- Concours d'écriture "Les Plumes Francophones" : tentez de gagner 3 000 euros en publiant votre livre. En savoir plus .
- Rentrée scolaire : trouvez tous vos livres, cartables, cahiers, chaussures, et bien plus encore... dans notre boutique dédiée
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Offres spéciales et liens associés
Produits fréquemment achetés ensemble
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Liste des titres
Disque : 1
Descriptions du produit
Descriptions du produit
1 - Fly
2 - Heart baby
3 - Feather
4 - Kawaii
5 - Ghost
6 - Blackberry
7 - Monsoon
8 - Dark matters
9 - Texada
10 - Seams
11 - Infinite ocean
12 - As you were
Le Canadien fou ne fait jamais rien au hasard. Après avoir lâché toute sa colère en compagnie de son Strapping Young Lad, livré un nombre incroyable d’albums sous différents noms et conté les aventures d’une marionnette alien, il se retire un temps du business pour mieux y replonger avec le Devin Townsend Project. Un chantier musical fou censé présenter plusieurs facettes musicales de l’artiste à travers quatre albums totalement différents enregistrés en compagnie de musiciens allant et venant suivant l’épisode choisi. Après les excellents Ki et Addicted sortis en 2009 débarquent Deconstruction et Ghost que l’on peut retrouver réunis dans le coffret Calm and the Storm.
Deconstruction est peut-être un des albums les plus fous et les plus chargés réalisés par cet infatigable compositeur à la limite de la schizophrénie. Une sorte de pont entre la violence de Strapping, le côté grandiloquent de certains morceaux d’Infinity et une production ultra poussée côté sons synthétiques et orchestraux. Une mine d’infos diffusant dix idées à la seconde au beau milieu d’un apparent chaos sonore au final très bien organisé mais difficilement compréhensible au cours des premières écoutes. Apprécier toute la substantifique moelle d’un tel disque, ça se mérite.
Un épisode sur lequel de prestigieux invités comme Mikael Åkerfeldt (Opeth), Joe Duplantier (Gojira) ou Fredrik Thordendal (Meshuggah) se retrouvent quelque peu noyés au beau milieu de cette masse d’informations. Pourtant, Deconstruction est un grand cru. Mais un cru chargé à la limite du trop plein qui au final remportera de nombreux suffrages grâce au talent de son compositeur-interprète-producteur. Un grand cirque totalement fou dont la puissance vous laisse K.O avant vous donner envie d’en remettre une couche ne serait-ce que pour mieux comprendre le délire de notre homme écoute après écoute.
A l’opposé de cette furieuse abondance de notes et d’arrangements imposants se trouve Ghost. Un album apaisé sur lequel Townsend nous la joue new age. Une ambiance aérienne sur laquelle flottent des synthés baignés de reverb et des flûtes légères à deux doigts de sombrer dans la musique sirupeuse. A nouveau le savoir-faire du Canadien empêche le disque de verser dans le kitsch.
Si l’ennui peut vous frôler l’espace de certains titres plutôt anecdotiques, la sensation d’avoir affaire à un artiste enfin débarrassé de ces tics de production obligatoirement surchargée rassure. Townsend sait aussi faire simple. Certes, l’intensité émotionnelle offerte par un album comme Ocean Machine: Biomech semble désormais remplacée par une musique d’ambiance pour séances de yoga. Mais un tel calme après la tempête Deconstruction, c’est finalement très agréable.
- Copyright 2016 Music Story
Quels sont les autres articles que les clients achètent après avoir regardé cet article?
Commentaires en ligne
Meilleurs commentaires des clients
Commentaires client les plus utiles sur Amazon.com (beta)
Ghost, on the other hand, is marked with a droning, meditative atmosphere throughout. The songs are defined by lofty passages filled with finger-picked acoustic guitars, a lot of flute sounds, and subtle landscapes of sound layered on top of each another. The melodies are strong, but they are infused into the winding, labyrinth-like song structures. As a result, the hooks don't hold for a while yet it is still a fascinating experience listening to the whole disc. About five plays in, I was totally blown away by the album, especially when I realized how all the songs, despite not having much structure, come to a theme and stick with it for a few phrases and build on it before moving onto the next one.
The melodies are among Devin Townsend's finest, perhaps since Terria. Listening to "Feather" has been one of my most rewarding musical experiences ever. Townsend employs an elevation technique when a melody starts on the low and then keeps climbing throughout the song. This way, the 11-minute piece keeps you alert, excited, and even close to tears -- the very quiet and soothing middle section with hummed female vocals and sparse keyboard tinklings becomes all the more emotive as the melody is built to its full potential and allowed to take over.
Though each song is given a title, most of them just flow into each other seamlessly. There really is no way to figure out how the brief yet indescribably beautiful "Kawaii" segues into the curious title track (whose verses Devin heard in a park in Vancouver and has used without changing). The doubled male and female vocals in the intro are so beautiful that I had no idea they were actually singing lyrics the first time I heard it. I had to check the lyrics sheet to be sure. Otherwise, I would have thought it's a song with some of the most enchanting and melodious humming to be committed to tape.
Birds singing in the beginning of "Blackberry" belies the otherwise upbeat melody of the song, given the use of female vocals. Townsend actually performs more as a back-up singer to Katrina Natale. Her voice is not as assertive as the female vocals on Ki or as centre-stage as Anneke's vocalizations on Addicted! Neither does she go for the operatic vocals of Floor Jansen on Deconstruction -- she has her own thing going, and honestly no one else could have sung these songs better.
"Monsoon" is arguably the greatest instrumental song Devin Townsend has written. The acoustic guitar tone, the constantly rising synth modulations that evoke Sigur Ros, the gentle flutes are all interwoven into a cohesive whole, and the end result is goose bumps over goose bumps. When I first heard this song, I could hardly hold back my tears.
Though one may feel the whole disc blends into the background as the songs are too alike thematically, this assessment could not be further from the truth. The way Devin Townsend sings over a wicked synth throb in less than two minutes before the album's other mammoth number, "Texada," kicks in is one of the many highpoints only. Thick soundscapes foil his restrained yet heartfelt voice whilst a multitude of background noises get more prominent, but you are never quite sure where they are coming from or what the source is. In a sense, this reminds me of his first masterpiece, Ocean Machine, where he used a lot of voice samples in the background -- a constant stream of voices running beneath the central instruments. Listening to this at night is like hearing things drifting around you like fleeting whispers of a ghost.
To make the whole four-disc concept (whose focus is catharsis) come full circle, the final moments of "As You Were" reference the opening song "A Monday," off of the first album. It makes you want to go back and hear Ki from start to finish. Brilliant.
Ghost is Devin Townsend's most atmospheric musical statement. It is subtle with zero aggression yet it is one of his finest achievements musically with unbelievable sonic clarity, production values, and artwork (designed by Travis Smith). This man is the most dedicated modern artist of whom I am aware. If you're a fan, support him and accept no substitutes.
"Ghost" is the fourth of the quadrilogy from the Devin Townsend Project and the most surprising. I haven't heard "Deconstruction" yet but I do know it's maniacally heavy, which Devin has done well for ages. "Ghost" however is a work of a totally different sort and for my money ranks with "Ocean Machine" as the best work this amazing man has done.
It is ethereal, hazy, beautiful and loaded with a quieting music that maybe is as close to the natural music of mother nature itself than any other attempts from other impressionist musicians. Flute music abounds over dreamy synthesizers, acoustic guitar provides the backbone to the more traditional structured portions, such as the title track. Townsend's vocals are deliberately buried deep in the mix, the better to not interfere with the instruments.
If only other metal musicians were this confident and fearless to release work of uncompromising beauty. We know that Steve Wilson of Porcupine Tree and Mikael Akerfeldt of Opeth have their moments of beauty, and one hopes they would throw caution to the wind and explore the deeper melodic side to their musical souls. If fans don't like it tough. Intolerance in music is echoing loud and clear, just like it is in real life, and that's a shame. If it takes real musicians like Devin Townsend to open doors to new musical worlds, then let's get more. "Ghost" should be on everybody's MP3 and at home on the CD shelf. It's that good.
Well, close to three years have passed since then and of all the iTunes playlists I have made consisting of one single album (there have easily been 100s+ of such), this is the lone album to stick there by itself, and I think it will for a long time.
The reasons it's "good" are because, like the music, it's simple yet complex.
1. It's got a soft touch but there's enough subtle variety inherent to each song (yes, you need to pay attention to actually catch it though)that it never gets "boring" or comes off as single-faceted, as some reviewers have stated. Each song has a backbone with various musical/vocal elements weaving in and out seamlessly; if there is a slight lift to the music it's most often a light flute that delicately helps to build an airy, effervescent feeling.
2. Instrumentation/vocalization: Flute, light percussion, banjo, acoustic guitar (electric too?), keyboards, clips of nature sounds (non-cheese!), female vocals (ethereal), and male vocals (ethereal & a few Maynard-esque "almost-yelling" moments that don't detract from the mellow feeling, but build a touch of heartiness where appropriate.) I might be missing some intricacies that are harder to pick out from the nicely-layered mix, but that's what I've noticed off the top of my head.
3. This is the one Devin Townsend album that is potentially accessible to pretty much anybody from any walk of musical genres, given they have a semi-open mind. I could give this to Grandma, Mom, Dad, a college professor, a kid I'm mentoring, a church friend (if I were religious)--You get the picture. The musical and lyrical content are connectable without being distancing.
But yeah... a great album!
Here's a not-so-short-list of suggestions for other desert-isle-type mellow music mainstays I wouldn't want to be without, that relatively follow the same formula of "The Chill" (Keep in mind that some are much more on the true side of the term "Ambient", marked with an *):
Buckethead: "Colma", "Electric Tears", "Electric Sea", "Pikes 13"
*Shawn Lane: "Zenhouse"(The one album that would drive me nuts if it ever became extinct--AMAZING precision, tone, textures... Unmatched musicianship within an "Ambient" format & one of the few albums that still allows me to glean new sounds previously unheard as the years go by!)
*Andreas Vollenwieder: "Down to The Moon"
Angelo Badalamenti: "The Straight Story" (Especially if you like the country-tinged songs on "Ghost".)
*Harold Budd: "Avalon Sutra", "The Moon and The Melodies"(With Cocteau Twins--Another mellow band.)
*Aphex Twin: "Selected Ambient Works: Vol. II"(new vinyl re-issue sounds amazing!)
Sigur Ros: "( )" or "Valtari"
Astor Piazzolla: "Tango:Zero Hour"
Bill Laswell: "Invisible Design" (*I/II), "Axiom Ambient: Lost in the Translation"(maybe the Best Ambient work ever constructed, or deconstructed, depending how you look at it), "Hashisheen", *"Means of Deliverance" (Maybe the best companion-piece to "Ghost" of all I've listed, along with "Zenhouse".)
Toro y Moi
Beach House: More tempo-based, but still chill.
Bernie Worrell: "Improvisczario" or "The Other Side"
Byla ("Viscera" w/Jarboe is the most Ambient-metal wave-assault you'll ever hear--Not exactly "chill", but amazingly meditative in its own right; other Byla are chill guitar.)
*The Caretaker (Dark)
Cynic: "Re-Traced" or "The Portal Tapes"
*David Lynch: "The Air is on Fire" (Dark)
*Earth : "II"(Rib-cage rattling)
Ekstasis: "Wake Up and Dream"
Nicky Skopeletis: "Revelator"
Eric Wollo: "Guitar Nova"
Eyvind Kang: "Virginal Coordinates" (Mike Patton on vocals)
Hope Sandoval and The Warm Inventions
Howard Shore's film scores for David Cronenberg (Favs are "Crash", "Eastern Promises" and "Dead Ringers".)
Jesu (Bit heavy at times, but low BMP)
John Zorn: "Alhambra Love Songs"
Jonas Hellborg: "Octave of The Holy Innocents"
*Stars of the Lid
Toshinori Kondo & DJ Krush
I'll keep it short since many other people have said good things. If you like any of the previews here, you'll like the album.
I'm most interested in recommending a completely unrelated music project if you are interested in these types of atmospheres. People below have cited excellently similar projects by other musical acts, but I would like to mention LTJ Bukem's "Journey Inwards". It's atmospheric drum & bass, and in many ways doesn't share much in common, but it has a similar mastery over atmosphere. Check it out! I'd love to hear if anyone thinks this is a useful tangent.