michel henritzi



Michel Henritzi Yokohama No Shadows • CD Dyin’ Ghost Records • Fukuoka Rinji & Michel Henritzi Descent To The Sun • LP Bam Balam . Junko, Michel Henritzi, Fukuoka Rinji Billions Years Of Sighs • LP An’archives •

Michel Henritzi è un chitarrista fran- cese che si muove a 360 gradi in am- biti sperimentali e improvvisativi e abbiamo incontrato più volte su que- ste pagine. Nella prima delle sue tre nuove uscite, il CD “Yokohama No Shadows”, è intestatario unico ma accompagnato sette ospiti tra i quali Tutuzi Akiyama (chitarra elettrica), Fukuoka Rinji (chitarra flamenco), Akiko Hotaka (voce) e altri a fisar- monica, archi, koto e chitarre acusti- che. Ne viene fuori una serie di delicati, struggenti, intensissimi ac- querelli bluesy “alla Mazzacane Connors” perché della musica del chitarrista americano hanno la mede- sima malinconica e romantica visio- narietà, filtrata però da una peculiare sensibilità che diremmo da chanson- nier francese: raramente, negli ultimi anni, abbiamo ascoltato una tale forza d’anima e una tale, realmente metafisica, espressività chitarristica. Un disco magnifico, lo ascolti chiun- que si è perso almeno una volta tra le note di un amore irraggiungibile, di un ricordo offuscato di lacrime, di un’amicizia dissolta in pulviscolo. Tutt’altre atmosfere quelle di “De- scent To The Sun”, dove Henritzi (alla lap steel) è accompagnato da Rinji al violino. Qui è il rumore a farla da padrone: due ottundenti continuum di bordate sinfoniche da far invidia agli Skullflower. Infine l’LP “Billions Years Of Sighs”, che contiene Tsuki no namida, con Hen- ritzi alla lap steel ad accompagnare la voce di Junko, e Taiyo no meiso, dove alla sua chitarra fanno eco il violino, la voce e le percussioni di Rinji: nella prima traccia Henritzi di- segna caustiche cadute di droni men- tre Junko sbraita come un animale sgozzato, nella seconda invece tutto torna a casa, verso le estatiche im- prov del CD ma con più sofferenza e nebulose noise. Tre e più facce di un chitarrista dalla notevolissima sensi- bilità. Stefano I. Bianchi


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- 25.04 LYON, festival Les Inattendus (O'DEATH JUG)

- 06.06 FRIBURG (Switzerland) (W.JUNKO)

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- 13.04 HAMBURG, germany 

- 17.04 BERLIN at N.K, germany (+ Ramleh))

“So you want to be a musician ? Just take a fucking guitar… and then, what else ?

Well, let’s say just a few more things : of past let’s make a tabula rasa, let’s sack History, let’s destroy idols, let’s knock down rock catechism… Let’s clean up the whole thing and make the genuine rock’n’roll expresses its savagery, the one that had been repressed since Jerry Lee Lewis… Let’s take back things just where the Stooges left them with L.A. blues, when they throwed their eyes towards free jazz and white noise….

Let’s remember : the fanzine Sniffin’ Glue once invited everyone being able to play three chords to create a band while Connie Burg, from Mars, wasn’t even imagining playing two of them ! So why not just running up and down the fretboard as a slide, played fervently just like being under amphetamines, would do ? In NYC : Pat Place and the Contortions, Lydia Lunch & Teenage Jesus… In France, some times later, their potential heirs would call themselves Dustbreeders : “I’m psycho 4 your love” as they used to claim.

Lester Bangs had already praised L.A. blues from the Stooges, Vincebus Eruptum from Blue Cheer, Metal Music Machine from Lou Reed and A Taste of DNA… A brand new grammar spelt in the margins and Dustbreeders heard it, in secret noise at night disordered, breeding of dust in the building ruined by the perverse Countess.

Borbetomagus/Dustbreeders, two trios and, for both of them, you’ll find the same geyser of brutal energy, the same continuous metallic scraps of noises and, dripping from everywhere, the same visceral exhortations. Saxes and guitar for the yankeesmange-disques and (now) guitars for the frenchies but, for both of them, voodoo-distortions, hysterical atomization, psycho-funny lacerations. A chaotic and cathartic experience : what can’t be told with words can be told with noise.

by philippe robert in merzbo-derek

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 NEW! OUT NOW!! BACKWARDS is proud to announce a mind-blowing album of cosmic improvisation by the trio of musician / producer Luca Massolin (Golden Cup, Golden Jooklo Age), French avant-garde guitarist Michel Henritzi and Rinji Fukuoka, formely member of Overhang Party and currently of Majutsu No Niwa.
Recorded in November 2011, eight months after the Fukushima disaster, ‘Weather Report’ is an onirical yet political soundpiece, developed in two long movements, ‘A Chuva Obrigado’ and ‘Radioactive Arigato’.
The first side is a cornucopia of ghostly shapes and haunted tones, with Massolin’s dreamy organ and heavenly electronics blessed by Fukuoka’s elegiac violin lines. The piece evolves soon into an improvised blues for flamenco-like guitar (!!!), percussions and abstract electronics, building up tension until Henritzi’s lapsteel joins with waves of ectoplasmic electricity, and finally exploding into a blast of cathartic free noise.
The other side is when the piece starts vibrating, with Massolin’s electric bass pushing the whole thing into full-on shoegaze mode, Henritzi combining long, doomy drones and Fukuoka playing the most emotionally violin ragas you got to hear in an improvised studio album. There will be room for more ghosts until the end of this side, taking us to a landscape of wintry trees, empty streets, an abandoned city devoid of human presence.
This is the soundtrack of an echological disaster, a picture taken right after it happened, a warn about the risks of pushing the limits of human technology against nature. Images translated into sounds by improvised free music in its purest form: evocative, political, magical. How can you not be affected?
Limited edition of 200 copies of which 50 are on BLUE vinyl, and the remaining on standard black wax.

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À Qui Avec Gabriel | Tori Kudo LP 情趣演歌

Coming soon

À Qui Avec Gabriel | Tori Kudo 10 inch LP  情趣演歌 [Enka Mood Collection]

Split 10 inch LP ltd to 200, comes in a silkscreened gatefold cover with  colored obi, insert + postcards…

Second in the enka collection series on An’archives after Jojo Hiroshige & Shiraishi Tamio,  this split LP features

A Qui Avec Gabriel  and Tori Kudo

À  Qui Avec Gabriel is an accordion player based in Tokyo who opened her discography with  “Utsuho” on John Zorn’s label Tzadik in 2001 ( featuring Haino Keiji as a guest musician) . Since she has collaborated with Makoto Kawabata, Majutsu No Niwa, Mico  to name a few. Her stylistic palette is eclectic, drawing on shades of jaunty european folk music, the elegant minimalism of Erik Satie, and uniquely lighthearted melancholia.

Here for the first time on record she left her accordion Gabriel  for a piano and a seat and proves she’s found  her own voice as an expressive singer.

The other side features Tori Kudo (Maher Shalal Hash Baz and Noise with his wife Reiko Kudo)   who has  a revered status in the Japanese underground  since the late 70’s (Taco, Guys N’ Dolls,  Fushitsusha…) but this time he brings  listeners into the heart of an amazing and feverish karaoke house with his friends . For those who didn’t know it before,  maybe for  the very first time they are going to discover  Tori Kudo as an inimitable & unforgettable singer & crooner, as a true lover of popular songs.


An09 out

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YOKOHAMA NO SHADOWS review in Soundprojector magazine

henritzi yokohama cover

Michel Henritzi
Yokohama No Shadows

After the Shinjuku Blues… and 2011’s Kyoto No Tsuki c.d.r.s on the Dyin’ Ghost label, French improv guitarist and lap-steeler Michel Henritzi‘s Yokohama No Shadows comes as the latest (and perhaps the last?) in a series of releases that fall “under Japanese influence”. This one-time PSF, Tochnit Aleph recording artist and label boss of the long-expired A Bruit Secret imprint, has, with edition number three, continued with a stinging, yet mournful playing style that faithfully pursues (in duo and solo set-ups), a smokey, blues-infused worldview. Now clearly in de-clawed and de-fanged mode; the head-reaming uglitudes of the Dustbreeders and their dalliances with screaminatrix Junko, now seeming like some strange aberration. It’s a Jekyll and Hyde syndrome type thing – I’ve seen it all before.

Save for a small number of melancholic, low key chansons from A Qui Avec Gabriel (“Rainy Day”, “Sakura”), Akiko Hatana (“Karada No Kai Kage”) and Michel on “Dance”, that chin on the floor feeling, captured with stark production values in Tokyo and Henritzi’s birthplace of Metz, has certainly found access to all areas. That includes “Yokohama’s” eleven instrumental vignettes; from the title track to “Yokohama No Tsuki”, which remind me (in part) of the terrain covered by Utech’s Suzuki Junzo and/or Shizuka’s work on PSF.

It appears here, that misery loves company – under three flags mind… that’s Franco/Japanese sensibilities meshing perfectly to evoke the mournful longing found in the arrangements of the Portuguese fado songform.



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Dustbreeders & JUNKO live at LUFF 2014

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Sister Iodine fêtait les 20 ans de leur premier disque "ADN 115", premier opus d'une jeunesse enragée et insolente qui prenait plaisir à saturer l'air de Paris à grande dépense de feedback, tête dans les amplificateurs. 20 ans après ses 3 acteurs (Lionel Fernandez/Erik Minkkinen/Laurent Mazet) incendiaient les Instants Chavirés dans un set fièvreux et mercurien. Corps de guitares caressées dans des danses sensuelles et érotiques, implosion sonique des sens et des oreilles. Blast ! 

En ouverture on jouait Dustbreeders et la grande dame du shriek : Junko, pour un hommage appuyé à nos hotes d'une nuit électrique, une metal machine music cacophonique et jouissive. (pic. Patrick Boeuf)





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