Des références pour la Radio R3z0

Julien Millot

@Loposum j'ai capté...
Je me faisais chier à insérer les lien en markdown (déconne) mais il fallait préciser double retour à la ligne sans formatage du lien! Suffit de copier le lien J'ai mis du temps à comprendre mais bon ça enervait surtout les autres...

Tarzan Premier

Il ne me semble pas avoir entendu Dino Voldam par ici.
Vous connaissez?

sqallax

@Tarzan-Premier connaissais pas, un mélange de pop-hip et salut c cool un peu ?

Me fait penser à ce morceau

Tarzan Premier

@sqallax j'avais aussi fait le rapprochement avec Pop-hip (peut-être un cousin caché?). Mais bon, y'a un peu moins la touche Stup et du coup c'est un p'tit peu moins bien

sqallax

@Tarzan-Premier ha oui c’est très très niais pop-hip c’est pour ça qu’il lui arrive des bricoles d’ailleurs et qu’il se fait malmener par les autres membres du groupe mais ils ont besoin de lui pour les sous si j’ai bien compris …

Tarzan Premier

@sqallax mais, Pop-hip n'est-il pas mort depuis l'hypnoflip invasion?

sqallax

J’ai du mal avec la chronologie mais t’as peut-être bien raison ! Après la formule magique est un vieux morceau donc je sais pas trop comme « sons de ouf »c’est un double album qui regroupe tout un tas d’inédits du début à la fin…

Tarzan Premier

Un autre artiste qui fait vivre son univers absurde depuis plus de 50 ans maintenant.
Albert Marcoeur
ça date un peu mais c'est toujours aussi bon.
Puis surtout, c'est un vrai défricheur dans le monde de ce qu'on peut se permettre avec les sons (avec le recul il y à un air de Mr Bungle ou même des Ruins à la sauce française, ça date de 1974).

J'aime beaucoup cet artiste.

Julien Millot

Landscape from Memory, by Rival Consoles

Landscape from Memory by Rival Consoles, releases 04 July 2025 1. In Reverse 2. Catherine 3. Drum Song 4. Soft Gradient Beckons 5. Gaivotas 6. Coda 7. Known Shape 8. Nocturne 9. Jupiter 10. In a Trance 11. If Not Now 12. 2 Forms 13. Tape Loop 14. Landscape from Memory Rival Consoles has been concurrently in the foreground and background of electronic music since the late 00s; conjuring tense melancholia for Black Mirror soundtracks, playing in front of 10,000 dance fans at Drumsheds, selling out London’s Barbican Hall, and logging an expansive, wandering collection of synth-sculpted albums that explore a myriad different styles and aesthetics—but always with human emotion as their lodestar. Landscape from Memory, the ninth studio LP from the UK producer and musician born Ryan Lee West, finally blossomed following a frustrating fallow year away from the production desk. For West, having spent the past decade producing and writing in a habitual way, falling out of love with creativity meant a slowing of the clock that makes him tick, a sense of being swallowed whole by some elementary force. However, the time out also made room for his most invigorating record yet. Partly stitched together from a scrapbook of discarded audio snippets, Landscape from Memory demanded a degree of openness and vulnerability in its assembly. “There is a kind of strange beauty to it because it involves the past, present and future in a very strong way,” offers the Erased Tapes mainstay. He set to work massaging melodic kernels into full tracks, like the skippy, haunted club shuffle of memory-jogging lead single ‘Catherine’, which is dedicated to his partner. “It’s extremely open, just a naked melody on drums, so exposed as an idea… I think because she was so excited by it, I was like, ‘Oh, yeah, I'm excited too, actually, I just didn't realise,” he reflects. Appropriately, the title track became the first piece of music that made West “feel an emotional reaction after a long time of having zero reaction”—closing the record transcendently in a fever dream of euphoric synthwave—although ‘Catherine’ can be understood as the spark that lit the fuse, bristling with energetic joy. Similarly, ‘Known Shape’ makes a play for an otherworldly dancefloor, melding a loping drum pattern to a twitchy soundscape. Granted, some of the standout moments of the LP can be found lurking in its weirder, wilder corners, from the broken-sounding synth that runs like a rough river through ‘2 Forms’, to the head-nodding, disembodied bounce of uncanny valley bop ‘In a Trance’. “I remember making that in a New York hotel room, starting it, when Robert (Raths, Erased Tapes founder) was doing something on his phone and I was just being annoying in the background,” recalls West of one of several pieces made on the road. Yet Raths expressed his excitement about the track as he was hooked instantly. “I like music that has a sense of momentum, really pushing forward,” he adds of the ‘Landscape from Memory’ ice-breaker. “And it just instantly has that from the first breath. So I kind of like moments like that when they appear.” These climatic productions are characterised by their propulsive quality, and driven by West’s own push to step outside his comfort zone, having found inspiration flowing from new and unfamiliar sources. After his self-built Hackney studio suddenly felt too controlled of an environment, West altered course, mapping out tracks away from his desk. To that end, Landscape from Memory is a travelogue of creativity on the move, a collection of postcards from everywhere, and an album defined by its restlessness. Just like the record itself sprang from conflicting emotions, bliss and dread tussle audibly for dominance throughout. You can hear this tug-of-war in the radiant swell of ‘Nocturne’, an eerie, reverb-drenched meander through classical tones, or the warm piano figures that collide with percussive crunch on ‘If Not Now’. Away from the music, this essence resides in a grainy film photo that in West’s eyes holds the record’s emotional DNA: a serene vista of tall green trees that hide the roaring A12 road beneath this studio. “I just think it’s quite evocative because even though it was an alarming place, it also looks really comforting at the same time,” he muses. This dichotomy flourishes in that sweet spot between knotty ambient and widescreen electronica, where environmental tones and electro-acoustic textures converge to create a living document of sound. On Landscape from Memory, sonic touches hint at something intimate and familiar: cracking ice, the buzzing of a fridge, the distant hum of the motorway. Investing more time with the acoustic guitar in the initial stages helped West convey this homespun quality. For instance, on ‘In Reverse’, gossamer melodies are layered to create “a tapestry of guitar parts” while ‘Gaivotas’, which was born out of a residency at Lisbon’s synth hotspot Patch Point last February, contrasts “extremely digital synths” with a cheap acoustic guitar that snakes through dense, rhythmic terrain. “A lot of things that go on in the music are like a guitarist's perspective of treating sounds,” he offers, explaining that much of the record involved “crudely recording” ideas into a laptop microphone. “I just like the honesty of it,” he says of the guitar, also pointing to the record’s additional array of “unusual recording techniques.” Among these, drums were placed on the sofa to create the muffled, deadened sensation on ‘Coda’, where a woozy shoegaze fog and angel sighs build into a jumpy, organic groove. Or ‘Tape Loop’, which “importantly, was recorded with a microphone. So not only does it slow down the music, but also the dimensions of the room the microphone picks up changes,” he explains. Growing up, West would often mess around with the materials on his parents’ land in the small town of Syston outside of Leicester, hammering nails into wood and “sawing stuff,” which ignited a strong curiosity for making and materials from childhood. He soon found his way into music, starting on the guitar before teaching himself digital production and going on to study music technology at Leicester’s De Montfort University. He later became the first signee to the nascent London label Erased Tapes in 2007, establishing the label's shorthand for exploratory post-minimalism. IO, his debut album as Rival Consoles, came out in 2009, while his output has since evolved across nearly two decades of activity, from the critically acclaimed 2018 offering Persona to Landscape from Memory’s 2022 predecessor, Now Is. As a multidisciplinary artist he has always been passionate about imagery and how it relates to and inspires music. His 2020 record Articulation was informed by drawings he made in his sketchbook. He has also been experimenting in various motion media, from programming particle animations in Max MSP to filming and editing daily video clips, and manipulating imagery in Touchdesigner or Blender, which would shape the visual counterpart in his live A/V shows since 2015. As Rival Consoles, West’s calling card is his ability to channel hope, pain, sadness, and euphoria in one fell swoop, twisting the key in the lock of his internal world and telling stories without words. Crucially, Landscape from Memory is as much about zooming in on the details as it is about seeing past the horizon. Like a saturated photograph or an abstract painting daubed with bright splotches, Landscape from Memory is a riot of colour, an album blazing with a sound-shaper’s renewed love for his craft.

Rival Consoles (rivalconsoles.bandcamp.com)

Vu son dernier set V-J hier soir c'était BEAU. Dans l'espace dès les premieres nappes!
Pour celles et ceux qui remettent pas sous ce pseudo c'est "Aparatec", le premier artiste à avoir été signé chez Erased Tapes, le label ayant été créé pour refourguer son premier CDR...

Loposum

Le cas Bolivard.
Ça fait un moment que je me tâte à le partager. J'aime pas tout mais ces 2 morceaux ont tendance à rester dans la tête et c'est assez absurde. Allez, Dino Voldann m'a décomplexé, je balance la sauce