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13 Blues for Thirteen Moons

5 étoiles sur 5 3 commentaires client

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Page Artiste A Silver Mt. Zion


Produits fréquemment achetés ensemble

  • 13 Blues for Thirteen Moons
  • +
  • Kollaps Tradixionales
  • +
  • Horses In The Sky
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Détails sur le produit

  • CD (26 septembre 2011)
  • Nombre de disques: 1
  • Label: Constellation
  • ASIN : B00103BY4W
  • Autres versions : Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 115.317 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Plus rock et plus blues que jamais, les Montréalais de THEE SILVER MT ZION sont de retour après trois ans de tournées et collaborations avec ce très attendu nouvel opus intitulé 13 Blues For Thirteen Moons. Leur son, plus pesant encore que sur leurs précédents albums, s'étoffe autour d'un noyau dur presque essentiellement constitué de riffs. Accompagné d'un nouveau batteur, ERIC CRAVEN (ex-HANGED UP), le groupe livre de nouvelles épopées avec une patience, une sinuosité et une férocité toutes nouvelles. Ponctué de free noise et de mélodies déchirantes, 13 Moons for Thirteen Blues marque le tournant d'un groupe qui n'a pas fini de faire parler de lui.


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Format: CD
Mon album préféré de ce groupe (pour l'instant).

L'intro instrumentale est découpée en très petits morceaux de quelques secondes qui occupent les 12 premières pistes de cet album.
Viennent ensuite quatre morceaux d'environ un quart d'heure chacune. Quatre compositions magnifiques, à la fois "rock" et plus équilibrées qu'auparavant (je m'en expliquerai plus loin).

J'aime beaucoup cette musique ; c'est globalement très enjoué, vivant, énergique. Le groupe joue toujours avec les contrastes (variations de l'intensité du volume sonore, variations de tempo, alternance entre minimalisme et profusion harmonique), mais ça me paraît beaucoup plus naturel qu'auparavant, ça ne ressemble plus à des recettes d'orchestrateur.
D'après moi le groupe avait entamé un virage avec l'album précédent et le poursuit ici.
Ce n'est plus un groupe presqu'exclusivement instrumental, mais un groupe qui utilise et marie maintenant avec plus d'équité et de justesse toutes les qualités et moyens qu'il a développés pendant des années: le chanteur leader, les choeurs, une petite section d'instruments d'orchestre classique alliée à une section "rock" (guitares électriques, batterie, etc.)....Tout est permis dans ces longs morceaux: de la douceur à l'explosion.
L'ensemble est cohérent, riche et décapant !

Pour la première fois, il me semble, vous trouverez un petit livret contenant les paroles des quatre chansons de cet album, ce qui est, je pense, révélateur de l'importance croissante des textes et du chant dans l'histoire de Silver Mt Zion.
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Remarque sur ce commentaire 11 sur 12 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Format: CD
Ce commentaire s'adresse à ceux qui connaissent déjà le groupe, car, pour les autres, il faudrait d'abord expliquer à quel point il est atypique, original, brut et sans afféterie, mêlant instruments acoustiques comme violons, violoncelle, et contrebasse aux guitares électriques et à la batterie, et que cela produit une musique émotionnelle et souvent douloureuse à un point qui contraste vigoureusement avec ce qu'on entend dans les médias... Il faudrait aussi préciser que la voix du chanteur, Effrim Menuck, n'est pas sortie d'un conservatoire, qu'elle est fragile et poussée aux limites de ses capacités, entre Johnny Rotten et Vic Chesnut, et surtout qu'elle est bouleversante dans sa maladresse...
Suite logique d'"Horses in the sky", cet album a un ton plus rock, et gagne encore en intensité. Le chant devient vraiment lancinant, les morceaux sont plus longs que sur l'album précédent (entre 13 et 16 minutes !), plus complexes, plus composés, et d'une grande puissance dramatique. Même si le compteur de votre lecteur CD affiche 16 plages, donc apparemment 16 morceaux, l'album n'en contient en fait que 4 (de 13 à 16), les 12 premiers n'étant qu'un défilement du compteur, en une minute, de plages de 5 secondes, sur un seul son électronique... Une facétie pour brouiller les pistes parmi d'autres...
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Format: CD
Très bon opus d'un très bon groupe.
Un retour en force avec de longs morceaux aux rythmes rapides - et relativement violents - rappellant largement leur meilleurs moments sur "This is our punk rock...". Après le (relativement) décevant "Horses In The Sky", j'ai été agréablement surpris par une batterie omniprésente, la voix d'Efrim qui déchire et d'excellents riffs de guitarres évoluant rapidement (pour du post-rock bien en tendu...).
On se croirait emporté dans une marche révolutionnaire! Efrim semble scander de veritables slogans !
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x97be50b4) étoiles sur 5 9 commentaires
14 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x97df29f0) étoiles sur 5 The best album I've heard all year 10 avril 2008
Par lexo1941 - Publié sur Amazon.com
Format: CD
I bought this album almost entirely on spec, having read a flat-out rave review of it on allmusic. The only other thing I had heard by any of the people involved was a Godspeed You! Black Emperor album which I'd liked, but not loved.

Somewhat to my surprise, as I'm no longer in the first flush of my youth and should be getting increasingly narrow-minded by now, I love this. I am 37 and long ago stopped feeling like I had to keep up with every single new direction in rock music; I am mildly suspicious of anything that is slapped with a label that begins with 'post-...', but I know it's not the fault of the musicians. This album does it for me, though, on every level.

It starts, as the allmusic reviewer noted, with a series of sort-of-tuned but not unpleasant high-pitched tones, which then blend into a quiet and ominous intro to the first song, '1,000,000 Died To Make This Sound'. There's a simple little bass riff, then female voices start singing the song title over and over again, on one note. Then another voice starts singing it in harmony. Then a guy with a raw, passionate, cracked, slightly goofy voice joins in...this goes on for a while, the guy varying his words while the women keep singing the beautiful but threatening refrain...then they stop.

Then the band plunges into the song proper, full-on bashing drums and raw cello and swirling violins and fuzzy guitars all playing a riff that Tony Iommi would have been proud to come up with, but slower, more worried, more chaotic. It goes on like that for the best part of fifteen minutes, sometimes changing, with the occasional instrumental passage, but basically this glorious communal racket that surges like waves crashing on a beach in a winter storm at night. Yes, it's repetitive, but it changes the way the sea changes, basically the same but always just different enough to be fascinating. And that's just the first song.

Yes, the singer has a voice that snags your attention - so does Jonathan Richman, so does Keith Morris, so does Frank Zappa, to name but three other guys who you can't easily ignore while they're singing. I actually like his voice, which is certainly easier to listen to than some people I can think of (for example, I would love to listen to The Mars Volta but I can't stand the singer).

I am raving about this album because it's, by any standards, seriously good, and deserves more than people complaining that it's not enough like their old stuff. (When supposed fans of the band are complaining about the album, you have to think, with friends like these...) I will go back and listen to their old stuff because I like this so much, but since this is apparently a band that is continually changing its sound, I respect that about them, and I would hope that longer-term fans of the band than I would respect it too.

Yet more evidence that when it comes to making music that touches every part of the body simultaneously - head, heart, gut, nerves, loins, clenched fists - sometimes you just have to go to Canadians.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x97beeccc) étoiles sur 5 A post-rock album with some PUNCH! 5 mars 2009
Par Tom Chase - Publié sur Amazon.com
Format: CD
There remains a strong contingent of people who still want their post-rock subtle, elegant and adorned in ribbons. They still want it to be accessible and gentle - to be inoffensive so they can let it hopelessly loop in the background to their daily activities. The result is an immense over-saturation of mediocre, atmospheric noodling that accounts for the majority of post-rock today. The one-time powerful and grandiose sound has became reduced to formulaic cliches. It has been drained of its original vitality.

I can remember years back hearing the likes of Slint, Godspeed You! Black Emporer and Mogwai and being immediately taken. The atmosphere, the textures, the guitar sounds...it was unlike anything I had ever heard, and still haven't to this day. It was cutting edge, it was experimental, it was utterly powerful. It was POST-rock. It was most importantly foreward-thinking. Sadly, it has lost its way, and I can't help but question what happened to all the potential? What happened to music without barriers, without constraints? How did it all become middle-ground, ambient instrumental `rock'? What happened to the punch in it all?

Thankfully other people have been thinking likewise, including Efrim Menuck himself. To be blunt, "13 Moons" is the first post-rock album that hasn't bored me in a long time. Maybe even years. It's a hefty kick in the balls to the congealed bile that has been clogging this once superb genre.

This should be evident with one listen to the immense "1,000,000 Died To Make This Sound". Gentle plucking and a haunting vocal harmony repeating the title set the scene. Around the refreshingly early 4 minute mark instruments are added - the guitars ring with a real gritty tone, there's even a hint of a guitar RIFF! Steady of there Efrim, you might give yourself a cardiac arrest! Anyway, the drums crash, the strings pierce and detract, and Efrim unleashes his angsty vocals. Things build and build, twisting and turning, until the main melody is unleashed in unison with every instrument. It's a beautiful moment and it takes me right back to the glory days of GY!BE. Satisfyingly, so satisfyingly, the crescendo is stripped down, taken to its minimal extreme and washed over with Efrim's idiosyncratic delay chords. The song is a sheer triumph. It had me smiling, fist pumping the air and shouting YES! YES! THIS IS MOST DEFINATELY NOT BACKGROUND MUSIC, HUZZAH!

I won't go into details with all the songs here, that would be like...listening to other recent post-rock albums! All you need to know is that excellence is continued. The final crescendo to the title track is immense, and the melodies throughout "Black Waters Bowed" are as touching as anything in the band's back catalogue.

I also want to address the vocals and lyrics. I've read a bunch of reviews claiming Menuck has ruined A Silver Mt.ZIon's sound with his newfound emphasis on vocals. A barrage of abuse has been slung at them - tone deaf, grating, unlistenable etc. His lyrics have also been attacked as being perverse and naively obvious. I really couldn't care less. Yes, his vocals are often whacked out of key, but they are full of energy and emotion. It's refreshing to hear someone just occasionally unleash his voice, not giving a rat's anus what comes out. When the music gets big, his vocals penetrate over the top so wonderfully. At times it acts more like another instrument than a voice.

And then the lyrics...sure, a line like "the hangman has a hard-on" is deliberately obtuse and maybe a little pretentious, but hey, since when was this band not? I find it ridiculous that people can attack the lyrics as pretentious cliches and disregard all the other jargon surrounding these guys. For example, their incessant desire to slam as many words in a song title as possible, or their odd seemingly pointless tinkering with their name. Also, have all you critics always understood what this music is saying. I mean, exactly? Can you all say you really got exactly what GY!BE's message was about? All those clippings and texts in liner notes, do you get all that? Sure, you know both bands have an anti-establishment, political thing going on, but is it crystal clear to you? Surely by now people can be ready for the odd deliberately obtuse, over-your-head `message'. To bring up ASMZ on this is like being surprised the latest Metallica album is rubbish.

Overall I can say that this is a post-rock album that really kicks you in the teeth. For a while now the genre has been a slacking mess, full to the brim of mediocre ambient rock bile. I've been bored so much that I had become disillusioned. Certainly "13 Moons" is rough around the edges, but it's simply the most monumental ride this genre has seen since GY!BE.
22 internautes sur 29 ont trouvé ce commentaire utile 
HASH(0x97dfc5f4) étoiles sur 5 A step in the wrong direction 25 mars 2008
Par D - Publié sur Amazon.com
Format: CD
The first time I heard this album (cranked up, in my car), I hated it and was ready to dismiss it as terrible. The second time (volume low, as background music while I worked), it was a bit more palatable. I think my final opinion of it is that it's listenable but weak, for several reasons.

In past albums, the long track format has worked because they've often been songs that change direction midstream, or even separate, loosely connected songs. But here, the songs actually seem too long, and a couple of them are too repetitive. The first track answers the question, How many times can a single phrase be repeated over the course of a 15 minute song? The answer: way too many.

Likewise, Efrim's singing has been bearable in the past because it's been present in smaller doses, sharing the stage with group vocals and long instrumental passages. Here, it's in the forefront throughout the entire album, and we're painfully reminded of just how bad a singer he is. He should have stuck to using his voice as one of the band's many instruments, rather than making it a focal point.

Honestly, I've never loved an ASMZ album from beginning to end, but until now they've all had enough brilliant music to keep me coming back. This one just has way too few of those great moments. But then again, I favor the band's quiet, pretty songs, and their string-heavy post rock pieces. Those elements are occasionally present here, but aren't the focus of the album. This is the band's rock album, with Efrim's abrasive singing stealing the show. Other, more hard-core fans of the band may enjoy it much more than I do, but it doesn't appeal much to my tastes. Hopefully next time around, Efrim will give up his rock-star frontman routine, and the band will go back to making the orchestral post-rock that I've loved in the past.
2 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x97bf6084) étoiles sur 5 I agree with Doug 9 décembre 2008
Par A Reader - Publié sur Amazon.com
Format: CD
The Good News: A Silver Mt. Zion come out rawking!
The Bad News: Efrim comes out singing - and does not stop.

Now, I am a huge fan of this musical collective. I own every album that Silver Mt. Zion, Godspeed, Hrsta, Set Fire to Flames, and Valley of Giants has released (these being different bands that the various musicians on this album have made). Simply put, these people make some of the most creative, experimental, intense, even spiritual music I've ever heard. I love it. The MUSIC, that is.

I can remember when Efrim's voice first began appearing on songs from earlier Zion releases. Like glass breaking during the majestic proceedings, it would slap you out of the blissful trance you were in, only to end after a few minutes and give way to more great music. Maybe that was the point - to slap you out of your trance. If so, I am not a fan of the point. With each subsequent album, his voice has became more and more prominent, and we are now left with this album in which Efrim's nails-on-the-blackboard wailing dominates. And I cannot stand Efrim's singing. It is screechy and whiny. And this is coming from someone who considers unconventional singers such as Jeff Mangum and Will Oldham among my favorites. If these guys are determined to have vocals at all I wish they would let somebody else sing, perhaps one of the ladies. In my opinion, Efrim should have indulged his desire to sing in some eponymous albums instead of tainting the Godspeed/Silver Zion brand.

All of this is not to say that I do not greatly respect the man as a musician and there are moments of greatness on this album like all the rest. The first two tracks have Zeppelin-esque riffage in some places and the band rocks harder than they have in quite some time while still keeping the grand scope.

Perhaps in a decade or two they will release "deluxe" versions of these albums that contain just the instrumentals and some bonus songs. If so, I will be ready with my wallet.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x97dc5b1c) étoiles sur 5 A low point for an AMAZING band 13 septembre 2008
Par Ashtrayhead - Publié sur Amazon.com
Format: CD Achat vérifié
I'm a huge fan of Efrem and all of his work, but I have to admit that this album is a little disappointing. I've taken the time (a few times) to sit down and really listen to it, and I still can't get into this one as much as other albums.
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