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Page Artiste Krys


Détails sur le produit

  • CD (12 juin 2006)
  • Nombre de disques: 1
  • Format : Bonus
  • Label: Ulm
  • ASIN : B000FOR9YG
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 80.962 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Critique

 En dépit d'un flow à l'ébouriffante énergie pour placer ses riddims, Krys pratique un dancehall hardcore bien trop brouillon. Surtout, il oublie en chemin que le dancehall est censé véhiculer des rythmes issus du reggae.

K-Rysmatik propose un dancehall digital, uniquement destiné à la danse, dès lors les textes revendicatifs de Krys se trouvent noyés dans l'effervescence des rythmes. « K.r.y.s. », le titre de présentation en ouverture, laisse pourtant augurer du meilleur, c'est un véritable titre dancehall de niveau international.

Ensuite les titres digital hardcore s'enchaînent et se ressemblent, « Caroline » relance l'intérêt avec des variations bienvenues et un texte travaillé.  « Avec le temps » fait perdre le sien à l'auditeur avec une ballade sur rythme de piano latino, l'exemple même d'un titre superflu.

« Dangereuse » est le tube de l'album, sa réussite tient beaucoup à une utilisation de percussions plus antillaises que jamaïcaines, Krys a peut-être le tort de se tromper de racines. « Arno » et son humour créole vient accréditer cette thèse, le talent de Krys ressort plus sur les titres les moins dancehall, comme s'il avait endossé des habits de circonstance mal taillés pour lui.

Krys respire le talent, il s'égare malheureusement sur des voies peu faites pour lui, il se sert du dancehall au lieu d'approffondir un univers plus proche de ses véritables racines.


- Copyright 2015 Music Story

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Amazon.com: HASH(0x98347f6c) étoiles sur 5 1 commentaire
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HASH(0x97894de0) étoiles sur 5 A HUGE Work in Progress. . . 19 février 2008
Par Achis - Publié sur Amazon.com
Format: CD
(3.5stars)
Perhaps the day is quickly approaching when all fans of dancehall music (and reggae in general for that matter) may want to start learning French (and Creole) in order to be able to appreciate some of the strong vibes coming from France and the French West Indies. I myself, am currently attempting to do the same (under the watchful eye of my wife) because the ridiculously high level of POLISHED vibes just got too big to ignore when artists of all varieties continue to emerge on the Francophonic side. Now, nearly two years into it, I'm picking up artists who are definitely pushing huge vibes (despite the fact that my French is still very bad) and telling just about everyone who will listen. The first artist who really caught my attention was Martiniquian Sael, the young artist, who has a decidedly more rootical twist when at his best, served as a gateway to me learning about other artists (I actually started the language to be able to decipher what Sael was saying in his songs with his vibes definitely being that strong in order to transcend the language). Since then I've `discovered' names such as the insanely wicked Admiral T and (English speaking West African) Lyricson. However, the last year has been quite an educational process for me in learning about the likes of Tiwony, Fefe Typical, Daddy Mory, Straika D, Admiral T protégés Sam X and the fire breathing Saïk, L'Homme Paille and most recently, the very solid and fun Lady Sweety alongside countless others (i.e. Little Espion, Mighty Ki La, Daly and reggae/zouk songbird Kenedy). The thing that undoubtedly attracted me (and continues to attract me) initially, was the virtual identical landscape to the Jamaican music scene which was exhibited by France and the FWI. Meaning while most other reggae producing places in the world show themselves to specialize in one area of the music (such as how in the UK they tend to focus more on updating the classic vibes and in St. Croix and the extended Virgin Islands, they focus much more on modern roots), France and the FWI will focus on everything: On one side there is Tiwony, Lyricson and Sael pushing vibes which sound almost identical to the Sizzla's, Capleton's and Anthony B's of the world; while on the other, there is Admiral T, Daly and Mighty Ki La pushing a vibe which absolutely echoes that of the Beenie Man's, Bounty Killa's and Vybz Kartel of here in Jamaica. Yet still is more talent. Just as the likes of Aidonia, Busy Signal and Bramma alongside dozens of others showing up almost weekly to refill the ranks in Jamaica, the FWI boasts names such as the wicked and pounding Saik, the almost robotically aggressive Sam X and without a doubt the most popular and polished young artist of them all, Krys.

I actually learned of the young Guadeloupe native not too far after from when I learned of Admiral T (actually when I began to really study up on Admiral T, I had saw a performance of the Guadeloupean lyrics machine awhile before I actually knew who he was) as the two in terms of popularity seemingly run very close as the two most popular artists in the scope of Guadeloupe and the FWI. Admiral T himself is a very interesting artist, characterized by his ability to go off on seemingly never-ending tongue twisting barrages of downright lethal lyrics (imagine a more well humoured and slightly more hype French version of Vybz Kartel) where Krys is a much more polished and hype style of young artist who definitely takes more of vibes to the `dance' side of dancehall (although long from there now, someday young Krys will definitely be a French version of dancehall ace Beenie Man) although seemingly his concentration will definitely lead him to a much more broad span of lyrics (but then again, my French may be so bad that he might already be at that point) (incidentally, should you find yourself looking for a French version of Elephant Man, check the downright odd L`Homme Paille and his straw hat). While Admiral T has definitely been THE name in French speaking dancehall over the last decade (and the one who gets the most respect in the rest of the reggae world, currently he is bringing new artists such as Saik and Sam X as well), without a doubt the one stapled for the future is Krys. Thus, when thinking about an artist to begin with in exploring the French vibes, definitely I would recommend Krys as a fine starting point. Krys has also began to start a slow expansion of his music, currently he is riding high with the tune Hustla which features Jamaican dancehall stars Vybz Kartel and Aidonia. To date, in his career Krys has three albums to his name, the first of which reached as a predominately Guadeloupe based project, the very popular Lime Mic La from 2004 which featured two of his early and biggest tunes to date both V.I.P. as well as the pure soca knocker Big Tune Du Carnival. The album as whole, was very solid, despite checking in with just ten tracks in total. The album helped launch him to a stage where he could release his debut in the big time, this release, cleverly titled K-Rysmatik. Checking in at a VERY full eighteen tracks, K-Rysmatik is definitely an album which afforded the young artist the most opportunity to showcase his still developing skills and in the meantime score with a few big tunes. The album was a VERY big deal as it was actually released on a major label in Universal, promoted very well and ultimately a commercial success for Krys. It is also a big reason why the artist is relevant to audiences outside of just the French speaking market as it showed that he is amongst a surging group of artists in the world now, a pure dancehall artist with the vibes to carry an entire album (and believe me when I say that, although the group is getting stronger, for the past few years, the number of artists who could claim that has been VERY slim). Krys' `third' album was a ten track street release, the beautifully pounding Renaissance in 2007.

Of the three, it was Renaissance which definitely showed the now twenty-four years old Krys in his best light and pushed his music the most. However, given its size, its also the piece which has opened the young artist up to most (some undeserved and some LARGELY deserved) criticism as many point to K-Rysmatik as showing Krys' lack of depth (although, given his age, I'll give him some pass on that, won't on the next album however). K-Rysmatik opens up with boastful, but forgivable K-R-Y-S. I would think that the first tune is the exact point where you would think about putting (on an album such as this) one of the most fun tunes forward, and although KRYS is far from a big one drop, it doesn't serve that purpose quite exactly (the second tune here does, however). Still, built over a VERY big and bouncy riddim which has a ton of twists in turns in its 3:37, KRYS does introduce the listener to. . .Krys in a fairly big way on the straight forward dancehall track. The real fun on K-Rysmatik, however, gets started with the second tune and one of the biggest on the album, Hold Up Lyrical. If you didn't have a big jump up time with KRYS, certainly that's delivered on the second as Hold Up Lyrical comes across in its vibes as exactly what it is lyrically. The song is, more or less, a tune which gives big respect to dancehall as a whole (and of course Krys' own place in it) and maintains a very hard and pounding vibes throughout. The song also, on the lyrical side, gives a SLIGHT variation as he urges people to get into the dancehall and hold up a woman, instead up holding a gun. And definitely check the spot near the middle of the track, where he absolutely LOCKS OFF the flow an moves it for a while on a sick vibes! Completing the ultra hype opening of K-Rysmatik is the entirely more playful Hey Selecta. I would have probably preferred a nice one drop (ANYWHERE) at this point on the album, but Hey Selecta doesn't exactly disappoint as it doesn't DIRECTLY follow in the line of the first two tunes. The vibe on the tune is far more playful and although hype still, is still a respectable changeup, if ever so slightly (before again turning it way back up with Caroline), with Hey Selecta, the first tune on K-Rysmatik in Creole.

The biggest hit tune to come from K-Rysmatik was definitely Dangereuse (Hazardous), which has also proven to be one of Krys' biggest hits overall to date. The song very much so follows in the line of the opening two tracks (which becomes a point of concern through eighteen tracks) being very big and heavy, spectacular sounding dancehall, however it is CLEARLY a standout amongst the rest on that same vibes. The song which is by far the biggest tune Krys offers on his favourite subject (WOMEN), attracted quite a bit of attention for the young artist on its own and is downright addictive! Again, it has also been the doorway through which Krys has drawn criticism, but if you make songs which sound like this and seemingly don't obtrusively go out of its way to be harmful, you won't hear complaint number one from me.

Besides Dangereuse, the TRULY most interesting development on K-Rysmatik is its various turns and twists. With the majority (lets say, ~85%) of the album being the hard pounding dancehall style of Dangereuse and the openers, it almost leaves you BEGGING for a changeup or two. There are two different styles of NATURAL changeups for dancehall artists, the rootical track and the soca track. Of course Krys prefers option C, however. Check Avec Le Temps (Over Time) which introduces Krys' option. Being from Guadeloupe, Krys is definitely familiar and accustomed to the vibes of Zouk. Zouk is a form of music which is basically a SHOCKINGLY beautiful Creole take on R&B. The songs are very beautiful and almost aura sounding and just downright sweet to the ears. Krys favours Zouk over more traditional one-drop style of reggae on K-Rysmatik. Avec Le Temps is the artist's well done solo attempt, but on Ka Fe Fwet (It Is Cold) he enlists the help of Martinique zouk Empress, Princess Lover. The song is far and away the most lovely thing you'll hear on K-Rysmatik, and something he should definitely think of trying in the future (perhaps next time with Kenedy). It is another combination in the area, however, that scores that absolute biggest shot on K-Rysmatik for me. Myself being COMPLETELY partial (I've been listening to soca nonstop for about two months now) absolutely loved the one soca tune here, Mad, a combination with St. Vincent soca ace Problem Child. Previously, Krys rode VERY high with the soca tune, Big Tune Du Carnaval and he has shown great ability on the vibes. Mad is just what the title implies and it goes even beyond the big hi-tech dancehall with which he is so familiar and he more than holds his own with the St. Vincy `party animal' hit-maker. Definitely check out Mad. A later changeup, the very odd Robey E Charlotte, seems stuck between zouk, calypso and even salsa, and Krys shows off a singing style which fails to impress. Also check Pardonne-Leur (Forgive Them), one of the two times he comes CLOSE (the other being the very solid closer Neg) to a straight reggae vibe. The song actually finds young Krys giving the more straight rootical vibes, espousing on the troubles of the governing bodies of the world. It is the type of song you hope a young artist can have in their bag of tricks, Krys clearly shows he does and would be wise to develop the style in particular in the future, giving himself an even broader range of subject matter to discuss.

Unfortunately, much of the balance of K-Rysmatik is songs which flow ore in the heavier dancehall vibes but fail to come close to toppling Dangereuse. Arno does recapture the more clever and subtle vibes of Hey Selecta, but not to the exact proficiency; while Tenue Correcte Exigée (Correct Maintenance Required) is just an entirely good time, definite dance floor piece there.

Overall, with the artist in question here, Krys, being so young, K-Rysmatik, if a very full strong effort, but I get the feeling that definitely more COULD have been done (in a few years` time, with someone of Krys' overall abilities, I would expect him to ridiculously outshine this album) in the eighteen tracks. Without a doubt, someone needs to pass Krys or his managers the contact info to legendary JA producer Dean Fraser (or even the entirely more logistically possible France based Bost & Bim of Special Delivery) to give him a more developed rootical edge which he so wonderfully displays on Pardonne-Leur (WOULD love to see a combination with Tiwony or Lyricson in the future) . But, such things generally come in time to the most gifted. Krys is amongst the `most gifted' K-Rysmatik is the best display of his talents, this is recommended to all fans of French dancehall, but especially the newer ones. Through so much of the big dancehall vibe gets overbearing at times, but definitely I look forward to seeing what young Krys comes up with when he tightens everything up. One day, he could be king.
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