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Rock - À paraître le 28 janvier 2022 | New West Records

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Relaxation - Paru le 26 novembre 2021 | New West Records

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R&B - Paru le 18 novembre 2021 | New West Records

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Rock - Paru le 4 novembre 2021 | New West Records

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Alternatif et Indé - Paru le 29 octobre 2021 | New West Records

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Alternatif et Indé - Paru le 22 octobre 2021 | New West Records

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Alternatif et Indé - Paru le 19 octobre 2021 | New West Records

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Alternatif et Indé - Paru le 15 octobre 2021 | New West Records

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On "Simple," from her fifth album, Lately, Lilly Hiatt sings, "I take a picture in my mind to make it last"—but that's also exactly what her songs are like: snapshots of sweet (or bittersweet) everyday moments that comfort when you summon them up later. Written about the experience of visiting her family for the first time after the horror, sadness and confusion of a lengthy pandemic lockdown, "Simple" evokes that afternoon with sun-drenched lap steel and a conversational story: "My dad turned on the speakers/ It was my brother's birthday/ I hugged my mom and sister." While some lockdown records are full of dramatic proclamations, Hiatt manages to chronicle how life kept going on, just on a much smaller, often lonely scale. Sometimes the mental snapshots are pleasantly hazy, in that way where you remember things through the lens of emotion rather than reality: "I can't watermark the memory, it changes with the moon," she sings. Indeed, there is a beautiful economy to Hiatt's language, right down to the way she chooses "When will the last tear fall?" rather than "last teardrop" on "The Last Tear." That Emmylou-esque slow burn pleasantly meanders on the first verse and chorus, as Hiatt weighs the uncertain future of a relationship, before, boom, she and the music kick in with a new determination. It's a message you feel as much as hear. There's something fascinating about the contradiction of Hiatt's musical style—raw and sometimes thorny, so loose-limbed as to sound made up on the spot—and her truly pretty, tender voice. You hear it in the Westerberg-style guitar of "Peach" and the sweetheart way she sings, "But I can't be the only bruised peach/ Sometimes you were hard to reach" (she sounds practically angelic on the bridge). There's an ease and authenticity to her work that, even as the daughter of the legendary John Hiatt, extends beyond her cool-Nashville genealogy. The fantastic "Face" combines lanky honky-tonk guitar, shuffling drums and a Big Star melody, while Hiatt hits an early Maria McKee vibe; it all sounds so natural and unpracticed, you feel like you are right there in the studio with her and the band. "Lately" trembles with nervous emotion and the joyous, warped keyboards of an old carnival ride. "Been" has a stark, Lucinda Williams vibe. And Hiatt lays down a plainspoken but wither admonishment on the jangling "Better": "You say you wanna do things with your life/ Baby, don't we all/ Turn on a fucking porch light/ And answer my call." When she sings, alongside a lonely tambourine on "Ride," "Fast down the pike/ Sunset how we like/ End of the day/ Not much left to say," it's like she doesn't know her own power. © Shelly Ridenour/Qobuz
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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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Alternatif et Indé - Paru le 8 octobre 2021 | New West Records

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Rock - Paru le 8 octobre 2021 | New West Records

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Alternatif et Indé - Paru le 1 octobre 2021 | New West Records

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Alternatif et Indé - Paru le 1 octobre 2021 | New West Records

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Rock - Paru le 17 septembre 2021 | New West Records

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

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Alternatif et Indé - Paru le 8 septembre 2021 | New West Records

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Alternatif et Indé - Paru le 8 septembre 2021 | New West Records

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Alternatif et Indé - Paru le 3 septembre 2021 | New West Records

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Alternatif et Indé - Paru le 27 août 2021 | New West Records

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Country - Paru le 20 août 2021 | New West Records

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It shouldn't surprise anyone that James McMurtry, son of novelist Larry "Lonesome Dove" McMurtry, continues his excellent storytelling on his 12th album. In another life, McMurtry could have been a straight poet, one prone like his dad to getting up and giving readings of his lyrical brilliance. While his father's fame has certainly assisted his career, this McMurtry has the music in him, a true folkie with rock and roll tendencies. The Texas troubadour's specialty is detailed miniatures, populated with flawed but finely drawn characters, some of whom clearly draw on incidents and characters from his own life. On The Horses and The Hounds, McMurtry has assembled an A team of the great David Grissom (Joe Ely, John Mellencamp, Dixie Chicks) and Charlie Sexton, who's spent much of the last decade playing with Bob Dylan. The lyrical flourishes begin immediately in the travelogue opener where he moves from canola fields in Southern Alberta, through the suicide doors on his old, white Lincoln in Santa Cruz, to "Brooklyn before it went hipster." In "Jackie," about a doomed female trucker, he turns a discussion of everyday ground cover into gold with this choppy but musical couplet of Great Plains versification: "Half a section in the short grass at the foot of the plains/ Grows broomweed in the dry times, ragweed when it rains." The inevitable cowboy ode, "Vaquero," sung partially in Spanish, benefits from fellow Texan scion Bukka Allen (son of Terry) on accordion. While guitars move to the front of the mix in the title track, the road song "What's The Matter" where "Blood pressure's up, I gotta take pills/ If the food don't kill me, the alcohol will," is the album's bouncy, upbeat single. Fortunately, McMurtry's intricate tales of human emotional entanglement are so engrossing that the similar slow ballad-like tempos of everything here are almost unnoticeable. Producer Ross Hogarth whose extensive discography—much of it as an engineer—includes work with everyone from Céline Dion to Van Halen, brings a simple uncomplicated sound to the proceedings. McMurtry's personal and neverending story continues with style. © Robert Baird/Qobuz

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