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Par DJDemonAngel le 7 Septembre 2009 à 17:00
“When Death comes, it takes your soul out and brings it to the beginning. To the beginning that was and is above all. Your MUSIC is THE MUSIC that breaks all definitions, and reaches the soul straight out. Genuine. Don't try to give it a name or to explain it. It is the same as to give definition to the soul... It is more than music. Just forgive those who won't understand this. The soul doesn't care about words, definitions or frames. Your MUSIC comes from the depth of the Universe through your soul and your hands. You are the prophet and you are alone. You'll always be. But there are still some hearts that resonate with you. I am sure, whatever happens, your wings are ready to take you where eternal beauty and Unconditional Love composes life. Your Music is The Music of my dreams... Where I ramble down the dark tunnels and secret gardens of my soul... You took it from there. I know” (Review of Ayana).
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Par DJDemonAngel le 7 Septembre 2009 à 12:00
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Par DJDemonAngel le 3 Septembre 2009 à 13:17
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Discographie :
- 2000 Quasi Transe Prolog.
- 2002 Nysa Sphère 7
- 2004 Kaophonic Tribu Live
- 2006 Éliso Déli
- 2009 Métamorphose
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Par DJDemonAngel le 19 Mai 2009 à 14:34
marie (chroniqueur)
Cet album est sorti il y a déjà 3 ans, et depuis le groupe lyonnais a sorti un nouvel album ("Mais où on va comme ça") que je n'ai pas encore écouté. Zenzila pratique un métissage culturel entre musiques du Maghreb et rock énergique; un mélange de guitares électriques, acoustiques, de violon, flûte, derbouka et batterie. Laurent, Wahid et Hakim forme alors un groupe pluri-ethnique qui explore un mélange musical, à la frontière du groupe Zebda, influencé par le rock, la chanson française et les chants de l'est algérien. Treize titres en français, parfois en arabe, leur langue d'origine, dynamiques et qui appelent au respect des différences. Evoquant l'exil avec "Tata Aïcha" ou encore le magnifique "La tendance", Zenzila rythme sa musique de percussions entrainantes ou d'un violon mélancolique; le groupe ne renie pas ses origines mais ne s'enferme pas dans des revendications inutiles ou nombrilistes, chantant également les quartiers de Lyon avec une promenade-hommage à cette ville avec "Saint Jean Croix Rousse". Mais le message sur les différences et le respect est universel. Zenzila chante la vie de façon nostalgique et optimiste avec des mélodies prenantes et somme toute assez joyeuses ("je fais confiance à la nature humaine, à la nature tout court et qui vivra verra").
"2 pull-overs et 1 vieux costard" est un album à (re)découvrir, pour le plaisir des mélanges réussis et enchanteurs. (mercredi 22 mars 2006)
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Par DJDemonAngel le 19 Mai 2009 à 01:14
Mirah The Black Cat Orchestra
Review by Heather Phares Conceived as an album of politically minded songs, To All We Stretch the Open Arm pairs Mirah's expressive vocals with Seattle's Black Cat Orchestra's equally wide-ranging music. Recorded in early 2003, when it looked likely that America was going to go to war with Iraq, the album acts as both a rallying cry to those opposed to war and a balm to those troubled by it. Featuring songs by Kurt Weill, Bob Dylan, Stephen Foster, Leonard Cohen, and Anonymous, among others, the album's tenor is still best conveyed by Mirah's cover of her own "Monument" from Advisory Committee. The song is slower, sadder, and wiser here than the previous album's quietly optimistic version, and its lyrics about "rising up in a beaten-down world" have even more resonance in their new setting (and in light of current events). While the album certainly addresses war and oppression with an appropriately somber tone (especially on Cohen's "Story of Isaac" and the sweetly earnest reading of Foster's "Hard Times"), To All We Stretch the Open Arm doesn't lose sight of how important passion and wit are to any good protest. "The Light," a new track from Mirah that also appears on her full-fledged solo album C'mon Miracle, offers hope and spirituality, while her rendition of Weill's "What Keeps Mankind Alive" is a wonderfully sardonic cabaret turn with plenty of pointed commentary. The album also includes a soulful take on Dylan's "Dear Landlord," Horacio Guarany's "Se Si Calla El Cantor," and closes with a lively version of "Bella Ciao." The instrumental pieces, such Fausto Amodei's "Per I Morti Reggio Emilia" and the anonymously written "Si Me Quieres Escribir" and "El Cant dels Ocells," add another dimension to the collection's already deep diversity. Along with Songs From the Black Mountain Music Project, To All We Stretch the Open Arm is another worthwhile collaboration from Mirah, and one that celebrates the many ways that music conveys how important peace is in the process.
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