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Country - Paru le 10 avril 2020 | New West Records

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Avec ce nom improbable et cette gueule incroyable, on comprend vite qu’avec Pokey LaFarge, les fans de dubstep et de math rock peuvent changer de trottoir… Depuis 2006, ce troubadour de l’americana moderne jongle avec le bluegrass, le western swing, le folk, le country blues, le ragtime et toutes ces musiques d’antan aux teintes sépia et qu’il connaît sur le bout des ongles. Belle BO intemporelle, Rock Bottom Rhapsody et ses accents dylaniens (période 2000’s) relate un tournant radical dans la vie de Pokey LaFarge – Andrew Heissler pour l’état civil – qui a quitté Saint-Louis pour Los Angeles en 2018. Un périple qui l’a laissé sur le carreau, emporté par la dépression et des addictions en tout genre. Cette cuvée 2020 narre surtout qui il fut plutôt que qui il est désormais. Une descente aux enfers stoppée par une résurrection spirituelle et religieuse. « J'ai écrit ce disque avant mon déclin, et l’ai enregistré après. Ça permet de voir l’étrangeté de la situation. Ce que je cherchais, c'était la paix et l'humilité après le carnage, des choses que j'avais abîmées puis complètement détruites. J'essayais juste de survivre. Je devais me battre à chaque fois pour remonter face au micro et chanter. C'était une sorte de dernier combat. » Produit par Chris Seefried (Fitz And The Tantrums) et enregistré avec le guitariste Joel Paterson, le pianiste Scott Ligon, le bassiste Jimmy Sutton et le batteur Alex Hall, Rock Bottom Rhapsody n’est pas juste un sympathique numéro de cabaret consacré à l’autodestruction mais une vraie ballade intérieure dans l’âme d’un auteur doué. Un voyage d’americana éclectique joliment mis en musique. © Marc Zisman/Qobuz
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Country - Paru le 18 mai 2015 | New Rounder

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Some artists who evoke the styles of the past seem to have spent every waking moment of their adult lives struggling to sound as if they were born in a different decade. Pokey LaFarge, on the other hand, makes music that suggests he somehow passed through a wrinkle in time from 1929 to 2015, complete with his banjo in hand; LaFarge's music never seems forced, but flows from him naturally with an easy grace, a playful insouciance, and a confidence in his talent that stops well short of arrogance. After jumping to the big leagues with his self-titled 2013 album released by Jack White's Third Man label, LaFarge has ambled back to the independents; Something in the Water is his first album for Rounder, the venerable roots music label, but Something ranks with his best recorded work to date, maintaining the rootsy sway and swagger of his earlier albums but boasting stronger instrumental interplay and an extra dose of pep that makes the finished product especially winning. LaFarge not only sounds like a jazzbo from the age of ragtime, he writes like one, and from the vintage exotica of "Goodbye, Barcelona" and his celebration of Midwestern high life in "Knockin' the Dust Off the Rust Belt Tonight" to his tribute to the women you don't introduce to your mother on "Bad Girl" and the title cut, LaFarge pens songs with plenty of wit and a melodic sense that straddles the gap between vintage country and trad jazz. LaFarge is lucky enough to have a band just as committed to this sound as he is, and his accompanists help make Something in the Water pleasingly full bodied and dynamic. And producer Jimmy Sutton gives these sessions a live-in-the-studio tone that mimics the ambience of a vintage 78, but with modern-day clarity and detail. Pokey LaFarge delivers something old and new on Something in the Water, and no matter how much he reaches to the past for inspiration and influence, he's able to make his music sound fresh and alive, and this is his strongest studio set to date. © Mark Deming /TiVo
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Folk - Paru le 19 juillet 2011 | Trade Root Music Group Llc

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Pop - Paru le 19 mai 2017 | New Rounder

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At the end of Manic Revelations, Pokey LaFarge sings "I will never change" -- a sentiment that he's spent the entirety of his sixth studio set disproving. Ditching the old-timey routine that's been his stock in trade since 2008, LaFarge embraces the open-hearted soul of the '60s, a sound that's nearly as retro as the pre-WWII folk, country, and jazz that populated his earlier albums. The shift in sound was propelled by his outrage over the 2014 riots in Ferguson, Missouri, a suburb of his hometown of St. Louis. Tying this political unrest to the civil rights movement of the '60s, the musician decided a revival of classic soul was the best vehicle for his message. Manic Revelations does benefit from its hopping swing and full-blooded horn section, which gives the record a considerable kinetic kick. LaFarge's reedy voice can sometimes produce a wave of cognitive dissonance -- he's still singing like he's supporting himself with a banjo -- but there are also moments where the two aesthetics merge seamlessly. With its muted trumpet wails and spooky Cab Calloway shuffle, "Mother Nature" walks a fine line between prohibition and juke joint blues, while "Good Luck Charm" is a jaunty folk number punched up by the horn section. Such hybrids speak to LaFarge's musical invention, but don't forget that, at its heart, Manic Revelations is a protest album. He may evoke old sounds but all his songs are about the present, and that means Manic Revelations isn't a stylistic exercise: it's compelling commentary. © Stephen Thomas Erlewine /TiVo
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Pop/Rock - Paru le 10 septembre 2021 | New West Records

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Neuvième album de Pokey LaFarge, In The Blossom of Their Shade est fidèle à la ligne musicale fixée par ce natif de Saint-Louis, chanteur et multi-instrumentiste de talent qui depuis son premier album Marmalade, publié en 2006, nous fait partager une vision du monde toujours très singulière, et non dénuée d’humour et d’une certaine idée du bonheur, un cocktail mêlant musiques folk du Midwest des États-Unis, swing, blues, ragtime et même musiques des îles caribéennes.. Le premier morceau, Get it ‘Fore It’s Gone est un petit bonbon acidulé, ritournelle aux saveurs de l’été qui reste bien dans la tête après une seule écoute… Cet album marque également le départ de Los Angeles de Pokey, après plusieurs années de hauts et de bas, et d’autodestruction. En 2020, l’auteur-compositeur a décidé de partir s’installer à Austin, Texas. Il n’en a pas oublié totalement Los Angeles, car il a fréquenté un studio là-bas, pour enregistrer une partie du disque, d’autres sessions étant organisées à Chicago. Là, Andrew Heissler de son vrai nom, a enregistré les dix titres composant cette galette, retrouvant une nouvelle fois Chris Seefried son producteur, fidèle, à ses côtés. Ce In The Blossom of Their Shade est une belle collection de ballades optimistes, rythmées ou alanguies comme il faut, et l’on pense parfois à des après-midis de farniente et de danse sur une plage d’Hawaï… Comme sur Drink of You, jolie ballade où fusionne l’amour féminin et celui de l’alcool… À siruper comme un petit mojito au bord de l’eau… © Yan Céh/Qobuz
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Country - Paru le 18 mai 2015 | New Rounder

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Some artists who evoke the styles of the past seem to have spent every waking moment of their adult lives struggling to sound as if they were born in a different decade. Pokey LaFarge, on the other hand, makes music that suggests he somehow passed through a wrinkle in time from 1929 to 2015, complete with his banjo in hand; LaFarge's music never seems forced, but flows from him naturally with an easy grace, a playful insouciance, and a confidence in his talent that stops well short of arrogance. After jumping to the big leagues with his self-titled 2013 album released by Jack White's Third Man label, LaFarge has ambled back to the independents; Something in the Water is his first album for Rounder, the venerable roots music label, but Something ranks with his best recorded work to date, maintaining the rootsy sway and swagger of his earlier albums but boasting stronger instrumental interplay and an extra dose of pep that makes the finished product especially winning. LaFarge not only sounds like a jazzbo from the age of ragtime, he writes like one, and from the vintage exotica of "Goodbye, Barcelona" and his celebration of Midwestern high life in "Knockin' the Dust Off the Rust Belt Tonight" to his tribute to the women you don't introduce to your mother on "Bad Girl" and the title cut, LaFarge pens songs with plenty of wit and a melodic sense that straddles the gap between vintage country and trad jazz. LaFarge is lucky enough to have a band just as committed to this sound as he is, and his accompanists help make Something in the Water pleasingly full bodied and dynamic. And producer Jimmy Sutton gives these sessions a live-in-the-studio tone that mimics the ambience of a vintage 78, but with modern-day clarity and detail. Pokey LaFarge delivers something old and new on Something in the Water, and no matter how much he reaches to the past for inspiration and influence, he's able to make his music sound fresh and alive, and this is his strongest studio set to date. © Mark Deming /TiVo
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Folk - Paru le 16 février 2010 | Trade Root Music Group Llc

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Pop/Rock - Paru le 10 septembre 2021 | New West Records

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Pop - Paru le 16 septembre 2020 | Abkco Music & Records, Inc.

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Pop/Rock - Paru le 15 juin 2021 | New West Records

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Country - Paru le 1 octobre 2012 | Continental Record Services

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Pop - Paru le 19 mai 2017 | New Rounder

At the end of Manic Revelations, Pokey LaFarge sings "I will never change" -- a sentiment that he's spent the entirety of his sixth studio set disproving. Ditching the old-timey routine that's been his stock in trade since 2008, LaFarge embraces the open-hearted soul of the '60s, a sound that's nearly as retro as the pre-WWII folk, country, and jazz that populated his earlier albums. The shift in sound was propelled by his outrage over the 2014 riots in Ferguson, Missouri, a suburb of his hometown of St. Louis. Tying this political unrest to the civil rights movement of the '60s, the musician decided a revival of classic soul was the best vehicle for his message. Manic Revelations does benefit from its hopping swing and full-blooded horn section, which gives the record a considerable kinetic kick. LaFarge's reedy voice can sometimes produce a wave of cognitive dissonance -- he's still singing like he's supporting himself with a banjo -- but there are also moments where the two aesthetics merge seamlessly. With its muted trumpet wails and spooky Cab Calloway shuffle, "Mother Nature" walks a fine line between prohibition and juke joint blues, while "Good Luck Charm" is a jaunty folk number punched up by the horn section. Such hybrids speak to LaFarge's musical invention, but don't forget that, at its heart, Manic Revelations is a protest album. He may evoke old sounds but all his songs are about the present, and that means Manic Revelations isn't a stylistic exercise: it's compelling commentary. © Stephen Thomas Erlewine /TiVo
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Country - Paru le 24 janvier 2020 | New West Records

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Pop/Rock - Paru le 21 juillet 2021 | New West Records

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Country - Paru le 1 janvier 2015 | New Rounder

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Pop/Rock - Paru le 18 août 2021 | New West Records

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Ragtime - Paru le 30 avril 2012 | Evangelist

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Country - Paru le 16 mars 2020 | New West Records

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Country - Paru le 7 février 2020 | New West Records

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Country - Paru le 1 avril 2020 | New West Records

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L'interprète

Pokey LaFarge dans le magazine