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This young British is only with its second album but that sounds already as an artist with the long career which would leave its 20th album.
Esparto Mist (Sekitelo Esparto of its true name) explains why it was affected by its environment. Its education worked it in a manner which makes that it does not know how to communicate. Structuralism means “I am as I am because of the structure of the company in which I grew, now I need to learn how to communicate”. The objective seems reached with “Structuralism”.
44, first title of the album begins with the English comments from a woman, then continues with trumpet, happy jazzy, retro synthesizers. All is there already as of the first title. One is in the groove, jazz, hip-hop fusion. The color is announced. The tablecloths of synthesizers accompany the tic by happy rhythm jazz to accommodate in the middle of the piece the electric guitar soloist, who is given some to heart joy. In short 44 delivers to us as of the entry a dish of resistance furnished well, a treat. The piece is long (10 minutes) and dense. But not from indigestion because the continuation passes all alone.
Falling, second piece of the album is felted, tablecloth, elegant. A pure treat for the delicate ears. Kaya Thomas-Dyke with the song brings all his softness and his sensuality. The piece finishes with the piano and violoncello for the final key of this fall carefully.
Mulago, third title begins with the piano under the English comments from an English woman. Is this a repetition of the first piece? At all! A slow, hypnotic, voluptuous piece. The trumpet comes to supplement the trip of the old story of the piano which turns in loop. The listener is already under the charm as of this third piece, impressed by the effectiveness of the demonstration.
Glad I Lived, begins on the comments from an English man. Beautiful presence of the battery which comes to put rhythm into the whole of the piece around the sax and the violin, and the synthesizer in discrete background. A piece far from being simplistic, it actually becomes increasingly complete throughout the 6 minutes of listening. The piece finishes in very original sonorities. D-to listen to several times to understand the whole of its force.
Jjajja' S Screen, fifth title of the album is a pure piece jazz club. Trumpet, guitar and synthesizer. They is languorous, from the cigarette smoke escapes from the room, one expects to see emerging suddenly a black trumpet player in his living room so much environment is strong and immersive. An one-way ticket for a club of New Yorkean jazz without moving of its living room. Enjoy!
Nayiti, sixth title of the album gives the place to coppers. More than 09 minutes of immersion to taste a solo of trumpet accompanied by topping by synthesizers. A piece to be booked with unconditional kind could one believe but not, there too a beautiful surprise expects that which will take the time to listen to the piece in its entirety. The trumpet gives up its seat to the guitar soloist which gives itself body and heart! This piece is of a very great intensity, the 9 minutes and thirty seconds are not superfluous. It is right dishevelling!
Retainer, seventh piece starts slowly, quasi in procession with battery and copper. And then the guitar soloist comes to colour the piece. It is classic, not surprise, it is the known one. But there too, astonishment a second part seems to be discovered after the classic, expected. The piano opens up the way for the electric guitar which plays a partition and a sound never yet played on the album. In short, once again it is necessary to be patient to benefit fully from the potential of the piece.
Door, eighth and last piece of the album with Jordan Rakei are a sung piece, less jazzy of the album, almost trip-pop, UFO compared to the seven other pieces, history to surprise us to the last furrow. Impressing!

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