Petit blog musical tout simplement
Février 2005
The Cure - The End Of bArjo^stoo On Nofrag
Lundi 14 février 2005 à 21 h 58
Ce pour quoi j'étais venu sur Nofrag n'est plus sur Nofrag , ce blog n'a donc plus rien à faire ici.
Pour autant ça n'en est pas la fin même si je vais peut-être faire une semaine de pause histoire de trouver un autre système.
J'ai une page de backup avec tous mes articles ici si toutefois certains sont encore intéressés.
Bonne continuation à Nofrag et aux nouveaux membres , je m'en vais la tête haute tant qu'il en est encore temps avec une chanson d'un des meilleurs groupe ever. Ce fut quand même une très bonne expérience. Merci pour tout.
Clip :
- Real
- WindowsMedia
- Quicktime
The End Of The World
Go if you want to
I never tried to stop you
Know there's a reason
For all of this you're feeling
Love its not my call
You couldnt ever love me more
You couldnt love me more
You couldnt love
Me I dont show much
Its not that hard to hide you
See in a moment
I cant remember how to
Be all you wanted
I couldnt ever love you more
I couldnt love you more
I couldnt love
You want me to cry and play my part
I want you to sigh and fall apart
We want this like everyone else
Stay if you want to
I always wait to hear you
Say there's a last kiss
For all the times you run this
Way its not my fault
You couldnt ever love me more
You couldnt love me more
You couldnt love
Love me more
Couldnt ever love me more
I couldnt love you more
I couldnt love
You want me to lie not break your heart
I want you to fly not stop and start
We want us like everything else
Maybe we didnt understand
Not just a boy and a girl
Its just the end of the
end of the world
Me i dont say much
Its far too hard to make you
See in a moment
I still forget just how to
Be all you wanted
I couldnt ever love you more
(x4)I couldnt love you more
Si vous me cherchez....
Pour autant ça n'en est pas la fin même si je vais peut-être faire une semaine de pause histoire de trouver un autre système.
J'ai une page de backup avec tous mes articles ici si toutefois certains sont encore intéressés.
Bonne continuation à Nofrag et aux nouveaux membres , je m'en vais la tête haute tant qu'il en est encore temps avec une chanson d'un des meilleurs groupe ever. Ce fut quand même une très bonne expérience. Merci pour tout.
Clip :
- Real
- WindowsMedia
- Quicktime
The End Of The World
Go if you want to
I never tried to stop you
Know there's a reason
For all of this you're feeling
Love its not my call
You couldnt ever love me more
You couldnt love me more
You couldnt love
Me I dont show much
Its not that hard to hide you
See in a moment
I cant remember how to
Be all you wanted
I couldnt ever love you more
I couldnt love you more
I couldnt love
You want me to cry and play my part
I want you to sigh and fall apart
We want this like everyone else
Stay if you want to
I always wait to hear you
Say there's a last kiss
For all the times you run this
Way its not my fault
You couldnt ever love me more
You couldnt love me more
You couldnt love
Love me more
Couldnt ever love me more
I couldnt love you more
I couldnt love
You want me to lie not break your heart
I want you to fly not stop and start
We want us like everything else
Maybe we didnt understand
Not just a boy and a girl
Its just the end of the
end of the world
Me i dont say much
Its far too hard to make you
See in a moment
I still forget just how to
Be all you wanted
I couldnt ever love you more
(x4)I couldnt love you more
Si vous me cherchez....
2 commentaires, dernier de bArjo^stoo.
Michel Gondry : Sa Vie , Son Oeuvre
Samedi 12 février 2005 à 22 h 24
Le plus grand , le plus beau clipmaker de ces dernières années à mon avis.
Il mérite plus que tout sa place sur ce blog d'autant plus que je suis vraiment tombé amoureux de son dernier film : "Eternal Sunshine of the Spotless Mind".
Débordant d'imagination et surprenant à chaque fois , ses clips sont devenus des monuments dans le milieu.
On va donc essayer de tout regrouper ici , ce post va surement me bouffer 1 ou 2h mais franchement ça vaut le coup.
Allons-y les amis !
Petite précision : je n'indiquerai pas à chaque fois le type du clip , la plupart sont en quicktime ou real.
Je vous rappelle donc encore une fois les très bons :
- Real Alternative
- Quicktime Alternative
qui permettent d'utiliser le meilleur lecteur du moment j'ai nommé Media Player Classic pour mater ces types de fichiers.
Michel Gondry was born and raised in Versailles, France. Now in his late thirties, his repertoire of short films is astounding. He has scripted inspiring imagery in the form of commercials, music videos, short films, an online interactive piece, collages, etc. He is credited with reviving the music-video format. He has been named a genius by many: from collaborators such as Yuka Honda (Cibo Matto), Georges Bermann, and Björk; from other directors like Spike Jonze, Joseph Kahn (“Gondry does it first and best. Always.”), and Roman Coppola; even Moltar likes Gondry.
Michel Gondry's age is deceiving, however: his works are marked with a child-like explorative eye. Both fun and adventurous, like old-school hip-hop Gondry’s works are his playground. He tells stories about people and their lives, while questioning our definitions of reality. His characters reflect us. His worlds playfully reflect the interaction between the worlds we live in: nature, society, and the mind.
The turning point of his career was Björk. As the story goes, the Icelandic woman saw a few of his videos, including his sixth video for his band Oui Oui, “La Ville.” After some exchanging of ideas, they created her debut solo video, “Human Behaviour.” The video is unforgettable. Not only did it pique people’s interest of Gondry, it revived interest in the then-stuttering music video industry.
That was 1993. Between then and now he has persistently kept viewers’ lips pursed. As each of his works (most of which he doesn’t even own) is released, one finds him completely rearranging old techniques into new patterns, finding new ways to tell stories, and just having fun.
Since the release of Gondry's first feature film Human Nature, he has done more commercial and music video work. Gondry is now completing post-production on a second Charlie Kaufman-scripted film entitled Eternal Sunshine of the Spotless Mind starring Jim Carrey. His first attempt at feature film, an adaptation of the comic-book The Green Hornet,was benched and looks to be forgotten.
Oh, wait. Before we leave, perhaps we should let the man speak for himself. The following text comes courtesy the mini-biography of Gondry found in Björk's book Post. The interview was conducted by Sjón Sigurdsson.
“As a child I was interested in the possibilities that Lego and Meccano opened up, to create and invent new discoveries. My cousin and I used Meccano to build a prototype cartoon machine, quite similar to the zoetrope. It was a black circle with a gap to look at the little drawings. One of the stories we drew was about a journey in which you fractal zoom from a larger infinity to a smaller infinity. It started in space, with the planets, and then closed in on the Earth, then the continents, the countries and cities, the streets and the houses, down through a chimney, deep into the wood and right into the little atoms. Then it zoomed back out to the planets again. It was about a minute long, and we were 12 years old.
“These days my cousin is an architect, but he is still interested in inventions. He loves the idea of visual stereo and he's discovered a machine that draws in 3D. As you can imagine it's quite complicated. You draw into the air with a cursor that's connected to two small arms, and each arm holds a pen. If you trace over someone's face with the cursor, each pen draws it from a slightly different angle. You can see the portrait in stereo when you look at it with 3D glasses.
“As well as the cartoon machine, we used to make a lot of flip books. You know, the ones where you draw a sequence of pictures and flip them fast so they seem to move. We did one with a story about a man who goes to the toilet. This hand comes up out of the toilet and grabs his penis and then drags it through all the pipes.
“At the time we were very interested in horrific images, gore; when you're young there's stuff you have to shit out and you like horror. Later you progress to other things but it's important at that age.
“I was drawing from a very young age. I liked it. When people know you can draw they ask you to draw different things, so it's as though you're already part of society. If you're good at drawing you have a social role, however young you are. And you produce something tangible at the same time as being creative.
“Drawing also increases your status at school. I was the best draughtsman in my class, and I was able to teach the other boys how to draw naked women. It was a very simple picture made out of three lines and they soon picked it up.
“You could say I came from a musical family. My grandfather, Constant Martin, invented one of the first keyboards. It was a little synthesizer called a Clavioline and I think 100,000 were sold in the UK alone. You'd stick it next to the piano and if you wanted to play the trumpet it would imitate one, in a shitty but charming kind of a way. My grandfather had an electronic church organ shop, which also did very well. Soon all the old pipe organs were replaced by electronic ones.
“Then my father took over the shop. Of course my father was much more into pop culture. He started selling electric guitars and was very cool. But pretty soon he was bankrupt because he'd just give the instruments away. If a young hippie really wanted one of his guitars or keyboards, but couldn't afford it, my father would practically let them have it.
“My family was a little bit like Pop family -- you know, like the families you could see in progressive sex education books at the end of the Sixties. On the first page you'd see the whole family out in the woods in flared blue jeans and then you'd turn the page and they'd all be standing naked, to let you know how good they were feeling together.
“We listened a lot to pop music, rhythm and blues, and my father was a big Duke Ellington fan. So I never got into music as some sort of reaction to my parents. I didn't have to use music to throw shit back at my parents. They gave me lots of freedom in thinking. I just listened to the music I had always liked.
“Before he lost the shop my father gave me a drum kit and my brother a bass guitar. We formed a couple of bands together, that played punk rock...or maybe it was more like New Wave...and that's how I got into music. Then when I left Versailles to go to art college in Paris I formed the band Oui Oui with some friends from college.”
On va essayer de le faire chronologiquement par contre il risque de manquer pas mal de clips donc si vous avez les links je suis preneur.
Tout commence avec le dessin animé "Les Triplés". C'était 3 petits enfants blonds qui foutaient une grosse pagaille d'enfer mais qui se faisaient jamais engueuler du fait qu'ils étaient mignons. J'ai pas trouvé d'image tiens mais Gondry a vraiment détesté ce boulot. Enfin comme il dit : "I had to eat".
Ca s'enchaine ensuite grâce à son groupe Oui Oui pour lequel il fait 3 vidéos :
- Bolide
- Joyeux Noël
- Junior
C'est d'ailleurs grâce à ces clips qu'il se fait remarquer par Björk et qu'il commence à bosser pour des plus gros artistes.
A la meme époque , Gondry fait un clip pour Jean-Luc Lahaye : Dô, l'enfant d'eau.
Et la tout s'emballe avec un autre clip pour Oui Oui : Les Cailloux.
Un clip pour l'Affaire Louis Trio (très bon groupe d'ailleurs) : Il y a de Ceux.
Mais également un clip pour la chanteuse RoBERT , jeu de lumière et de sensibilité : La Jupe
Puis encore un clip pour Oui Oui : Ma Maison. Gondry réutilisera certains éléments pour "Human Behaviour" de Björk.
Viens ensuite un clip pour Laurent Voulzy : Paradoxal System
Un clip pour Etienne Daho : Les voyages immobiles
Un premier clip pour un artiste anglais : Energy Orchard avec How the West Was Won.
Un clip pour Les Wampas : Comme un ange (qui pleure).
Un autre avec beaucoup d'effets de couleurs et autres pour Oui Oui : La Ville.
Un premier clip pour un artiste américain : Mark Curry avec Blow Me Down.
Un clip pour Thomas Dolby : Close But No Cigar
Un autre clip très moderne pour les Inspiral Carpets : Two worlds collide qui lui permettra de faire un clip de Lenny Kravitz.
Avant ça il fait un clip pour Les Négresses Vertes (très bon groupe aussi décidément) : Mama Mia
Et puisqu'on parle des bons artistes français on peut commencer cette année 93 avec Rachid Taha : Voila Voila.
Le clip pour Lenny Kravitz est imho un hommage à Kubrick et son 2001 , A Space Odyssey. C'est Believe.
Viens ensuite le clip pour IAM : Je Danse Le Mia
Un autre clip pour Terence Trent D'Arby qui ressemble un peu à celui des Négresses vertes : She Kissed Me
Et avant de commencer à bosser pour Björk , Gondry fait le clip de Snowbound de Donald Fagen.
Viens ensuite la première vidéo pour Björk : Human Behaviour
La rencontre de deux très grands artistes.
Gondry - "I'm always jealous when Björk works with someone else. Or when I see an amazing clip like "Come to Daddy" by Aphex Twin... Even if I understand Björk, it drives me mad. I see our relationship like these very seventies marriages. The husband and the wife would have sex with other partners to preserve their marriage (laugh)."
Björk - "You look very cute when you're jealous."
On commence 94 avec une video pour Sinead O'Connor : Fire on Babylon
Cette vidéo est très complexe et je préfère ne pas me lancer dans une interprétation ; j'en ai pas les moyens mais je pense que le clip peut susciter des émotions chez beaucoup de gens , c'est ça aussi Gondry.
Viens ensuite un de mes préféré autant au niveau de la musique que du clip : Protection de Massive Attack.
One of the best clip ever !
Gondry a ensuite fait un clip pour les Rolling Stone : Like A Rolling Stone
C'est une vraie fête , c'est peut être ce qui rend le tout tellement crédible.
Ce clip est tellement "rolling stones" c'est impressionant.
Du très grand art.
Gondry réenchaine ensuite avec deux clips pour Björk : Army of Me et Isobel
Gondry: "With Bjork, we exchange lots of fax and ideas. We have longs discussions. Many of my ideas come from my dreams. I like the way they digest information. There are a lot of crazy and useless ideas, but it makes me laugh. In the "Army of Me" video, Björk opened the hood of her truck. We can see a huge mouth and a cowboy getting out of it. It was my way to say that the engine was stinking, he had cowboy breath (laugh)...I drunk too much the day before I wrote the story and this idea made me really laugh."
On a un peu une impression de synbiose totale entre ces deux artistes , ils se complètent en gardant leur style propre donnant au final une chanson et un clip déjanté au possible.
Bjork: ""Michel explains very well the way I create my songs. When I write, I plant little seeds. Then, the question is: When will they be ripe? And that is up to Michel. For example, my favorite Michel video is "Isobel." It's Michel who found the poetry in it. He also found the thread we had on the first videos: Human Behaviour, Isobel and Bachlorette... It's the same story with the same character who is neither Björk nor Gondry but a third person: us. It's the story of a girl frightened by adults - a teenager who becomes aware of her femininity - then an instinctive character who discovers her femininity, with the good sides and the bad sides. In the end of "Bachelorette," she realises she would be better where it all started: in the woods, alone. These videos are my different sides."
Le clip d'Isolbel n'est pas un clip , c'est une oeuvre d'art , une poésie. Indescriptible.
Viens ensuite un autre clip très original en double fenetrage pour les deux japonaises de Cibo Matto avec Sugar Watter
Puis un autre clip pour Björk : Hyperballad
Dans ce clip Björk est une héroïne de jeu vidéo. Encore un clip très avant gardiste.
Viens ensuite un clip pour Neneh Cherry : Feel it
Gondry : "I'm not very satisfied with this one. I deeply respect Neneh Cherry and I'm really not happy that I didn't do my best video for her. I always try different techniques in telling a story and I don't think the story came across in this one."
Bon bah ensuite viens celui que vous attendiez tous : Around the World de Daft Punk.
Que dire (que faire) devant ce génie. Gondry reprendra le principe pour un clip des Chemical Brothers.
"This was my first try to do choreography and I was sick to see choreography being mistreated in videos like filler with fast cutting and fast editing, really shallow. I don't think choreography should be shot in close-ups."
A noter d'ailleurs un gros hommage à ce clip et à cette chanson des LCD SoundSystem avec Daft Punk Is Playing At My House où on retrouve des personnages du clip de Gondry.
On continue avec un clip des Foo Fighters : Everlong
Un autre clip bien déjanté.
Puis un clip pour l'artiste préféré de Gondry : Beck avec Deadweight
Dans le clip tout est inversé et on retrouvera d'ailleurs Beck pour l'OST du dernier film de Gondry.
A la fin tout devient ridicule genre l'ombre qui traine le mec ou le gars qui porte sa bagnole.
Bien évidemment on a Bachelorette de Björk qui continue la série de la jeune fille.
Encore un monument grâce à cette très belle chanson.
Egalement Joga avec l'Islande virtuelle de Björk. La encore la musique correspond tellement bien avec ce qu'on voit , un seul mot à dire : impressionant.
Un clip pour Wyclef Jean : Another One Bites The Dust
Encore un clip déjanté des plus marrant avec des milliards de référence.
Un autre clip que j'aime beaucoup : Stardust avec Music Sounds Better With You
Ce clip est beau. Ca rappelle tellement l'innocence de l'enfance... J'aime.
Un autre clip pour les Rolling Stones : Gimme Shelter
Pas le meilleur clip de Gondry.
Première collaboration avec les Chemical Brothers : Let Forever Be
Gondry a semble-t-il toujours été intéressé par cet aspect de démultiplication et ça marche bien. (cf le clip de Kylie Minogue).
Et puisque tout le monde y passe pourquoi pas Radiohead avec Knives Out
"In the video that I have just finished for Radiohead, Knives Out, I reconstructed my memories. It's an autobiographical video. Emma de Caunes plays the role of my ex-girlfriend and Thom Yorke interpretates my role. I received the record the moment we separated. The video, unlike the film, is all based on memory. All these images just came to me. I hadn't managed to have any others. I suggested them to Thom who agreed. It is the story of my girlfriend who had leukaemia and the time I spent watching over her in the hospital. She is practically cured now. The speed at which the illness
progresses is horrifying!
"It's terrifying, I watched over my girlfriend in hospital for weeks and weeks. All that medication… I have always had a thing about that… I speak a lot about it because it was a failure, not health-wise but from an emotional point of view. We split up. Why? We had separated once before her illness. I was so sad, I said to myself that I couldn't do anything. She always spoke to me of marriage, so I went to see her and offered her an engagement ring. The next day she had leukaemia. She must have already had it… the problem is that we got back together for all the wrong reasons. She came back to me because she was ill. We stayed three more years together.
"She is much better now. She had the will to live and excellent doctors. Guys who arrived at four in the morning. Four of the best doctors. As we lived at that time in Los Angeles, I had to play by the system and paid for everything in cash. That was a big problem for my girlfriend. She felt guilty that I invested myself so much, in the literal sense of the word. She turned everything against me, unconsciously. It's unfair and that’s the reason why I did the video. It is a bit tough for her."
Encore en 2001 l'autre collaboration avec les Chemical Brothers : Star Guitar
Un peu le même concept que pour Daft Punk mais en plus poussé.
C'est la qu'on voit tout le génie mais également la réalisation parfaite de Gondry.
Mon dieu , mon dieu...
On poursuit avec les deux clips pour The White Stripes : Feel In Love With A Girl et Dead leaves and the dirty ground
Rah mais les Lego , tout le monde a toujours révé de faire un truc dans le genre , Gondry l'a fait. Quel boulot mais quel résultat...
"It definitely has that retro feel, because they used just the basic colors and pieces from 30 years ago. They didn't even use green or orange."
Gros making of : ici
Le second est plus classique mais bien quand même. C'est un peu encore le jeu de la démultiplication.
Très bonne colaboration au final.
On se rapproche de la fin avec Kylie Minogue et encore ce jeu de démultiplication exécuté à la perfection dans les rues de cette ville. Combien de fois j'ai regardé ce clip en essayant de comprendre comment il avait fait. J'ai abandonné.
Come Into My World
Allez un clip pour Noir Désir : A l'Envers à l'Endroit
Et encore une fois c'est tellement Noir Désir ce clip. Gondry cerne les artistes et produit un contenu à leur image.
Dur d'apprécier le clip si on ne comprend pas les paroles par contre.
Histoire de bien parachever le concept de Around The World et Star Guitar et de finir en beauté sa collaboration avec The White Stripes , Gondry nous offre The Hardest Button To Button
Ce clip a gagné toutes les récompenses imaginables et on ne se demande même pas pourquoi tellement ça semble évident.
Récemment on a eu le droit à Walkie Talkie Man de Steriogram.
La musique est bof mais le clip reprend le principe des Lego mais avec de la laine cette fois.
Ca donne un truc complètement fou (comme d'hab).
Le making of est incroyable (autant que l'accent de Gondry) avec des mamy en train de tricotter.
En 2004 c'est The Vines qui y a droit avec Ride
Gondry a également fait le clip de Light & Day de The Polyphonic Spree à partir du film dont je parlerais plus loin.
Je me répète peut etre mais Gondry est fou et le mot est faible.
The Willowz : I Wonder
Ca rappelle un peu les films muets avec des machines débiles.
Gondry a également fait récemment le clip d'une chanson que j'aime beaucoup (et je ne suis pas le seul) : Mad World de Michael Andrews et Gary Jules.
Ce clip marche tellement bien avec la chanson. Pour moi c'est de l'art.
Avant dernier clip : The Vines : Winning Days
De la poésie à l'état brut. Rien que ça.
Et le dernier clip à ce jour A Ribbon de Devendra Banhart (très bien).
Une autre forme de poésie mais ça fonctionne encore très bien.
A noter que pour ce clip Gondry n'est que le co-directeur.
Il a également réalisé pas mal de pubs :
- Fiat: Lancia Y10
- Adidas Aftershave: Released From Work
- NatWest: Zoom
- Heineken: Debut
- Polaroid: Resignation / Living Moments
- Levi's: Drugstore
- Smirnoff: Smarienberg [Adventure]
- Volvo: I Said Volvo
- Coca-Cola: Snowboarder
- Nike Basketball campaign (five ads, including Feelings)
- Levi's: Mermaids
- Nike: I Can Play
- Nike: The Long, Long Run
- AMD: Flatzone
- Citibank commercial?
- Air France: Le Passage
- GAP Holiday campaign (three ads)
- Nike: Leo
- Earthlink: Privacy
- Levi's: Bellybutton
- BMW: Pure Drive
- Gatorade Propel Fitness Water: Drip
- Fox Sports Network campaign (four ads)
- Air France: Le Nuage
- Levi's: Swap
- Électricité de France: Selects
- Diet Coke: Tingle and Bounce
Démerdez vous pour les links.
Car ce qui nous intéresse maintenant c'est l'oeuvre filmographique de Michel Gondry.
Gondry a , à ce jour , réalisé trois films :
- Human Nature
- The Science Of Sleep
- Eternal Sunshine of the Spotless Mind
Je n'ai malheuresement pas vu les deux premiers (mais cela ne saurait tarder).
En revanche je suis vraiment tombé sous le charme de Eternal Sunshine of the Spotless Mind.
Le scénario n'est en rien classique à ce dont on a l'habitude.
Les acteurs sont incroyables. On se reconnait tellement bien dans ce film.
Je ne parle même pas de la bande son avec un Beck splendide dans "Everybody's Gotta Learn Sometime".
On ne peut pas en fait parler de ce film. C'est encore un truc indescriptible , d'une beauté incroyable avec pleins de personnages très intéressants.
Conclusion : Michel Gondry est indéniablement un , si ce n'est le plus grand clipmaker de tous les temps. Se renouvelant sans cesse avec une imagination sans limite et une réalisation incapable il a su séduire le public et les artistes.
Sa reconversion dans le cinéma semble être une réussite totale.
Que demande le peuple ?
J'espère que vous prendrez autant de plaisir à lire cet article que j'en ai pris à l'écrire.
Il mérite plus que tout sa place sur ce blog d'autant plus que je suis vraiment tombé amoureux de son dernier film : "Eternal Sunshine of the Spotless Mind".
Débordant d'imagination et surprenant à chaque fois , ses clips sont devenus des monuments dans le milieu.
On va donc essayer de tout regrouper ici , ce post va surement me bouffer 1 ou 2h mais franchement ça vaut le coup.
Allons-y les amis !
Petite précision : je n'indiquerai pas à chaque fois le type du clip , la plupart sont en quicktime ou real.
Je vous rappelle donc encore une fois les très bons :
- Real Alternative
- Quicktime Alternative
qui permettent d'utiliser le meilleur lecteur du moment j'ai nommé Media Player Classic pour mater ces types de fichiers.
Michel Gondry was born and raised in Versailles, France. Now in his late thirties, his repertoire of short films is astounding. He has scripted inspiring imagery in the form of commercials, music videos, short films, an online interactive piece, collages, etc. He is credited with reviving the music-video format. He has been named a genius by many: from collaborators such as Yuka Honda (Cibo Matto), Georges Bermann, and Björk; from other directors like Spike Jonze, Joseph Kahn (“Gondry does it first and best. Always.”), and Roman Coppola; even Moltar likes Gondry.
Michel Gondry's age is deceiving, however: his works are marked with a child-like explorative eye. Both fun and adventurous, like old-school hip-hop Gondry’s works are his playground. He tells stories about people and their lives, while questioning our definitions of reality. His characters reflect us. His worlds playfully reflect the interaction between the worlds we live in: nature, society, and the mind.
The turning point of his career was Björk. As the story goes, the Icelandic woman saw a few of his videos, including his sixth video for his band Oui Oui, “La Ville.” After some exchanging of ideas, they created her debut solo video, “Human Behaviour.” The video is unforgettable. Not only did it pique people’s interest of Gondry, it revived interest in the then-stuttering music video industry.
That was 1993. Between then and now he has persistently kept viewers’ lips pursed. As each of his works (most of which he doesn’t even own) is released, one finds him completely rearranging old techniques into new patterns, finding new ways to tell stories, and just having fun.
Since the release of Gondry's first feature film Human Nature, he has done more commercial and music video work. Gondry is now completing post-production on a second Charlie Kaufman-scripted film entitled Eternal Sunshine of the Spotless Mind starring Jim Carrey. His first attempt at feature film, an adaptation of the comic-book The Green Hornet,was benched and looks to be forgotten.
Oh, wait. Before we leave, perhaps we should let the man speak for himself. The following text comes courtesy the mini-biography of Gondry found in Björk's book Post. The interview was conducted by Sjón Sigurdsson.
“As a child I was interested in the possibilities that Lego and Meccano opened up, to create and invent new discoveries. My cousin and I used Meccano to build a prototype cartoon machine, quite similar to the zoetrope. It was a black circle with a gap to look at the little drawings. One of the stories we drew was about a journey in which you fractal zoom from a larger infinity to a smaller infinity. It started in space, with the planets, and then closed in on the Earth, then the continents, the countries and cities, the streets and the houses, down through a chimney, deep into the wood and right into the little atoms. Then it zoomed back out to the planets again. It was about a minute long, and we were 12 years old.
“These days my cousin is an architect, but he is still interested in inventions. He loves the idea of visual stereo and he's discovered a machine that draws in 3D. As you can imagine it's quite complicated. You draw into the air with a cursor that's connected to two small arms, and each arm holds a pen. If you trace over someone's face with the cursor, each pen draws it from a slightly different angle. You can see the portrait in stereo when you look at it with 3D glasses.
“As well as the cartoon machine, we used to make a lot of flip books. You know, the ones where you draw a sequence of pictures and flip them fast so they seem to move. We did one with a story about a man who goes to the toilet. This hand comes up out of the toilet and grabs his penis and then drags it through all the pipes.
“At the time we were very interested in horrific images, gore; when you're young there's stuff you have to shit out and you like horror. Later you progress to other things but it's important at that age.
“I was drawing from a very young age. I liked it. When people know you can draw they ask you to draw different things, so it's as though you're already part of society. If you're good at drawing you have a social role, however young you are. And you produce something tangible at the same time as being creative.
“Drawing also increases your status at school. I was the best draughtsman in my class, and I was able to teach the other boys how to draw naked women. It was a very simple picture made out of three lines and they soon picked it up.
“You could say I came from a musical family. My grandfather, Constant Martin, invented one of the first keyboards. It was a little synthesizer called a Clavioline and I think 100,000 were sold in the UK alone. You'd stick it next to the piano and if you wanted to play the trumpet it would imitate one, in a shitty but charming kind of a way. My grandfather had an electronic church organ shop, which also did very well. Soon all the old pipe organs were replaced by electronic ones.
“Then my father took over the shop. Of course my father was much more into pop culture. He started selling electric guitars and was very cool. But pretty soon he was bankrupt because he'd just give the instruments away. If a young hippie really wanted one of his guitars or keyboards, but couldn't afford it, my father would practically let them have it.
“My family was a little bit like Pop family -- you know, like the families you could see in progressive sex education books at the end of the Sixties. On the first page you'd see the whole family out in the woods in flared blue jeans and then you'd turn the page and they'd all be standing naked, to let you know how good they were feeling together.
“We listened a lot to pop music, rhythm and blues, and my father was a big Duke Ellington fan. So I never got into music as some sort of reaction to my parents. I didn't have to use music to throw shit back at my parents. They gave me lots of freedom in thinking. I just listened to the music I had always liked.
“Before he lost the shop my father gave me a drum kit and my brother a bass guitar. We formed a couple of bands together, that played punk rock...or maybe it was more like New Wave...and that's how I got into music. Then when I left Versailles to go to art college in Paris I formed the band Oui Oui with some friends from college.”
On va essayer de le faire chronologiquement par contre il risque de manquer pas mal de clips donc si vous avez les links je suis preneur.
Tout commence avec le dessin animé "Les Triplés". C'était 3 petits enfants blonds qui foutaient une grosse pagaille d'enfer mais qui se faisaient jamais engueuler du fait qu'ils étaient mignons. J'ai pas trouvé d'image tiens mais Gondry a vraiment détesté ce boulot. Enfin comme il dit : "I had to eat".
Ca s'enchaine ensuite grâce à son groupe Oui Oui pour lequel il fait 3 vidéos :
- Bolide
- Joyeux Noël
- Junior
C'est d'ailleurs grâce à ces clips qu'il se fait remarquer par Björk et qu'il commence à bosser pour des plus gros artistes.
A la meme époque , Gondry fait un clip pour Jean-Luc Lahaye : Dô, l'enfant d'eau.
Et la tout s'emballe avec un autre clip pour Oui Oui : Les Cailloux.
Un clip pour l'Affaire Louis Trio (très bon groupe d'ailleurs) : Il y a de Ceux.
Mais également un clip pour la chanteuse RoBERT , jeu de lumière et de sensibilité : La Jupe
Puis encore un clip pour Oui Oui : Ma Maison. Gondry réutilisera certains éléments pour "Human Behaviour" de Björk.
Viens ensuite un clip pour Laurent Voulzy : Paradoxal System
Un clip pour Etienne Daho : Les voyages immobiles
Un premier clip pour un artiste anglais : Energy Orchard avec How the West Was Won.
Un clip pour Les Wampas : Comme un ange (qui pleure).
Un autre avec beaucoup d'effets de couleurs et autres pour Oui Oui : La Ville.
Un premier clip pour un artiste américain : Mark Curry avec Blow Me Down.
Un clip pour Thomas Dolby : Close But No Cigar
Un autre clip très moderne pour les Inspiral Carpets : Two worlds collide qui lui permettra de faire un clip de Lenny Kravitz.
Avant ça il fait un clip pour Les Négresses Vertes (très bon groupe aussi décidément) : Mama Mia
Et puisqu'on parle des bons artistes français on peut commencer cette année 93 avec Rachid Taha : Voila Voila.
Le clip pour Lenny Kravitz est imho un hommage à Kubrick et son 2001 , A Space Odyssey. C'est Believe.
Viens ensuite le clip pour IAM : Je Danse Le Mia
Un autre clip pour Terence Trent D'Arby qui ressemble un peu à celui des Négresses vertes : She Kissed Me
Et avant de commencer à bosser pour Björk , Gondry fait le clip de Snowbound de Donald Fagen.
Viens ensuite la première vidéo pour Björk : Human Behaviour
La rencontre de deux très grands artistes.
Gondry - "I'm always jealous when Björk works with someone else. Or when I see an amazing clip like "Come to Daddy" by Aphex Twin... Even if I understand Björk, it drives me mad. I see our relationship like these very seventies marriages. The husband and the wife would have sex with other partners to preserve their marriage (laugh)."
Björk - "You look very cute when you're jealous."
On commence 94 avec une video pour Sinead O'Connor : Fire on Babylon
Cette vidéo est très complexe et je préfère ne pas me lancer dans une interprétation ; j'en ai pas les moyens mais je pense que le clip peut susciter des émotions chez beaucoup de gens , c'est ça aussi Gondry.
Viens ensuite un de mes préféré autant au niveau de la musique que du clip : Protection de Massive Attack.
One of the best clip ever !
Gondry a ensuite fait un clip pour les Rolling Stone : Like A Rolling Stone
C'est une vraie fête , c'est peut être ce qui rend le tout tellement crédible.
Ce clip est tellement "rolling stones" c'est impressionant.
Du très grand art.
Gondry réenchaine ensuite avec deux clips pour Björk : Army of Me et Isobel
Gondry: "With Bjork, we exchange lots of fax and ideas. We have longs discussions. Many of my ideas come from my dreams. I like the way they digest information. There are a lot of crazy and useless ideas, but it makes me laugh. In the "Army of Me" video, Björk opened the hood of her truck. We can see a huge mouth and a cowboy getting out of it. It was my way to say that the engine was stinking, he had cowboy breath (laugh)...I drunk too much the day before I wrote the story and this idea made me really laugh."
On a un peu une impression de synbiose totale entre ces deux artistes , ils se complètent en gardant leur style propre donnant au final une chanson et un clip déjanté au possible.
Bjork: ""Michel explains very well the way I create my songs. When I write, I plant little seeds. Then, the question is: When will they be ripe? And that is up to Michel. For example, my favorite Michel video is "Isobel." It's Michel who found the poetry in it. He also found the thread we had on the first videos: Human Behaviour, Isobel and Bachlorette... It's the same story with the same character who is neither Björk nor Gondry but a third person: us. It's the story of a girl frightened by adults - a teenager who becomes aware of her femininity - then an instinctive character who discovers her femininity, with the good sides and the bad sides. In the end of "Bachelorette," she realises she would be better where it all started: in the woods, alone. These videos are my different sides."
Le clip d'Isolbel n'est pas un clip , c'est une oeuvre d'art , une poésie. Indescriptible.
Viens ensuite un autre clip très original en double fenetrage pour les deux japonaises de Cibo Matto avec Sugar Watter
Puis un autre clip pour Björk : Hyperballad
Dans ce clip Björk est une héroïne de jeu vidéo. Encore un clip très avant gardiste.
Viens ensuite un clip pour Neneh Cherry : Feel it
Gondry : "I'm not very satisfied with this one. I deeply respect Neneh Cherry and I'm really not happy that I didn't do my best video for her. I always try different techniques in telling a story and I don't think the story came across in this one."
Bon bah ensuite viens celui que vous attendiez tous : Around the World de Daft Punk.
Que dire (que faire) devant ce génie. Gondry reprendra le principe pour un clip des Chemical Brothers.
"This was my first try to do choreography and I was sick to see choreography being mistreated in videos like filler with fast cutting and fast editing, really shallow. I don't think choreography should be shot in close-ups."
A noter d'ailleurs un gros hommage à ce clip et à cette chanson des LCD SoundSystem avec Daft Punk Is Playing At My House où on retrouve des personnages du clip de Gondry.
On continue avec un clip des Foo Fighters : Everlong
Un autre clip bien déjanté.
Puis un clip pour l'artiste préféré de Gondry : Beck avec Deadweight
Dans le clip tout est inversé et on retrouvera d'ailleurs Beck pour l'OST du dernier film de Gondry.
A la fin tout devient ridicule genre l'ombre qui traine le mec ou le gars qui porte sa bagnole.
Bien évidemment on a Bachelorette de Björk qui continue la série de la jeune fille.
Encore un monument grâce à cette très belle chanson.
Egalement Joga avec l'Islande virtuelle de Björk. La encore la musique correspond tellement bien avec ce qu'on voit , un seul mot à dire : impressionant.
Un clip pour Wyclef Jean : Another One Bites The Dust
Encore un clip déjanté des plus marrant avec des milliards de référence.
Un autre clip que j'aime beaucoup : Stardust avec Music Sounds Better With You
Ce clip est beau. Ca rappelle tellement l'innocence de l'enfance... J'aime.
Un autre clip pour les Rolling Stones : Gimme Shelter
Pas le meilleur clip de Gondry.
Première collaboration avec les Chemical Brothers : Let Forever Be
Gondry a semble-t-il toujours été intéressé par cet aspect de démultiplication et ça marche bien. (cf le clip de Kylie Minogue).
Et puisque tout le monde y passe pourquoi pas Radiohead avec Knives Out
"In the video that I have just finished for Radiohead, Knives Out, I reconstructed my memories. It's an autobiographical video. Emma de Caunes plays the role of my ex-girlfriend and Thom Yorke interpretates my role. I received the record the moment we separated. The video, unlike the film, is all based on memory. All these images just came to me. I hadn't managed to have any others. I suggested them to Thom who agreed. It is the story of my girlfriend who had leukaemia and the time I spent watching over her in the hospital. She is practically cured now. The speed at which the illness
progresses is horrifying!
"It's terrifying, I watched over my girlfriend in hospital for weeks and weeks. All that medication… I have always had a thing about that… I speak a lot about it because it was a failure, not health-wise but from an emotional point of view. We split up. Why? We had separated once before her illness. I was so sad, I said to myself that I couldn't do anything. She always spoke to me of marriage, so I went to see her and offered her an engagement ring. The next day she had leukaemia. She must have already had it… the problem is that we got back together for all the wrong reasons. She came back to me because she was ill. We stayed three more years together.
"She is much better now. She had the will to live and excellent doctors. Guys who arrived at four in the morning. Four of the best doctors. As we lived at that time in Los Angeles, I had to play by the system and paid for everything in cash. That was a big problem for my girlfriend. She felt guilty that I invested myself so much, in the literal sense of the word. She turned everything against me, unconsciously. It's unfair and that’s the reason why I did the video. It is a bit tough for her."
Encore en 2001 l'autre collaboration avec les Chemical Brothers : Star Guitar
Un peu le même concept que pour Daft Punk mais en plus poussé.
C'est la qu'on voit tout le génie mais également la réalisation parfaite de Gondry.
Mon dieu , mon dieu...
On poursuit avec les deux clips pour The White Stripes : Feel In Love With A Girl et Dead leaves and the dirty ground
Rah mais les Lego , tout le monde a toujours révé de faire un truc dans le genre , Gondry l'a fait. Quel boulot mais quel résultat...
"It definitely has that retro feel, because they used just the basic colors and pieces from 30 years ago. They didn't even use green or orange."
Gros making of : ici
Le second est plus classique mais bien quand même. C'est un peu encore le jeu de la démultiplication.
Très bonne colaboration au final.
On se rapproche de la fin avec Kylie Minogue et encore ce jeu de démultiplication exécuté à la perfection dans les rues de cette ville. Combien de fois j'ai regardé ce clip en essayant de comprendre comment il avait fait. J'ai abandonné.
Come Into My World
Allez un clip pour Noir Désir : A l'Envers à l'Endroit
Et encore une fois c'est tellement Noir Désir ce clip. Gondry cerne les artistes et produit un contenu à leur image.
Dur d'apprécier le clip si on ne comprend pas les paroles par contre.
Histoire de bien parachever le concept de Around The World et Star Guitar et de finir en beauté sa collaboration avec The White Stripes , Gondry nous offre The Hardest Button To Button
Ce clip a gagné toutes les récompenses imaginables et on ne se demande même pas pourquoi tellement ça semble évident.
Récemment on a eu le droit à Walkie Talkie Man de Steriogram.
La musique est bof mais le clip reprend le principe des Lego mais avec de la laine cette fois.
Ca donne un truc complètement fou (comme d'hab).
Le making of est incroyable (autant que l'accent de Gondry) avec des mamy en train de tricotter.
En 2004 c'est The Vines qui y a droit avec Ride
Gondry a également fait le clip de Light & Day de The Polyphonic Spree à partir du film dont je parlerais plus loin.
Je me répète peut etre mais Gondry est fou et le mot est faible.
The Willowz : I Wonder
Ca rappelle un peu les films muets avec des machines débiles.
Gondry a également fait récemment le clip d'une chanson que j'aime beaucoup (et je ne suis pas le seul) : Mad World de Michael Andrews et Gary Jules.
Ce clip marche tellement bien avec la chanson. Pour moi c'est de l'art.
Avant dernier clip : The Vines : Winning Days
De la poésie à l'état brut. Rien que ça.
Et le dernier clip à ce jour A Ribbon de Devendra Banhart (très bien).
Une autre forme de poésie mais ça fonctionne encore très bien.
A noter que pour ce clip Gondry n'est que le co-directeur.
Il a également réalisé pas mal de pubs :
- Fiat: Lancia Y10
- Adidas Aftershave: Released From Work
- NatWest: Zoom
- Heineken: Debut
- Polaroid: Resignation / Living Moments
- Levi's: Drugstore
- Smirnoff: Smarienberg [Adventure]
- Volvo: I Said Volvo
- Coca-Cola: Snowboarder
- Nike Basketball campaign (five ads, including Feelings)
- Levi's: Mermaids
- Nike: I Can Play
- Nike: The Long, Long Run
- AMD: Flatzone
- Citibank commercial?
- Air France: Le Passage
- GAP Holiday campaign (three ads)
- Nike: Leo
- Earthlink: Privacy
- Levi's: Bellybutton
- BMW: Pure Drive
- Gatorade Propel Fitness Water: Drip
- Fox Sports Network campaign (four ads)
- Air France: Le Nuage
- Levi's: Swap
- Électricité de France: Selects
- Diet Coke: Tingle and Bounce
Démerdez vous pour les links.
Car ce qui nous intéresse maintenant c'est l'oeuvre filmographique de Michel Gondry.
Gondry a , à ce jour , réalisé trois films :
- Human Nature
- The Science Of Sleep
- Eternal Sunshine of the Spotless Mind
Je n'ai malheuresement pas vu les deux premiers (mais cela ne saurait tarder).
En revanche je suis vraiment tombé sous le charme de Eternal Sunshine of the Spotless Mind.
Le scénario n'est en rien classique à ce dont on a l'habitude.
Les acteurs sont incroyables. On se reconnait tellement bien dans ce film.
Je ne parle même pas de la bande son avec un Beck splendide dans "Everybody's Gotta Learn Sometime".
On ne peut pas en fait parler de ce film. C'est encore un truc indescriptible , d'une beauté incroyable avec pleins de personnages très intéressants.
Conclusion : Michel Gondry est indéniablement un , si ce n'est le plus grand clipmaker de tous les temps. Se renouvelant sans cesse avec une imagination sans limite et une réalisation incapable il a su séduire le public et les artistes.
Sa reconversion dans le cinéma semble être une réussite totale.
Que demande le peuple ?
J'espère que vous prendrez autant de plaisir à lire cet article que j'en ai pris à l'écrire.
17 commentaires, dernier de lecOu.
Soldout - Make Your Own Sex
Vendredi 11 février 2005 à 17 h 53
OK alors le principe est simple :
- une chanson de base plutôt pas mal (I Don't Want To Have Sex With You)
- 4 leads possibles
- 11 voices possibles
- 3 beats possibles
Vous mélangez le tout en choisissant ce que vous préférez , vous payez 3€ et votre morceau arrive tout beau tout livré chez vous.
En tout ça fait 264 possibilités c'est plutôt pas mal.
Ce concept est très bon imho et ça annonce le futur.
Plutôt que de gueuler sur le p2p ils feraient mieux de nous pondre des trucs dans le genre.
Il bidouillait un ambiant psyché depuis près de dix ans, seul. Elle, tissait son vaste univers musical du classique au rock et l’exploitait au chant dans quelques groupes de jazz à San Francisco. Elle, c’est Charlotte. Lui, c’est David.
Un beau jour, un ami commun lui fait écouter ce qu’elle fait. Un premier morceau naît rapidement de l’union, premier d’une longue série commencée il y a un an et demi à peine, en 2003 ! Soldout était né.
Eté 2003, arrive déjà l’heure d’enregistrer une première démo, de quoi démarcher un peu partout. Il n’eurent pas longtemps à attendre avant de se lier à l’écurie hutoise Anorak Supersport. Et ce fut déjà un retour au studio, accompagné de Stephan Debruyne, roi de la table de mix. Ils retravaillent alors quelques sons, réenregistrent quelques voix, ajoutent quelques guitares et le tour est joué. « Stop Talking » est dans la boite.
Album compact de douze morceaux, délibérément électro mais également largement influencé par une fougue rock dont elle a le secret. Album concept aussi, aux textes à la première et la seconde personne du singulier, de quoi nous sentir visé par le duo. Concept poussé plus loin encore, lorsque les Bruxellois confient à Grégory Derkenne, photographe, la création image de la pochette… sans direction précise, juste leur son dans ses oreilles ! Le travail graphique quant à lui est signé Please Let Me Design.
Stop Talking, sorti en juin 2004, quitte rapidement les bacs des disquaires pour les oreilles privées des – déjà – fans ! Il faut remarquer que le premier single ne manque pas de se faire entendre tant sur Pure FM que sur Studio Brussel ! « I don’t want to have sex with you » est le slogan de l’été 2004 où les tentes de festivals affiche sold out au passage du groupe ; accompagné des VJ’ing de theponeyexpress, rebridouillant en live leurs propres créations visuelles.
Soldout a eu la chance d’un départ sur les chapeaux de roues, bien mérité vu la qualité et la maturité de la musique qu’ils proposent. De quoi augurer un avenir auquel les deux amis n’ont pas encore trop le temps de penser ; chargés comme ils sont de nombreux lives, tant en salles qu’en club. Une valeur sûre, originale et à découvrir au plus vite si ce n’est encore fait !
Composition du groupe:
Charlotte Maison: Chant, machines
David Baboulis: Machines
Ceux qui ne mixent pas déjà leur tube où qui sont en train de loader les sons peuvent mater ce live de Soldout (en quicktime) qui donne bien même si c'est court.
Soldout c'est surtout des perfs en live avec du graphisme qui tue bien mais la musique est pas mal aussi. Ca me rappelle un peu Garbage.
Make Your Own Sex !
- une chanson de base plutôt pas mal (I Don't Want To Have Sex With You)
- 4 leads possibles
- 11 voices possibles
- 3 beats possibles
Vous mélangez le tout en choisissant ce que vous préférez , vous payez 3€ et votre morceau arrive tout beau tout livré chez vous.
En tout ça fait 264 possibilités c'est plutôt pas mal.
Ce concept est très bon imho et ça annonce le futur.
Plutôt que de gueuler sur le p2p ils feraient mieux de nous pondre des trucs dans le genre.
Il bidouillait un ambiant psyché depuis près de dix ans, seul. Elle, tissait son vaste univers musical du classique au rock et l’exploitait au chant dans quelques groupes de jazz à San Francisco. Elle, c’est Charlotte. Lui, c’est David.
Un beau jour, un ami commun lui fait écouter ce qu’elle fait. Un premier morceau naît rapidement de l’union, premier d’une longue série commencée il y a un an et demi à peine, en 2003 ! Soldout était né.
Eté 2003, arrive déjà l’heure d’enregistrer une première démo, de quoi démarcher un peu partout. Il n’eurent pas longtemps à attendre avant de se lier à l’écurie hutoise Anorak Supersport. Et ce fut déjà un retour au studio, accompagné de Stephan Debruyne, roi de la table de mix. Ils retravaillent alors quelques sons, réenregistrent quelques voix, ajoutent quelques guitares et le tour est joué. « Stop Talking » est dans la boite.
Album compact de douze morceaux, délibérément électro mais également largement influencé par une fougue rock dont elle a le secret. Album concept aussi, aux textes à la première et la seconde personne du singulier, de quoi nous sentir visé par le duo. Concept poussé plus loin encore, lorsque les Bruxellois confient à Grégory Derkenne, photographe, la création image de la pochette… sans direction précise, juste leur son dans ses oreilles ! Le travail graphique quant à lui est signé Please Let Me Design.
Stop Talking, sorti en juin 2004, quitte rapidement les bacs des disquaires pour les oreilles privées des – déjà – fans ! Il faut remarquer que le premier single ne manque pas de se faire entendre tant sur Pure FM que sur Studio Brussel ! « I don’t want to have sex with you » est le slogan de l’été 2004 où les tentes de festivals affiche sold out au passage du groupe ; accompagné des VJ’ing de theponeyexpress, rebridouillant en live leurs propres créations visuelles.
Soldout a eu la chance d’un départ sur les chapeaux de roues, bien mérité vu la qualité et la maturité de la musique qu’ils proposent. De quoi augurer un avenir auquel les deux amis n’ont pas encore trop le temps de penser ; chargés comme ils sont de nombreux lives, tant en salles qu’en club. Une valeur sûre, originale et à découvrir au plus vite si ce n’est encore fait !
Composition du groupe:
Charlotte Maison: Chant, machines
David Baboulis: Machines
Ceux qui ne mixent pas déjà leur tube où qui sont en train de loader les sons peuvent mater ce live de Soldout (en quicktime) qui donne bien même si c'est court.
Soldout c'est surtout des perfs en live avec du graphisme qui tue bien mais la musique est pas mal aussi. Ca me rappelle un peu Garbage.
Make Your Own Sex !
Pourritures Communistes - Propagand Songs
Jeudi 10 février 2005 à 21 h 21
C'est peut-être pas le bon jour (ou peut-être que si justement) mais je me devais de parler de ces chansons de propagande communiste.
On s'attend à de la grosse merde en boïte mais franchement il y a des trucs pas mal (niveau musical j'entends).
La voix passe plutôt bien au milieu du reste et finalement si on fait abstraction des paroles ça s'écoute plutôt bien (pas tout quand même mais bon).
Ma préférée de loin : ici
Beaucoup plus dans le trip leader etc... : celle-ci
Enfin la musique du métro de Pyongyang : ici (update : aucune propagande ici apparemment)
Il a un gros potentiel de rockstar Kim Jong Il en plus.
On s'attend à de la grosse merde en boïte mais franchement il y a des trucs pas mal (niveau musical j'entends).
La voix passe plutôt bien au milieu du reste et finalement si on fait abstraction des paroles ça s'écoute plutôt bien (pas tout quand même mais bon).
Ma préférée de loin : ici
Beaucoup plus dans le trip leader etc... : celle-ci
Enfin la musique du métro de Pyongyang : ici (update : aucune propagande ici apparemment)
Il a un gros potentiel de rockstar Kim Jong Il en plus.
Un commentaire de pr4y.
M83 - Don't Save Us From The Flames
Mercredi 9 février 2005 à 15 h 59
Nouvel album sortit le 25/01 : Before The Dawn Heals Us
01 Moonchild
02 Don't Save us From the Flames
03 In the Cold I'm Standing
04 Farewell / Goodbye
05 Fields, Shorelines and Hunters
06 *
07 I Guess I'm Floating
08 Teen Angst
09 Can't Stop
10 Safe
11 Let Men Burn Stars
12 Car Chase Terror!
13 Slight Night Shiver
14 A Guitar and a Heart
15 Lower Your Eyelids to Die with the Sun
Although critics consistently nudge away the term, M83 create high-concept emo embossed with glittery snow angels, packing more synthy bombast than a Tangerine Dream/Mineral mash-up. 2003's Dead Cities, Red Seas & Lost Ghosts found the duo lazing on their backs in an Antibes field, watching stars and birds gently collide above green mountain tops. A pleasingly disembodied traipse through the French countryside, it was a lesson for anybody who thinks electronics have no soul.
After saying "au revoir" to longtime friend/collaborator Nicolas Fromageau, Anthony Gonzalez goes it alone for album three, upping the drama (there's even a track called "Teen Angst") by layering electro-acoustic sci-fi backdrops atop often-campy dialogue (written by his brother), and then buoying it all with by a massive noir choir. From the buzzing nighttime Blade Runner skyline of the cover art to lyrics investigating car wrecks and dislodged brains, this is a mammoth collusion of synth gasps and distorted swirls, darker and more urban than its meadow-bound predecessor. If Gonzalez had gone ahead with only epic Vangelis modulations, Before the Dawn Heals Us would collapse under hollow ponderousness. Instead, he weaves a rock backbone into his tangerine-dream landscape with steady doses of highly effective live drums, gigantic post-MBV guitar, and sharper, more defined songwriting that helps to beef up the diaphanous symphony.
As those familiar with the group would expect, the icy Sigur Rós estuaries and incidental glaciers are ably glorious (as are the commingling interludes, tentative minimalist pairings with children's voices, drifting sound-streams, and assorted channel surfs), but the larger success belongs to denser, more propulsive Kevin Shields-style hooks. Launching amid the urgent, ghostly sighs of "Tina" draped over a frantic drum/synth meltdown, "Don't Save Us From the Flames" is a coiled bit of apocalyptic pop compulsion with a J.G. Ballard storyline: "A piece of brain in my hair/ The wheels are melting." Also built on rock'n'roll, "Fields, Shorelines, and Hunters" punts a precipitous Milky Way barnstorm of cascading feedback, drum buildups, and vocal cut-ups that lead into the even headier "*", which breaks orbit, uncoiling the previous track's static energy with a patch of cathartic shoegaze glaciers from Saturn. (If you close your eyes, you might feel like you're levitating.)
Still, however cathartic, these baroque bursts will more than likely overwhelm listeners pragmatic and/or cynical enough to reject the purple poetry of a John Hughes first kiss or a flitting cliffside Robert Smith love note. It's interesting that M83 don't receive the same sort of "vainglorious" tag as Conor Oberst of Bright Eyes. Borrowing a page from Oberst, Gonzalez even opens the new record with a dramatic monologue: Languid drum rolls and chiming guitar/key-drifts pile up alongside a breathy "They say I made the moon" spoken by American actress Kate Moran, and culminating in "raise your arms the highest they can, so the whole universe will glow." Which, really, is what Gonzalez attempts to do over the course of these 15 tracks. (As we later learn, closing your eyes could perhaps kill the sun). But where Oberst sounds out of place on Digital Ash in a Digital Urn, Gonzalez confidently weds ones and zeros, forgoing millennial chilliness for depth and color.
Which is one of a million reasons why Gonzalez is hard to frame. Not exactly a singer/songwriter or a dance-floor hero, Gonzalez is less about shoegazing or rock-boy myopia than the unbounded and gargantuan romanticism of a Vincent-Gallo-esque auteur: Entering the realm of M83 is less about Mogwai-esque post-rock than it is about going along with the ebbs and flows of Gonzalez's nearly faceless otherworldly flights of fancy.
As with most ambitious undertakings, there are dull spots and moments when the dialogue, sentiments, or other indulgences can try a listener's patience. But more often than not, Gonzalez strikes gold, admirably upping the ante from the subtler Dead Cities, Red Seas & Lost Ghosts and creating a massive, teeming, gaudy edifice that at its best dazzles like its own misty solar system. And even when it implodes, the unintentional fireworks of its collapse create compelling, stunning patterns that leak like colored ink through the nocturnal cloud cover.
J'aime beaucoup ce clip et j'aime beaucoup cette ambiance, ces mélodies.
- Real
- WindowsMedia
Don't Save Us From The Flames
tina! tina! tina! tina!
out of the flames
a piece of brain in my hair
the wheels are melting
a ghost is screaming your name
tina! tina!
bleeding all around
liquid metal through my veins
the radio's burning
a ghost is screaming your name
tina! tina! tina! tina!
Mardi-Gras @ Le_Parrain
01 Moonchild
02 Don't Save us From the Flames
03 In the Cold I'm Standing
04 Farewell / Goodbye
05 Fields, Shorelines and Hunters
06 *
07 I Guess I'm Floating
08 Teen Angst
09 Can't Stop
10 Safe
11 Let Men Burn Stars
12 Car Chase Terror!
13 Slight Night Shiver
14 A Guitar and a Heart
15 Lower Your Eyelids to Die with the Sun
Although critics consistently nudge away the term, M83 create high-concept emo embossed with glittery snow angels, packing more synthy bombast than a Tangerine Dream/Mineral mash-up. 2003's Dead Cities, Red Seas & Lost Ghosts found the duo lazing on their backs in an Antibes field, watching stars and birds gently collide above green mountain tops. A pleasingly disembodied traipse through the French countryside, it was a lesson for anybody who thinks electronics have no soul.
After saying "au revoir" to longtime friend/collaborator Nicolas Fromageau, Anthony Gonzalez goes it alone for album three, upping the drama (there's even a track called "Teen Angst") by layering electro-acoustic sci-fi backdrops atop often-campy dialogue (written by his brother), and then buoying it all with by a massive noir choir. From the buzzing nighttime Blade Runner skyline of the cover art to lyrics investigating car wrecks and dislodged brains, this is a mammoth collusion of synth gasps and distorted swirls, darker and more urban than its meadow-bound predecessor. If Gonzalez had gone ahead with only epic Vangelis modulations, Before the Dawn Heals Us would collapse under hollow ponderousness. Instead, he weaves a rock backbone into his tangerine-dream landscape with steady doses of highly effective live drums, gigantic post-MBV guitar, and sharper, more defined songwriting that helps to beef up the diaphanous symphony.
As those familiar with the group would expect, the icy Sigur Rós estuaries and incidental glaciers are ably glorious (as are the commingling interludes, tentative minimalist pairings with children's voices, drifting sound-streams, and assorted channel surfs), but the larger success belongs to denser, more propulsive Kevin Shields-style hooks. Launching amid the urgent, ghostly sighs of "Tina" draped over a frantic drum/synth meltdown, "Don't Save Us From the Flames" is a coiled bit of apocalyptic pop compulsion with a J.G. Ballard storyline: "A piece of brain in my hair/ The wheels are melting." Also built on rock'n'roll, "Fields, Shorelines, and Hunters" punts a precipitous Milky Way barnstorm of cascading feedback, drum buildups, and vocal cut-ups that lead into the even headier "*", which breaks orbit, uncoiling the previous track's static energy with a patch of cathartic shoegaze glaciers from Saturn. (If you close your eyes, you might feel like you're levitating.)
Still, however cathartic, these baroque bursts will more than likely overwhelm listeners pragmatic and/or cynical enough to reject the purple poetry of a John Hughes first kiss or a flitting cliffside Robert Smith love note. It's interesting that M83 don't receive the same sort of "vainglorious" tag as Conor Oberst of Bright Eyes. Borrowing a page from Oberst, Gonzalez even opens the new record with a dramatic monologue: Languid drum rolls and chiming guitar/key-drifts pile up alongside a breathy "They say I made the moon" spoken by American actress Kate Moran, and culminating in "raise your arms the highest they can, so the whole universe will glow." Which, really, is what Gonzalez attempts to do over the course of these 15 tracks. (As we later learn, closing your eyes could perhaps kill the sun). But where Oberst sounds out of place on Digital Ash in a Digital Urn, Gonzalez confidently weds ones and zeros, forgoing millennial chilliness for depth and color.
Which is one of a million reasons why Gonzalez is hard to frame. Not exactly a singer/songwriter or a dance-floor hero, Gonzalez is less about shoegazing or rock-boy myopia than the unbounded and gargantuan romanticism of a Vincent-Gallo-esque auteur: Entering the realm of M83 is less about Mogwai-esque post-rock than it is about going along with the ebbs and flows of Gonzalez's nearly faceless otherworldly flights of fancy.
As with most ambitious undertakings, there are dull spots and moments when the dialogue, sentiments, or other indulgences can try a listener's patience. But more often than not, Gonzalez strikes gold, admirably upping the ante from the subtler Dead Cities, Red Seas & Lost Ghosts and creating a massive, teeming, gaudy edifice that at its best dazzles like its own misty solar system. And even when it implodes, the unintentional fireworks of its collapse create compelling, stunning patterns that leak like colored ink through the nocturnal cloud cover.
J'aime beaucoup ce clip et j'aime beaucoup cette ambiance, ces mélodies.
- Real
- WindowsMedia
Don't Save Us From The Flames
tina! tina! tina! tina!
out of the flames
a piece of brain in my hair
the wheels are melting
a ghost is screaming your name
tina! tina!
bleeding all around
liquid metal through my veins
the radio's burning
a ghost is screaming your name
tina! tina! tina! tina!
Mardi-Gras @ Le_Parrain
4 commentaires, dernier de Aelynn.
Queens Of The Stone Age - No One Knows
Lundi 7 février 2005 à 20 h 30
Prochain album "Lullabies to Paralyze" le 21 mars dans les bacs.
01 Medication
02 Everybody Knows That You're Insane
03 Tangled Up In Plaid
04 Burn The Witch
05 In My Head
06 Little Sister
07 I Never Came
08 Someone's In The Wolf
09 The Blood Is Love
10 You've Got A Killer Scene There, Man
11 Skin On Skin
12 Broken Box
13 Lullaby
14 Long Slow Goodbye
Ils sont en tournée en plus.
Le 21 Février il y aura d'ailleurs un spécial Zébra Mix QOTSA sur Ouï-Fm à minuit.
Formed from the ashes of stoner rock icons Kyuss, Queens of the Stone Age reunited the group's singer/guitarist Josh Homme, drummer Alfredo Hernandez, and bassist Nick Oliveri along with new guitarist/keyboardist Dave Catching. The project's origins date back to Homme, who in the wake of Kyuss' 1995 demise relocated to Seattle to tour with the Screaming Trees; he soon began working with a revolving lineup of musicians including the Trees' Van Conner, Soundgarden's Matt Cameron, and Dinosaur Jr.'s Mike Johnson, recording a series of 7"s originally issued under the name Gamma Ray. After rechristening the group Queens of the Stone Age, Homme recruited Hernandez to begin work on their self-titled debut LP, issued in late 1998 on Loosegroove; after the album was completed, Oliveri left the Dwarves to re-join his former bandmates, with the subsequent addition of Catching rounding out the roster. In addition to extensive touring, Homme put together a series of albums for the indie label Man's Ruin; the various volumes of The Desert Sessions feature Homme's collaborations with a loose-knit, revolving-door lineup of like-minded musicians, some from bands like Soundgarden, Fu Manchu, and Monster Magnet.
In mid-2000, Queens of the Stone Age issued their sophomore album, R (as in the movie rating; some promo copies were distributed with the original title, "II"), before appearing on that year's Ozzfest tour. By that point, drummer Hernandez had been replaced by a tag-team combo of Gene Troutman and Nicky Lucero. The group built a healthy buzz courtesy of accolades from such renowned publications as Rolling Stone, and due to good-old-fashioned touring. 2001 saw the group perform at the massive Rock in Rio festival (after which Oliveri was arrested by the Brazilian police for performing nude) and a spot on the year's Ozzfest. The same year, Homme and Oliveri put together yet another volume of the Desert Sessions series, while QOTSA assembled a third studio album.
Ex-Nirvana drummer Dave Grohl was very vocal in the press about his admiration of the Queens, which led to an invitation for him to join the group for the third album's recording and, subsequently, supporting tour. Surprisingly, Grohl accepted, putting the Foo Fighters on hold (despite having a new album completed and ready to go). One of the year's most eagerly anticipated hard rock albums, Songs for the Deaf was issued in August of 2002, and was preceded by a tour that saw Oliveri and Homme joined by Grohl on drums, ex-Screaming Trees vocalist Mark Lanegan, and A Perfect Circle guitarist/keyboardist Troy Van Leeuwen. As if their schedules weren't busy enough between QOTSA and their other projects, Oliveri and Homme signed on to pen the musical score to the movie The Dangerous Lives of Altar Boys (with backing by Rage Against the Machine drummer Brad Wilk), and formed a new project, Headband, with ex-Marilyn Manson bassist Twiggy Ramirez and Amen frontman Casey Chaos.
Le clip en Real
No One Knows
We get some rules to follow
That and this
These and those
No one knows
We get these pills to swallow
How they stick
In your throat
Tastes like gold
Oh, what you do to me
No one knows
And I realize you're mine
Indeed a fool of mine
And I realize you're mine
Indeed a fool of mine
Ahh
I journey through the desert
Of the mind
With no hope
I found low
I drift along the ocean
Dead lifeboats in the sun
And come undone
Pleasently caving in
I come undone
And I realize you're mine
Indeed a fool of mine
And I realize you're mine
Indeed a fool and mine
Ahhh
Heaven smiles above me
What a gift there below
But no one knows
A gift that you give to me
No one knows
01 Medication
02 Everybody Knows That You're Insane
03 Tangled Up In Plaid
04 Burn The Witch
05 In My Head
06 Little Sister
07 I Never Came
08 Someone's In The Wolf
09 The Blood Is Love
10 You've Got A Killer Scene There, Man
11 Skin On Skin
12 Broken Box
13 Lullaby
14 Long Slow Goodbye
Ils sont en tournée en plus.
Le 21 Février il y aura d'ailleurs un spécial Zébra Mix QOTSA sur Ouï-Fm à minuit.
Formed from the ashes of stoner rock icons Kyuss, Queens of the Stone Age reunited the group's singer/guitarist Josh Homme, drummer Alfredo Hernandez, and bassist Nick Oliveri along with new guitarist/keyboardist Dave Catching. The project's origins date back to Homme, who in the wake of Kyuss' 1995 demise relocated to Seattle to tour with the Screaming Trees; he soon began working with a revolving lineup of musicians including the Trees' Van Conner, Soundgarden's Matt Cameron, and Dinosaur Jr.'s Mike Johnson, recording a series of 7"s originally issued under the name Gamma Ray. After rechristening the group Queens of the Stone Age, Homme recruited Hernandez to begin work on their self-titled debut LP, issued in late 1998 on Loosegroove; after the album was completed, Oliveri left the Dwarves to re-join his former bandmates, with the subsequent addition of Catching rounding out the roster. In addition to extensive touring, Homme put together a series of albums for the indie label Man's Ruin; the various volumes of The Desert Sessions feature Homme's collaborations with a loose-knit, revolving-door lineup of like-minded musicians, some from bands like Soundgarden, Fu Manchu, and Monster Magnet.
In mid-2000, Queens of the Stone Age issued their sophomore album, R (as in the movie rating; some promo copies were distributed with the original title, "II"), before appearing on that year's Ozzfest tour. By that point, drummer Hernandez had been replaced by a tag-team combo of Gene Troutman and Nicky Lucero. The group built a healthy buzz courtesy of accolades from such renowned publications as Rolling Stone, and due to good-old-fashioned touring. 2001 saw the group perform at the massive Rock in Rio festival (after which Oliveri was arrested by the Brazilian police for performing nude) and a spot on the year's Ozzfest. The same year, Homme and Oliveri put together yet another volume of the Desert Sessions series, while QOTSA assembled a third studio album.
Ex-Nirvana drummer Dave Grohl was very vocal in the press about his admiration of the Queens, which led to an invitation for him to join the group for the third album's recording and, subsequently, supporting tour. Surprisingly, Grohl accepted, putting the Foo Fighters on hold (despite having a new album completed and ready to go). One of the year's most eagerly anticipated hard rock albums, Songs for the Deaf was issued in August of 2002, and was preceded by a tour that saw Oliveri and Homme joined by Grohl on drums, ex-Screaming Trees vocalist Mark Lanegan, and A Perfect Circle guitarist/keyboardist Troy Van Leeuwen. As if their schedules weren't busy enough between QOTSA and their other projects, Oliveri and Homme signed on to pen the musical score to the movie The Dangerous Lives of Altar Boys (with backing by Rage Against the Machine drummer Brad Wilk), and formed a new project, Headband, with ex-Marilyn Manson bassist Twiggy Ramirez and Amen frontman Casey Chaos.
Le clip en Real
No One Knows
We get some rules to follow
That and this
These and those
No one knows
We get these pills to swallow
How they stick
In your throat
Tastes like gold
Oh, what you do to me
No one knows
And I realize you're mine
Indeed a fool of mine
And I realize you're mine
Indeed a fool of mine
Ahh
I journey through the desert
Of the mind
With no hope
I found low
I drift along the ocean
Dead lifeboats in the sun
And come undone
Pleasently caving in
I come undone
And I realize you're mine
Indeed a fool of mine
And I realize you're mine
Indeed a fool and mine
Ahhh
Heaven smiles above me
What a gift there below
But no one knows
A gift that you give to me
No one knows
5 commentaires, dernier de Conrad.
TV On The Radio - Staring At The Sun
Samedi 5 février 2005 à 20 h 27
Un style franchement indéfinissable.
A voir leur photo on pourrait penser à des bons gros rappeurs. Mais en fait non.
Un groupe d'extraterrestes en gros et je pèse mes mots: ces mecs sont des génies.
Un son venu d'ailleurs , un clip venu d'ailleurs , un nom venu d'ailleurs (le premier cd s'appelle Desperate Youth, Blood Thirsty Babes).
Mais ça fait du bien l'originalité , et ça marche.
Cet album est un vrai régal pour les oreilles. Certains morceaux sont complètement surréalistes.
Ils sont d'ailleurs sur le même label (Touch and Go Records) que Calexico par exemple.
The Brooklyn-based group TV on the Radio mixes post-punk, electronic and other atmoshperic elements in such a creative way that it only makes sense that its core duo, vocalist Tunde Adebimpe and multi-instrumentalist/producer David Andrew Sitek, are both visual artists as well as musicians. Adebimpe is a graduate of NYU's film school and specializes in stop-motion animation, which his Brothers Quay-like video for the Yeah Yeah Yeah's single Pin demonstrates amply. He is also a painter, as is Sitek, who also produced the Yeah Yeah Yeah's Machine EP and their full-length Fever to Tell. The duo met when Sitek moved into the building where Adebimpe had a loft; each of them had been recording music on their own, but realized their sounds would work well together. Sitek's brother Jason, began playing drums and other instruments with the pair during their recording sessions, which resulted in a self-titled, 24-track CD released by the Brooklyn Milk imprint. Jason Sitek left the band for a short time due to other musical commitments but returned to the band when they recorded their Touch & Go debut, the Young Liars EP. After the EP was completed, TV on the Radio added guitarist/vocalist Kyp Malone to their fold. Young Liars, which also features the Yeah Yeah Yeah's Brian Chase and Nick Zinner, was released in summer 2003 to critical acclaim, coinciding with their gigs opening for the Fall. Their first full-length release, Desperate Youth, Blood Thirsty Babes arrived in spring 2004. The band remained busy for the rest of the year, embarking on their own tours as well as dates with the Faint and the Pixies. That fall, TV on the Radio was one of the 10 finalists in 2004's Shortlist competition; they also released the New Health Rock EP around that time.
Tunde Adebimpe (Vocals, Loops)
Jaleel Bunton (Drums)
Kyp Malone (Guitar, Vocals)
David Andrew Sitek (Guitar, Loops)
Gerard Smith (Bass)
Ils étaient passés dans Tracks d'ailleurs.
Ca se trouve ici (Real) avec une interview plus que minimaliste mais qui en dit long sur le groupe puis un extrait concert qui donne tellement envie...
Bon enfin on a le clip de Staring At The Sun c'est déjà pas mal.
On voit vraiment que ces mecs aiment ce qu'ils font et ils le font bien.
On peut trouver le mp3 (légalement) ici
Le clip : classique mais efficace.
- Quicktime (sans lag et je vous rappelle l'existence du très bon Quicktime Alternative pour MediaPlayerClassic)
- Real (avec du lag)
Staring At The Sun
Cross the street from your storefront cemetery
Hear me hailing from inside and realize
I am the conscience clear
In pain or ecstasy
And we were all weaned my dear
Upon the same fatigue
(You're staring at the sun)
Oh my own voice
Cannot save me now
It's just
(standing in the sea)
One more breath
And then
I go down
Your mouth is open wide
The lover is inside
And all the tumults done
Collided with the sign
You're staring at the sun
You're standing in the sea
Your body's over me
Note the trees because
The dirt is temporary
More to mine than fact face
Name and monetary
Beat the skins and let the
Loose lips kiss you clean
Quietly pour out like light
Like light, like answering the sun
You're staring at the sun
You're standing in the sea
Your mouth is open wide
You're trying hard to breathe
The water's at your neck
Your body's over me
Be what you will
And then throw down your life
Oh it's a damned fine game
And we can play all night
You're staring at the sun
You're standing in the sea
Your mouth is open wide
You're trying hard to breathe
The water's at your neck
Your body's over me
You're staring at the sun
You're standing in the sea
You're staring at the sun
You're standing in the sea
A voir leur photo on pourrait penser à des bons gros rappeurs. Mais en fait non.
Un groupe d'extraterrestes en gros et je pèse mes mots: ces mecs sont des génies.
Un son venu d'ailleurs , un clip venu d'ailleurs , un nom venu d'ailleurs (le premier cd s'appelle Desperate Youth, Blood Thirsty Babes).
Mais ça fait du bien l'originalité , et ça marche.
Cet album est un vrai régal pour les oreilles. Certains morceaux sont complètement surréalistes.
Ils sont d'ailleurs sur le même label (Touch and Go Records) que Calexico par exemple.
The Brooklyn-based group TV on the Radio mixes post-punk, electronic and other atmoshperic elements in such a creative way that it only makes sense that its core duo, vocalist Tunde Adebimpe and multi-instrumentalist/producer David Andrew Sitek, are both visual artists as well as musicians. Adebimpe is a graduate of NYU's film school and specializes in stop-motion animation, which his Brothers Quay-like video for the Yeah Yeah Yeah's single Pin demonstrates amply. He is also a painter, as is Sitek, who also produced the Yeah Yeah Yeah's Machine EP and their full-length Fever to Tell. The duo met when Sitek moved into the building where Adebimpe had a loft; each of them had been recording music on their own, but realized their sounds would work well together. Sitek's brother Jason, began playing drums and other instruments with the pair during their recording sessions, which resulted in a self-titled, 24-track CD released by the Brooklyn Milk imprint. Jason Sitek left the band for a short time due to other musical commitments but returned to the band when they recorded their Touch & Go debut, the Young Liars EP. After the EP was completed, TV on the Radio added guitarist/vocalist Kyp Malone to their fold. Young Liars, which also features the Yeah Yeah Yeah's Brian Chase and Nick Zinner, was released in summer 2003 to critical acclaim, coinciding with their gigs opening for the Fall. Their first full-length release, Desperate Youth, Blood Thirsty Babes arrived in spring 2004. The band remained busy for the rest of the year, embarking on their own tours as well as dates with the Faint and the Pixies. That fall, TV on the Radio was one of the 10 finalists in 2004's Shortlist competition; they also released the New Health Rock EP around that time.
Tunde Adebimpe (Vocals, Loops)
Jaleel Bunton (Drums)
Kyp Malone (Guitar, Vocals)
David Andrew Sitek (Guitar, Loops)
Gerard Smith (Bass)
Ils étaient passés dans Tracks d'ailleurs.
Ca se trouve ici (Real) avec une interview plus que minimaliste mais qui en dit long sur le groupe puis un extrait concert qui donne tellement envie...
Bon enfin on a le clip de Staring At The Sun c'est déjà pas mal.
On voit vraiment que ces mecs aiment ce qu'ils font et ils le font bien.
On peut trouver le mp3 (légalement) ici
Le clip : classique mais efficace.
- Quicktime (sans lag et je vous rappelle l'existence du très bon Quicktime Alternative pour MediaPlayerClassic)
- Real (avec du lag)
Staring At The Sun
Cross the street from your storefront cemetery
Hear me hailing from inside and realize
I am the conscience clear
In pain or ecstasy
And we were all weaned my dear
Upon the same fatigue
(You're staring at the sun)
Oh my own voice
Cannot save me now
It's just
(standing in the sea)
One more breath
And then
I go down
Your mouth is open wide
The lover is inside
And all the tumults done
Collided with the sign
You're staring at the sun
You're standing in the sea
Your body's over me
Note the trees because
The dirt is temporary
More to mine than fact face
Name and monetary
Beat the skins and let the
Loose lips kiss you clean
Quietly pour out like light
Like light, like answering the sun
You're staring at the sun
You're standing in the sea
Your mouth is open wide
You're trying hard to breathe
The water's at your neck
Your body's over me
Be what you will
And then throw down your life
Oh it's a damned fine game
And we can play all night
You're staring at the sun
You're standing in the sea
Your mouth is open wide
You're trying hard to breathe
The water's at your neck
Your body's over me
You're staring at the sun
You're standing in the sea
You're staring at the sun
You're standing in the sea
5 commentaires, dernier de Prodigy.
Ladytron - Playgirl
Vendredi 4 février 2005 à 21 h 26
Rah l'époque d'Audiogalaxy....
Certains doivent se rappeller quand même.
Bah Ladytron c'était un Feature Artist qui permettait de faire vitrine d'un soft pseudo-légal.
Bon ça a pas duré longtemps mais Ladytron ça m'avait bien accroché à l'époque avec des mélanges vocaux/électro parfaits , bien dynamiques etc...
Discotrax ou Mu-ton sont un peu dans le même genre si vous aimez bien ce style.
Ceci dit j'ai pas trop suivi la suite de ce groupe. Si quelqu'un connait un peu je suis preneur.
[UPDATE]: j'aurais du mal à ne pas parler de ce plugin pour winamp (merci Imax). Il télécharge tout seul les lyrics du morceau et les affiche dans une petite et innocente fenêtre qui peut être agrandi totalement sur mon deuxième 15". La vie est très belle ces temps-ci.
Buzzy glam rock fashion plates Ladytron came together in a jet-set miracle in mid-1998. Daniel Hunt and Reuben Wu, who lurk in the background playing rhythm boxes and keyboards in the band, settled in Liverpool after a spate of DJ work in Japan and world travel, including a train trip in Bulgaria where they met vocalist Mira Aroyo. Helena Marnie, who also sings and plays keyboards for the group, also joined them and they began work on their first single, "He Took Her to a Movie," which was recorded for 50 pounds. The release brought a wave of critical attention with writers extending into jubilant metaphor to describe the band's unique sound, including one who wrote that they were "...a teasing glimpse of how Britney Spears might have sounded, had she been born in the GDR and a heroin addict."
Ladytron toured throughout the continent before beginning work on their debut EP, Commodore Rock, which was released in the summer of 2000, providing their fans another foray into the noisy world of early-'80s sound. The studio full-length 604 followed a year later.
Au passage ça m'a permis de trouver un clip de TV On The Radio.
Bref j'adore ce clip super rétro de Ladytron tout en étant moderne.
Ca pwn en gros.
Allons-y gaiement mes amis.
Le clip (Real et ça risque de lagger un poil mais bon)
Playgirl
Playgirl, why are you sleeping in tomorrow's world,
hey playgirl...
Playgirl, why are you dancing, when you could be alone,
hey playgirl...
Playgirl, why are you sleeping in tomorrow's world
hey playgirl...
Playgirl, choking on cigarettes to get you alone,
hey playgirl...
hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
Playgirl, why are you sleeping in tomorrow's world,
hey playgirl...
Playgirl, why are you dancing, when you could be alone,
hey playgirl...
Playgirl, why are you sleeping in tomorrow's world
hey playgirl...
Playgirl, choking on cigarettes to get you alone,
hey playgirl...
hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
Hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
hey playgirl, hey playgirl
hey playgirl, hey playgirl
(???)... on a telephone box
a question mark on a calendar
an empty seat on the alpha line
a sorting code, an account number
hey playgirl, hey playgirl
Northern lights got you coming down
sleep your way out of your hometown
Certains doivent se rappeller quand même.
Bah Ladytron c'était un Feature Artist qui permettait de faire vitrine d'un soft pseudo-légal.
Bon ça a pas duré longtemps mais Ladytron ça m'avait bien accroché à l'époque avec des mélanges vocaux/électro parfaits , bien dynamiques etc...
Discotrax ou Mu-ton sont un peu dans le même genre si vous aimez bien ce style.
Ceci dit j'ai pas trop suivi la suite de ce groupe. Si quelqu'un connait un peu je suis preneur.
[UPDATE]: j'aurais du mal à ne pas parler de ce plugin pour winamp (merci Imax). Il télécharge tout seul les lyrics du morceau et les affiche dans une petite et innocente fenêtre qui peut être agrandi totalement sur mon deuxième 15". La vie est très belle ces temps-ci.
Buzzy glam rock fashion plates Ladytron came together in a jet-set miracle in mid-1998. Daniel Hunt and Reuben Wu, who lurk in the background playing rhythm boxes and keyboards in the band, settled in Liverpool after a spate of DJ work in Japan and world travel, including a train trip in Bulgaria where they met vocalist Mira Aroyo. Helena Marnie, who also sings and plays keyboards for the group, also joined them and they began work on their first single, "He Took Her to a Movie," which was recorded for 50 pounds. The release brought a wave of critical attention with writers extending into jubilant metaphor to describe the band's unique sound, including one who wrote that they were "...a teasing glimpse of how Britney Spears might have sounded, had she been born in the GDR and a heroin addict."
Ladytron toured throughout the continent before beginning work on their debut EP, Commodore Rock, which was released in the summer of 2000, providing their fans another foray into the noisy world of early-'80s sound. The studio full-length 604 followed a year later.
Au passage ça m'a permis de trouver un clip de TV On The Radio.
Bref j'adore ce clip super rétro de Ladytron tout en étant moderne.
Ca pwn en gros.
Allons-y gaiement mes amis.
Le clip (Real et ça risque de lagger un poil mais bon)
Playgirl
Playgirl, why are you sleeping in tomorrow's world,
hey playgirl...
Playgirl, why are you dancing, when you could be alone,
hey playgirl...
Playgirl, why are you sleeping in tomorrow's world
hey playgirl...
Playgirl, choking on cigarettes to get you alone,
hey playgirl...
hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
Playgirl, why are you sleeping in tomorrow's world,
hey playgirl...
Playgirl, why are you dancing, when you could be alone,
hey playgirl...
Playgirl, why are you sleeping in tomorrow's world
hey playgirl...
Playgirl, choking on cigarettes to get you alone,
hey playgirl...
hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
Hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
hey playgirl, hey playgirl
Northern lights catch you coming down
sleep your way out of your hometown
hey playgirl, hey playgirl
hey playgirl, hey playgirl
(???)... on a telephone box
a question mark on a calendar
an empty seat on the alpha line
a sorting code, an account number
hey playgirl, hey playgirl
Northern lights got you coming down
sleep your way out of your hometown
5 commentaires, dernier de Prodigy.
Royksöpp - Remind Me
Jeudi 3 février 2005 à 18 h 25
OK c'est vieux. Et ?
Ce clip est toujours une tuerie internationale (j'ai toujours révé de dire ça).
Bref il y a pas de mal à se faire du bien.
Dommage qu'ils ne soient pas très productifs les deux compères.
Mais , le prochain disque arrive le 28 Mars. Et celui de Daft Punk aussi. w00t !
[UPDATE] : Dans le même genre , la pub pour areva :
- Real
- WindowsMedia
Röyksopp est un groupe norvégien, appartenant à la nouvelle scène électro nordique. Les deux membres du groupe, Tobjorn Brundtland et Svein Berge, se connaissent au lycée au début des années 90 et officient quelque temps au sein d'un quartet à forte influence électro. A la fin de leur scolarité, ils se séparent pour se retrouver peu de temps après et former le groupe Röyksopp. Ils commencent alors à travailler au disque Melody A.M., leur premier album qui sort en 2001. Inspiré par Erik Satie, les mélodies de Francis Lai et le son progressif de Brian Eno, le duo propose, avec cet album, un disque faisant le pont entre les harmonies du siècle passé et le son du nouveau millénaire. Par ailleurs, en ce début de nouveau millénaire, Royksopp collabore avec d'autres groupes scandinaves tels que Those Norwegians, Drum Island ou Kings of Convenience. En 2002 et 2003, le groupe revisite quelques tubes du groupe Coldplay, comme Politik, Clocks ou encore God Put a Smile Upon your Face.
Ceux qui n'ont pas vu le clip ont vraiment raté quelque chose.
Mais tout n'est pas perdu.
Car le clip se trouve la :
- Real
- WindowsMedia
Remind Me
Will remind, will remind, will remind me,
Will remind, will remind, will remind me,
Will remind, will remind, will remind me,
Will remind, will remind, will remind me.
It's only been a week,
The rush of being home in rapid fading.
Prevailing to recall
What I was missing, all that time in England
Has sent me aimlessly,
On foot or by the help of transportation,
To knock on windows where
A friend no longer live, I had forgotten.
And everywhere I go,
There's always something to remind me
Of another place and time
Where love that travelled far had found me.
We stayed outside til two,
Waiting for the light to come back,
But hid in talk I knew,
Until you asked what I was thinking.
Brave men tell the truth,
A wise man's tools are analogies and puzzles,
A woman holds her tongue,
Knowing silence will speak for her.
So now I'll never know,
As you will only sleep beside me,
And everywhere I go...
It's only been a week,
(Will remind, will remind, will remind me,)
The rush of being home in rapid fading.
(Will remind, will remind, will remind me,)
Prevailing to recall
(Will remind, will remind, will remind me,)
What I was missing all that time in England
(Will remind, will remind, will remind me.)
Has sent me aimlessly
(Will remind, will remind, will remind me,)
On foot or by the help of transportation,
(Will remind, will remind, will remind me,)
To knock on windows where
(Will remind, will remind, will remind me,)
A friend no longer live, I had forgotten.
(Will remind, will remind, will remind me.)
Ce clip est toujours une tuerie internationale (j'ai toujours révé de dire ça).
Bref il y a pas de mal à se faire du bien.
Dommage qu'ils ne soient pas très productifs les deux compères.
Mais , le prochain disque arrive le 28 Mars. Et celui de Daft Punk aussi. w00t !
[UPDATE] : Dans le même genre , la pub pour areva :
- Real
- WindowsMedia
Röyksopp est un groupe norvégien, appartenant à la nouvelle scène électro nordique. Les deux membres du groupe, Tobjorn Brundtland et Svein Berge, se connaissent au lycée au début des années 90 et officient quelque temps au sein d'un quartet à forte influence électro. A la fin de leur scolarité, ils se séparent pour se retrouver peu de temps après et former le groupe Röyksopp. Ils commencent alors à travailler au disque Melody A.M., leur premier album qui sort en 2001. Inspiré par Erik Satie, les mélodies de Francis Lai et le son progressif de Brian Eno, le duo propose, avec cet album, un disque faisant le pont entre les harmonies du siècle passé et le son du nouveau millénaire. Par ailleurs, en ce début de nouveau millénaire, Royksopp collabore avec d'autres groupes scandinaves tels que Those Norwegians, Drum Island ou Kings of Convenience. En 2002 et 2003, le groupe revisite quelques tubes du groupe Coldplay, comme Politik, Clocks ou encore God Put a Smile Upon your Face.
Ceux qui n'ont pas vu le clip ont vraiment raté quelque chose.
Mais tout n'est pas perdu.
Car le clip se trouve la :
- Real
- WindowsMedia
Remind Me
Will remind, will remind, will remind me,
Will remind, will remind, will remind me,
Will remind, will remind, will remind me,
Will remind, will remind, will remind me.
It's only been a week,
The rush of being home in rapid fading.
Prevailing to recall
What I was missing, all that time in England
Has sent me aimlessly,
On foot or by the help of transportation,
To knock on windows where
A friend no longer live, I had forgotten.
And everywhere I go,
There's always something to remind me
Of another place and time
Where love that travelled far had found me.
We stayed outside til two,
Waiting for the light to come back,
But hid in talk I knew,
Until you asked what I was thinking.
Brave men tell the truth,
A wise man's tools are analogies and puzzles,
A woman holds her tongue,
Knowing silence will speak for her.
So now I'll never know,
As you will only sleep beside me,
And everywhere I go...
It's only been a week,
(Will remind, will remind, will remind me,)
The rush of being home in rapid fading.
(Will remind, will remind, will remind me,)
Prevailing to recall
(Will remind, will remind, will remind me,)
What I was missing all that time in England
(Will remind, will remind, will remind me.)
Has sent me aimlessly
(Will remind, will remind, will remind me,)
On foot or by the help of transportation,
(Will remind, will remind, will remind me,)
To knock on windows where
(Will remind, will remind, will remind me,)
A friend no longer live, I had forgotten.
(Will remind, will remind, will remind me.)
5 commentaires, dernier de bArjo^stoo.
The Chemical Brothers - Galvanize
Mardi 1er février 2005 à 18 h 31
Le nouvel album "Push The Button" est vraimet très bon. (colaboration avec le rappeur Q-Tip)
Il y a un peu de tout et le premier morceau "Galvanize" mets vraiment en apétit.
Avec nos enceintes à 120.000 euros ça rend plutôt bien il faut l'admettre.
Le dernier morceau est l'apothéose de cet album. Il faut l'admettre "Surface to Air" est surement un des meilleur morceau du genre.
J'espère qu'ils en feront un clip.
Conclusion : je vous recommande vraiment cet album. Posez vous dans un fauteuil, lancez l'album et vous êtes ailleurs.
Ils sont au Zénith en Février.
The act with the first arena-sized sound in the electronica movement, the Chemical Brothers united such varying influences as Public Enemy, Cabaret Voltaire, and My Bloody Valentine to create a dance-rock-rap fusion which rivalled the best old-school DJs on their own terms -- keeping a crowd of people on the floor by working through any number of groove-oriented styles featuring unmissable samples, from familiar guitar riffs to vocal tags to various sound effects. And when the duo (Tom Rowlands and Ed Simons) decided to supplement their DJ careers by turning their bedrooms into recording studios, they pioneered a style of music (later termed big beat) remarkable for its lack of energy loss from the dancefloor to the radio. Chemical Brothers albums were less collections of songs and more hourlong journeys, chock full of deep bomb-studded beats, percussive breakdowns, and effects borrowed from a host of sources. All in all, the duo proved one of the few exceptions to the rule that intelligent dance music could never be bombastic or truly satisfying to the seasoned rock fan; it's hardly surprising that they were one of the few dance acts to enjoy simultaneous success in the British/American mainstream and in critical quarters.
While growing up, both Rowlands and Simons grooved to an eccentric musical diet, ranging from the Smiths and Jesus and Mary Chain to Kraftwerk and Public Enemy. They met while taking the same history course at Manchester University, though neither were native Mancunians -- Rowlands enrolled because of the legendary Haçienda nightclub nearby, while Simons acknowledged the city as birthplace to the Smiths and New Order. The pair began sampling Madchester's vibrant nightclub scene together during 1989 and 1990, just at the peak of Britain's fascination with a DJing style named Balearic. Pioneered at the island hot spot of Ibiza during the mid-'80s, Balearic relied on a blend of early house music, Italian disco, rare-groove jazz and funk, Northern soul, hip-hop, and alternative dance. Original Balearic DJs like Trevor Fung, Paul Oakenfold, and Mike Pickering brought the sound back to indie clubs in London and Manchester, and the style proved very attractive to musical eclectics like Rowlands and Simons.
Though Rowlands was already performing in the alternative dance group Ariel, the pair began DJing together at the Manchester club Naked Under Leather in 1991. Hardly believing that their weekend project would progress, they took the semiserious handle Dust Brothers (a tribute to the American production team responsible for one of their favorite albums, the Beastie Boys' Paul's Boutique). Despite their doubts, Rowlands and Simons' club night did grow more popular, thanks to the duo's Balearic mix of rare house tracks flavored with hip-hop breakdowns, independent-dance fusions, and ancient secondhand discards. After deciding to try and re-create their unique sound in their tiny bedroom studio, the Dust Brothers emerged with "Song to the Siren," an intriguing example of the new alternative dance scene including sample victims Meat Beat Manifesto and This Mortal Coil.
After the single was pressed up on a limited release of 500 copies, it began getting attention from Britain's top DJs, initially including an old friend named Justin Robertson but later including Andrew Weatherall and Darren Emerson. Weatherall licensed the single to Junior Boy's Own Records, and after the pair had finished university, they moved back to London to work on another EP (14th Century Sky) and a residency at another club. After their third release, "My Mercury Mouth," the duo began to get more high-profile clients for remixing: besides Justin Roberston's Lionrock collective, Primal Scream, the Prodigy, and the Charlatans all received treatments.
When lawyers for the original Dust Brothers came calling in 1995, though, Rowlands and Simons were forced to change to change their name to the Chemical Brothers (the proposed Dust Brothers U.K. was turned down). Word on the street and nightclub scene was so good that it hardly mattered; their new residency at the Heavenly Sunday Social quickly became one of the hottest clubnights in England -- documented on the mix disc Live at the Social, Vol. 1 -- and their debut album, Exit Planet Dust, was heavily praised by critics. Another fan of the record, Oasis frontman Noel Gallagher, agreed to lend his vocals to a future single named "Setting Sun," the Chemicals' tribute to one of their own favorites, the Beatles' "Tomorrow Never Knows." The single went to number one in late 1996, and the Chemical Brothers opened up for the giant Oasis concert at Knebworth besides headlining their own shows all over the world.
The Chemical Brothers' second album, Dig Your Own Hole, took charge of the top spot on the album charts upon its release in April 1997, and on the wings of America's growing electronica push, the album sailed to number 14 stateside and went gold. The duo released a mix album in 1998, Brothers Gonna Work It Out, and followed with their third studio LP, Surrender, in 1999. Rather lackluster expectations sparked a return to the underground with the white-label-only single "It Began in Afrika," and the duo's fourth album, Come With Us. It too failed to earn the high notices of the first two albums, although after another three-year gap Rowlands and Simons returned with an improvement, 2005's Push the Button.
Pour voir le clip , Push the Button. (Real)
Ils sont déjà premiers des charts chez nos amis anglais.
Impressionant quand même l'imagination sans limite de ces deux frères chimiques.
Galvanize
don't hold back...
cause you woke up in the mornin, with the mission to to move, so I make it harder...
don't hold back...
if you think about it, so many people do, be cool man, look smarter....
don't hold back...
and you shouldnt even care, bout those losers in the air, and their crooked stares...
don't hold back...
cause there's a party over here, so you might as well be here, where the people care...
don't hold back...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
galvanize!
c'mon, c'mon c'mon....
dont hold back...
if you think about it too much, you may stumble, trip up, fall on your face...
dont hold back...
you think its time you get up, crunch time, like a sit up, come on keep pace...
dont hold back...
put apprehension on the back burner, let it sit, dont even get it lit...
dont hold back...
get involved with the jam, don't be a prick, hot chick, be a dick....
dont hold back...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
galvanize!
c'mon, c'mon c'mon....
world, the time has come to...
push the button...
world, the time has come to...
push the button...
world, the time has come to...
push the button...
world, my finger, is on the button...
my finger, is on the button...
my finger, is on the button...
push the button...
the time has come to...
galvanize!
Il y a un peu de tout et le premier morceau "Galvanize" mets vraiment en apétit.
Avec nos enceintes à 120.000 euros ça rend plutôt bien il faut l'admettre.
Le dernier morceau est l'apothéose de cet album. Il faut l'admettre "Surface to Air" est surement un des meilleur morceau du genre.
J'espère qu'ils en feront un clip.
Conclusion : je vous recommande vraiment cet album. Posez vous dans un fauteuil, lancez l'album et vous êtes ailleurs.
Ils sont au Zénith en Février.
The act with the first arena-sized sound in the electronica movement, the Chemical Brothers united such varying influences as Public Enemy, Cabaret Voltaire, and My Bloody Valentine to create a dance-rock-rap fusion which rivalled the best old-school DJs on their own terms -- keeping a crowd of people on the floor by working through any number of groove-oriented styles featuring unmissable samples, from familiar guitar riffs to vocal tags to various sound effects. And when the duo (Tom Rowlands and Ed Simons) decided to supplement their DJ careers by turning their bedrooms into recording studios, they pioneered a style of music (later termed big beat) remarkable for its lack of energy loss from the dancefloor to the radio. Chemical Brothers albums were less collections of songs and more hourlong journeys, chock full of deep bomb-studded beats, percussive breakdowns, and effects borrowed from a host of sources. All in all, the duo proved one of the few exceptions to the rule that intelligent dance music could never be bombastic or truly satisfying to the seasoned rock fan; it's hardly surprising that they were one of the few dance acts to enjoy simultaneous success in the British/American mainstream and in critical quarters.
While growing up, both Rowlands and Simons grooved to an eccentric musical diet, ranging from the Smiths and Jesus and Mary Chain to Kraftwerk and Public Enemy. They met while taking the same history course at Manchester University, though neither were native Mancunians -- Rowlands enrolled because of the legendary Haçienda nightclub nearby, while Simons acknowledged the city as birthplace to the Smiths and New Order. The pair began sampling Madchester's vibrant nightclub scene together during 1989 and 1990, just at the peak of Britain's fascination with a DJing style named Balearic. Pioneered at the island hot spot of Ibiza during the mid-'80s, Balearic relied on a blend of early house music, Italian disco, rare-groove jazz and funk, Northern soul, hip-hop, and alternative dance. Original Balearic DJs like Trevor Fung, Paul Oakenfold, and Mike Pickering brought the sound back to indie clubs in London and Manchester, and the style proved very attractive to musical eclectics like Rowlands and Simons.
Though Rowlands was already performing in the alternative dance group Ariel, the pair began DJing together at the Manchester club Naked Under Leather in 1991. Hardly believing that their weekend project would progress, they took the semiserious handle Dust Brothers (a tribute to the American production team responsible for one of their favorite albums, the Beastie Boys' Paul's Boutique). Despite their doubts, Rowlands and Simons' club night did grow more popular, thanks to the duo's Balearic mix of rare house tracks flavored with hip-hop breakdowns, independent-dance fusions, and ancient secondhand discards. After deciding to try and re-create their unique sound in their tiny bedroom studio, the Dust Brothers emerged with "Song to the Siren," an intriguing example of the new alternative dance scene including sample victims Meat Beat Manifesto and This Mortal Coil.
After the single was pressed up on a limited release of 500 copies, it began getting attention from Britain's top DJs, initially including an old friend named Justin Robertson but later including Andrew Weatherall and Darren Emerson. Weatherall licensed the single to Junior Boy's Own Records, and after the pair had finished university, they moved back to London to work on another EP (14th Century Sky) and a residency at another club. After their third release, "My Mercury Mouth," the duo began to get more high-profile clients for remixing: besides Justin Roberston's Lionrock collective, Primal Scream, the Prodigy, and the Charlatans all received treatments.
When lawyers for the original Dust Brothers came calling in 1995, though, Rowlands and Simons were forced to change to change their name to the Chemical Brothers (the proposed Dust Brothers U.K. was turned down). Word on the street and nightclub scene was so good that it hardly mattered; their new residency at the Heavenly Sunday Social quickly became one of the hottest clubnights in England -- documented on the mix disc Live at the Social, Vol. 1 -- and their debut album, Exit Planet Dust, was heavily praised by critics. Another fan of the record, Oasis frontman Noel Gallagher, agreed to lend his vocals to a future single named "Setting Sun," the Chemicals' tribute to one of their own favorites, the Beatles' "Tomorrow Never Knows." The single went to number one in late 1996, and the Chemical Brothers opened up for the giant Oasis concert at Knebworth besides headlining their own shows all over the world.
The Chemical Brothers' second album, Dig Your Own Hole, took charge of the top spot on the album charts upon its release in April 1997, and on the wings of America's growing electronica push, the album sailed to number 14 stateside and went gold. The duo released a mix album in 1998, Brothers Gonna Work It Out, and followed with their third studio LP, Surrender, in 1999. Rather lackluster expectations sparked a return to the underground with the white-label-only single "It Began in Afrika," and the duo's fourth album, Come With Us. It too failed to earn the high notices of the first two albums, although after another three-year gap Rowlands and Simons returned with an improvement, 2005's Push the Button.
Pour voir le clip , Push the Button. (Real)
Ils sont déjà premiers des charts chez nos amis anglais.
Impressionant quand même l'imagination sans limite de ces deux frères chimiques.
Galvanize
don't hold back...
cause you woke up in the mornin, with the mission to to move, so I make it harder...
don't hold back...
if you think about it, so many people do, be cool man, look smarter....
don't hold back...
and you shouldnt even care, bout those losers in the air, and their crooked stares...
don't hold back...
cause there's a party over here, so you might as well be here, where the people care...
don't hold back...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
galvanize!
c'mon, c'mon c'mon....
dont hold back...
if you think about it too much, you may stumble, trip up, fall on your face...
dont hold back...
you think its time you get up, crunch time, like a sit up, come on keep pace...
dont hold back...
put apprehension on the back burner, let it sit, dont even get it lit...
dont hold back...
get involved with the jam, don't be a prick, hot chick, be a dick....
dont hold back...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
the world, is holdin back...
the time has come to...
galvanize!
c'mon, c'mon c'mon....
world, the time has come to...
push the button...
world, the time has come to...
push the button...
world, the time has come to...
push the button...
world, my finger, is on the button...
my finger, is on the button...
my finger, is on the button...
push the button...
the time has come to...
galvanize!