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Des singles à foison, un premier album ("Life for Dead Spaces") sombre, urbain et remarqué, l'histoire d'Osaka (duo brestois) est riche en événements depuis sa formation en 1998. Pour le deuxième album c'est sur le label de leur début qu'ils reviennent. "The Dynamics" est une évolution de taille pour Osaka. Si on retrouve toujours les soundscapes impeccables chers au duo, ceux-ci ont pris de l'ampleur et quitté l'univers étouffant des villes pour s'établir dans les friches industrielles, les terrains vagues, la rase campagne et parfois les plages désertes après la tempête. Cette évolution s'est faite lentement, les influences se font discrètes, simples inspirations, culture générale ou fonds commun de création. La musique d'Osaka se construit à coups de drones, de guitares fluides, de voix éthérées, de rythmiques organiques pour un disque de fausse électronique. Les volutes de sons s'élèvent et s'accumulent jusqu'à former une mélodie fuyante, des structures hypnotiques. Entre comptines minimales et berceuses pour géant, Osaka croise le fer avec Madrid et Labradford et s'en tire plus que bien. Chaque chanson impressionne, maîtrise du son, production aux petits soins, mesure de la mélodie, tout force l'admiration. Plus abordable que "Made of Water" le magnifique album de Kobé- moitié d'Osaka - sorti il y a peu sur la même structure, "The Dynamics" est un chef d'oeuvre en devenir. (popnews)

While we were waiting for a new album instead by Tank or, after the adventure Color Und Climax, the new opus of the "Disel collective" under the evocative name of Dale Cooper Quartet and The Voice, is released, almost by surprise, the second Osaka's Album: "The Dynamics".

Recorded over two years from June 2000, after "Life for Dead Space", the first album being just released on Roisin, "The Dynamics" sees the duo return to work where it had never really left. Its 10 titles have largely benefited from the maturity necessary to their development as full advantage of the experience of the first concerts in various artistic events or more personal work of the duo. the ones of Sébastien Roué through Kobe, his laboratory of sounds and structures, which remained secret until the release of "Made of Water" in February 2003, still on diesel combustible recordings. The ones of Yannick Martin in live training or project such as Tank, Dale Cooper Quartet and The Dictaphone

Meetings. This is probably the term that best characterizes this new album. Encounters with, most often indirectly, helped to rejuvenate the duo. Artistic meetings that see Osaka opening itself on other spaces. The human dimension is expanding, like the artwork, not hidden homage to factory's designer Peter Saville which was produced in collaboration with an artist of Brest where the relationships between people and their environment is also a source inspiration. Suddenly, after symbolically rooted architectural blocks around on his first outings, Osaka enters a new area, more geographic therefore more open to space and people.

Of this new born music still imbued with a minimalist sound that leaves room to develop, but also far less linear, much richer and stronger than before. The rhythms are more assured and they are hammered, pure electro dub or frankly, they structure consistent with the discretion and fragile melodies of guitar, piano and synthetic groundwater. As for skins, always parsimonious, sometimes organic, sometimes digital, they offer a wealth of arrangements need to take time to explore.

With this second album, Osaka, not completely out of influences too good to be disowned, a path which could only be hers and offers luxury, rare in such groups, to write what is certainly its first hit, "Egberto", building rich and radiant, supported by the unmistakable voice of Valerie Marrec cottony. On "Manslide" is the ghost of Bark Psychosis, which appears in the timbre of a voice strikingly similar to Graham Sutton's one.

"The Dynamics" is a moving album that explores new horizons inspired many meetings that enrich the musical duo. They remain faithful to their convictions and to all those who agreed to follow them during their first term and who are now trained to other areas where the idea of sonic landscapes, often in Osaka, then takes a completely different dimension.

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