Lecture via Spotify Lecture via YouTube
Accéder à la vidéo YouTube

Chargement du lecteur...

Vous scrobblez depuis Spotify ?

Connectez votre compte Spotify à votre compte Last.fm et scrobblez tout ce que vous écoutez, depuis n'importe quelle application Spotify sur n'importe quel appareil ou plateforme.

Connexion à Spotify

Ignorer
Ignorer

As your browser speaks English, would you like to change your language to English? Or see other languages.

Une nouvelle version de Last.fm est disponible. Pour que tout fonctionne correctement, veuillez rafraîchir le site.

Wiki

Beirut is characterized by a capacity to propose very varied musical styles, folk, pop, rock'n'roll but also of sonorities of origins gypsies or Slavic. Multi-instrumentalist, Zach Condon, leader of Beirut began as of his younger childhood the music by learning only the accordion, the piano or the trumpet his instrument of predilection. As of 16 years, it leaves the United States and discovers the musics of the world and those of Eastern Europe, and will be strongly influenced by the compositions of the collective Macedonian Koceani Orkestar or the Yugoslav musician Goran Bergovic. It is in 2006 that Zach Condon points out himself with a first album (Gulag Orkestar) under the name of Beirut, recorded with the invaluable assistance of Jeremy Barnes of the group Neutral Milk Hotel. Gulak Orkestar (2006) In 2007, Beirut publishes several LP of which Gun Elephant on which an original version of the Dying man of Jacques Brel is. This same year, leaves the second album studio the group The Flying Club Cup, album homage to France with which Zach Condon fell in love. The Flying Club Cup (2007) In 2011 leaves the album The RIP Tide then in 2015 the fourth album No No No The RIP Tide (2011) No No No (2015) For its last album entitled “Gallipoli”, all starts when Condon finally could recover its Farfisa organ which had remained in the house of his/her parents with Santa Fe. For the anecdote, this instrument was acquired at the time of its first job in a room of art and cinema. A keyboard player of travelling circus had left it in the warehouse after certain keys and functions of the body broke down and ceased functioning. Most songs of its first disc (Gulag Orkestar, 2006) and also of the second (The Flying Cup Club, 2007) were entirely written on this organ. At the beginning of the winter 2016, Zach starts the composition of what was going to become “Gallipoli” on this Farfisa organ. Farfisa organ Quickly the songs take shape, the inspiration being with go and Zac Condon programs a three weeks session in a very new studio with Chelsea, Relic Room. The Relic Room Studio (NYC) Gabe Wax, the producer of No No No, which shares the same artistic vision joined Condon for the recording. Gabe Wax Une time the principal recorded instruments, Nick Petree (battery) and Paul Collins (low) join Zac Codon and work over again each note with broken amplifiers, space echoes, systems of wiring for sound and the old tape recorders. Nick Petree and Paul Collins Sur his website, Zac explains “We sometimes let a synthesizer turn in loop in the room of recording to a volume so strong which we must carry of the ear-phones on the ears when we return in the part to carry out adjustments. I wanted that each squeaking and each moaning of the instruments, each detuned note, each buzz of amplifier and each technical dysfunction remain encrusted in the slits with the songs”. After some difficulties in its personal life, a divorce, an arm broken by making skateboard and the dislike of the American policy of Trump, Zac decides to settle definitively in Berlin in spring 2017. But it is finally Paul Collins who unearths the studio “Sudestudio” nested in the rural region of Apulia in October 2017. Sudestudio (Lecce) the next month, Condon and its musicians pass between 12 to 16 hours per day in studio, with some night excursions. Zac Condon tells: “One harms, we fell by chance on a medieval insular city, Gallipoli. We followed a procession where a brass band, carried out by priests carrying a statue of the local saint, went up the narrow and sinuous streets of the city… This evening, we returned late in Sudestudio. The following day, I wrote of a draft the piece that I ended up baptizing “Gallipoli”. After ten hours of creative fright, Nick Petree and Paul Collins came to bring their talent to add the low ones and the percussions. “I was rather happy result, which seemed to me to be a cathartic mixture of my past and my artistic present, returning me to the joy of feeling, formerly, music like a visceral experiment. At this moment, I understood that it was the main idea of the album”.

Modifier ce wiki

Pas envie de voir des annonces ? Abonnez-vous dès aujourd'hui

API Calls