yes, something, one word: PERFECTION.
Andrew Bird - Andrew Bird & The Mysterious Production of Eggs
We discovered him via Bernard Lenoir’s radio show (famous in France). We got a move on to buy tickets for the Elysée Montmartre (place that lately went up in smoke, RIP). Seeing Andrew Bird live was a revelation. His unique use of the loop pedal, his charismatic will of doing everything by himself, even on stage, waahh, it impressed us a lot. We couldn’t get the ‘A Nervous Tic Motion of the Head to the Left’ riff out of our heads. Let’s call it like it was, it was a drug. From the top of our 19-year-old-ingenuousness.
Sufjan Stevens - Illinois
A big slap on our first listening. Our first EP Pop Shop is, no doubt about that (http://popmondrian.bandcamp.com/track/love-a-collision), much inspired by Illinois orchestral arrangements (this severe penchant for banjo). Folk period for us both. The Age of Adz left us quite indifferent, cold. Maybe because he strays too far from the universe to which we were accustomed to. Anyway, we’re still big fans of his early discography.
Four Tet - Rounds
For Mondrian, this opus is primordial. We created the band because of Rounds, and thanks to Rounds. Because of this album, we started writing songs on a computer and began to marry traditional sounds to electronica. Kieran managed to find a balance between pop and ambient. We’re getting close to electro/electronica with Mondrian (http://popmondrian.bandcamp.com/track/whippersnapper), we’re not sure if we’re gonna stride along the same roads as Four Tet. Maybe we’re too shy.
The Rapture - Echoes
Still influencing me. Melodically, rhythmically. An upside-down mix of electronica and dance rock. So heady and such groovy moosic. The Clash meeting Aphex Twin. I ask, request, need no more. Timeless achievement. We’d love to catch that same energy on stage. This brainf*** savagery. But maybe, we’re a little too neat for that. “Shy and neat”: a good title for a Mondrian’s definition." = http://suckinglemons.co.uk/2011/05/28/five-a-day-mondrian/
When I was nineteen years old I had a dream, this is not a joke and one of the creepiest things that has ever happened to me, I still cannot make out exactly the coincidence, the odds of something such as this happening and the whole weirdness of the situation. The dream went like this: I was at a masquerade party in a Louis XVI mansion with manicured lawns, impeccable art and decor in every direction. Everyone was in white tails, perfectly fitted attire except for masks on their faces. Some were Venetian-like, others were similar standard mime lifeless faces. I was instantly put in this situation in tails and a mask, the dream took off from there. I was wandering through the party by myself while it seemed as everyone in attendance knew each other. Next to a titanic seven foot high fireplace I started speaking with a woman, mysterious not only in dress and mask but also in her tone and conversation. We spoke until she said: "We have to see him." "Who is him?" She replied, "Him."
So we walked through the party towards this massive structure of steps and pedestals until at the crest we saw a man sitting in a marble throne, white tails with black piping, his mask had an enormous, cartoonesque-nose standing out from the white glossy plaster. There was a tension in the air as the both of us stood before this masked man. He nodded and my acquaintance looked over towards me and removed her mask, gesturing me to take mine off. When she did a pile of dark brunette hair fell over her shoulders and striking green eyes pierced through my chest, I felt them refract off of the inside of my back and out into the abyss of the palace of which we stood a part of. Again the masked man nodded until he removed his mask and it was Bob Dylan, nappy Jew hair a mess, sleepy eyes and squint lines over his face. It was a total surprise and I stepped back aghast wondering what a man like Dylan was doing holding court at such a bourgeoisie event. She grabbed my right arm and pulled me away as Dylan watched us depart the room into another cavernous space noddingly, we kissed deeply there, myself groping her body as she pulled her hands off of her and looked me directly in the eyes with her emeralds.
Then I awoke.
Months later in a deep sleep she came back to me, in the dream I was laying in bed, heard a noise, startled I sat up to see her walk into my room wearing a black corset and patent leather heels. She straddled me and took my mouth in her own, leaning over while I acceptingly let her pin me down. All that transpired was kissing for what felt like hours until my skin was raw when she then sat up and uttered: "Another time."
I awoke once again.
In 1964 in a press conference in San Francisco Bob Dylan was asked if he was to sell out to a commercial interest what would it be? He replied: "Women's Garments."
Forty years later in 2004 Bob Dylan used his song "Love Sick" from the album Modern Times for a Victoria's Secret advertisement. In the video a strikingly similar setting from my dream was used for the set and Bob Looked exactly as he did when he came to me in my sleep. It blew my fucking mind.
The song itself is a powerful combination of minor chords and pent up sexual aggression. From what I remember I was pretty pent up sexually at the time and the imagery from both my dreams and this video was enough for both a music junkie and a, well, a young man to make my head explode. I thought about it in class, during work in the summer and while I spoke with every young woman who crossed my path.
That was until (and this is where it gets terribly surreal) I was at the east end of Duval Street one night four years later and a brunette caught my eye as I was sitting at an open air bar facing the street. She cast a glance in the bar's direction while strolling with a female friend. In that glance I saw her face and her green eyes and realized that she was the woman from my two dreams. Ex-fucking-actly. For a moment I was paralyzed, not only by her beauty but more so because of the David Lynch moment that I was now a part of in the 90 degree heat of the Keys.
After that moment past I ran out into the street and after her. Politely I tapped her on the shoulder and when she turned around there was a full five second pause before I took a massive, deep breath and told her that I know this sounds bat shit crazy but I had two dreams about her. Surprisingly she was intrigued and still stood there. I asked her and her friend to join me for a drink in the bar so I could explain. They did and I went through the entire story.
After her friend departed I still sat next to my green eyed girl who (of course) turned out to be one of the deepest people I have ever met. From Camus to Kierkegaard, the observable universe to the Upanishads, we covered it all until we walked through dead streets back to the boat towards Sunset Key where my room waited.
We tore our clothes off in a frenzy and teased each other for what seemed like hours with kissing until it was time to move on. The next day she left with only a goodbye, just as she entered my life she was gone never to see or dream of her again.
Last night Dylan Fest was held at the Bowery Ballroom and I attended, one of the first few songs was this and whomever it was singing killed it just like Bob did in the video below. It reminded me of that night, those dreams and the crazy, fucked up, metaphysical questions that remain. Once again so many questions were opened and left unanswered while I laid in bed alone wondering just what it was all about.
01. Aurora Funeralis 02. Crowned & Drained 03. A Devilish Manifesto 04. Archways 05. Old Redhook 06. A Candle for the Morning Star 07. Hymn 08. Sol 09. The Inveterate 10. Lord of Light and Pride 11. Under Southern Skies 12. Claws of Fog 13. Awakening to Shrinking Light
