RhoDeo 1402 Beats

Hello, not sure why but i watched another movie yesterday- this time I downloaded a dvd screener a format thats around a lot this time of the year as awards are being given, clearly illegal but hey so was the movie subject I tried to watch. It was tedious beyond belief why this director is worshipped so much in the US is beyond me. To me he's a sad little man who's lost all self respect and or respect for his public. After an hour i got irritated I forced myself to watch another 30 min and by that time i reached halfway and decided..enough! Doubtful i will ever see the other half of The Wolf Of Wallstreet, however Americans seem to love this kind of shite and have given it an 8.7 at IMDB thusfar. I guess some of them thought they were watching a modern Robin Hood fairy tale. Based on a true story, it was a tale of mindless low lives ripping off dumbasses, mr Scorsese seems to feel right at home with those kind of scumbags. I suppose Leonardo DiCaprio considered playing a bad guy for once was good for his Hollywood image, without any competition in the limelight and an A list director what could go wrong ? Being the lead in a immoral tale full of debauchery, fueled by greed and portraying this lowlife as an all american hero which considering the positive feedback this movie got from the American audience he did rather well, but I doubt it's a role he'll be proud of when he'll look back at his career one day.


These months Frenchies rule the beats and they have plenty to offer even though not that much reaches the world as  the music scene is rather dominated by the Anglo - American industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artist, comes across as a lost but fancy hippy. His long hair, his strange but open-minded sense of humour and a life dedicated to art are the marks the French songwriter. Musically he is deep into elegant pop, inspired by soundtracks, classical composers as well as contemporary styles. ....... N'joy

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Sébastien Tellier is a multifaceted instrumentalist/singer from Paris, France's 17th Arrondissement, an elongated arts-and-culture-rich territory located near the Arc de Triomphe and the Champs Élysées. After Tellier's "Fantino," a forlorn and beautiful pop confection, appeared on the Source label's 1999 Source Material various-artists compilation, it caught the ear of fellow labelmates Nicolas Godin and Jean-Benoît Dunckel, better known as Air. The duo and their management team eventually signed Tellier to their own Record Makers imprint. Tellier recorded the tracks for his debut album, L'Incroyable Vérité (The Unbelievable Truth), between September 1999 and March 2000, playing most of the instruments and producing the sessions. L'Incroyable Vérité was released in June 2001.

Tellier's first album, L'incroyable Vérité (The Incredible Truth), was released in 2001. Tellier went on tour with Air in support of the album and was joined on stage by theremin player Pamelia Kurstin. L'incroyable Vérité is a pop album featuring styles from lo-fi electronica to bizarre cabaret tunes.Its sleeve featured Tellier in full evening dress on the front, while the back of jacket had a shot of him cavorting in a playboy's pool. He instructed listeners only to listen to the album by candlelight.

Tellier followed L'incroyable Vérité with his second studio album Politics (2005). A particularly popular song from Politics was "La Ritournelle", a string-led tune, which featured Nigerian drummer, Tony Allen who worked with Fela Kuti. "La Ritournelle" was remixed by various artists, notably in Britain by Metronomy.

Since the release of Politics, Tellier has also recorded an acoustic album of his more popular songs, Sessions (2006). The album was repackaged for the British market as Universe (2006), to include both highlights from the French CD, as well as compositions from Tellier's score for the film Narco. This compilation included a cover of La Dolce Vita, a song originally by French singer Christophe.

His third studio album Sexuality was produced by Guy-Manuel de Homem-Christo of Daft Punk. Like his previous album Politics, Tellier used a single term as title and theme of the album. Tellier's label Record Makers collaborated with retailer American Apparel for an exclusive three month pre-release of the album, whilst American Apparel sold limited edition versions of the Sexuality CD, LP and "Divine" 7" and 12" single through their North American stores and website.

On 7 March 2008, it was announced by Bruno Berberes, head of EBU delegation in France, that Tellier would represent France in the Eurovision Song Contest 2008. It was held in Belgrade on 24 May 2008. Tellier sang "Divine". This was the first time in the history of the contest that the nominated French entry was to be performed largely in English, which caused controversy, leading to Tellier pledging to increase the amount of French in the song prior to the competition itself. In total, the entry received 47 points.

In 2010 Tellier released an album of remixes of songs from Sexuality titled Sexuality Remix. He returned with new material in 2012 with My God Is Blue, a spiritually minded set of songs that featured a collaboration with de Homem-Christo on the title track. The following year saw the release of Confection, a collection of romantic instrumentals similar to his earliest albums, it was released in October 2013. The album was partially inspired by the death of Tellier's grandmother. Some of the music on it was intended to appear on a film soundtrack, but ended up not being used. In an interview with artistxite, Tellier noted: "You can say my grandmother's death as well as this nonexisting soundtrack had an impact on “Confection“. To me this has been a super strange situation. I was full of love for my grandmother and full of dedication to this soundtrack; "Confection" is the result of both of these emotional conditions."


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When Tellier set out to make an album, he didn't just want one that worked as a humorous concept album, but a good album as well. The problem is that the overly simplistic color scheme with which his protagonists paint the world aren't the best to use for a smart and intriguing album. In satire or parody (besides concept albums), there is always a straight man to frame and contrast the outlandish character or characters with whom he or she shares the stage. We sympathize with the straight man, but in this, we are the straight men, and thus contrast most the songs that work conceptually the best - and are inherently disinclined to enjoy them on a purely musical level.

But, again, Tellier is talented and did want to make a good album. Hence songs like La Ritournelle, the previously mentioned single and a beautiful stand out track on the album. Since it was made outside of the conceptual confines of Politics it is justifiable that it wouldn't fit the mold. However, I think that La Ritournelle's placement on the album is less of something we should look at as the focus of the struggle that any artist has in that sort of situation - quality vs. concept - and instead group it together with the songs that were made explicitly for placement on Politics yet have nothing political about them.

Wonderafrica, Zombi, Ketchup vs. Genocide and Benny perfectly embody the same spirit as the album art - blind patriotism and ignorance of anything negative. But there are two things wrong with these songs - firstly, Tellier compromises their musical quality in favor of their conceptual strength, and secondly, they all fit so poorly together that it's a wonder they're on the same album. Wonderafrica - a Disney-esque portrait of the continent from which its name derives - is synthetically chipper and full of awe in the way that someone might be in a Zoobooks ad; Zombi features militant radicals overtaking an apparently prominent news station; and Ketchup vs. Genocide is a disco-influenced piece about Native Americans and consumerism.

Then there's League Chicanos and Bye-Bye. Tellier gets his message across in LC and the music is quite enjoyable, and they both work, but they don't work together. They just happen to be part of the same song. It's quite a chaotic world into which Tellier brings us. Unfortunately, though, the good music isn't quite good or consistent enough to save the album, and its failure as a tight, coherent conceptual piece is disappointing enough to cast a shadow on the album. There's some gold in that mess, true enough, but whether you'll want to sift through to find it is more of a tough call.

Sebastien Tellier - Politics ( flac 256mb)

01 Bye-Bye 2:18
02 League Chicanos 3:12
03 Wonderafrica 5:07
04 Broadway 4:03
05 La Ritournelle 7:34
06 Benny 3:10
07 Slow Lynch 1:20
08 Mauer 3:18
09 La Tuerie 2:57
10 Ketchup Vs Genocide 3:45
11 Zombi 3:21

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Universe is not quite Sebastien Tellier's third album: in the great tradition of the Beatles' Yesterday...and Today, it's actually a compilation of all but one of the songs from Tellier's real third album, 2005's Sessions (the dropped song, "Kissed by You," is a perhaps overdramatic piano and voice ballad that's no big loss, and can be purchased online from the usual sources), and about half of his soundtrack to the 2006 film Narco. The latter songs include a beat-heavy remix of the hypnotic instrumental "La Ritournelle," which also appears here in its unadorned original form from Sessions. Yes, it's a bit confusing, but surprisingly, the moody, often orchestral instrumentals from Narco fit perfectly with the more traditional piano-driven singer/songwriter vibe of the songs from Sessions: it's not a stretch to imagine that all 14 of these songs were recorded in the same sessions. Besides "La Ritournelle," which quickly became both Tellier's signature song and a popular tune for licensing for film and TV use, highlights include a tender version of the cabaret classic "La Dolce Vita" recorded in tribute to the song's original singer Christophe, whom Tellier has called one of his biggest influences. The stripped down feel of much of the album, consisting mostly of Tellier's warm, close-miked vocals and a variety of electronic and acoustic keyboards, may be a surprise for those used to the more elaborate chamber pop feel of his earlier records, but it suits the simple, direct songs quite well.

Sebastien Tellier - Universe  (flac 271mb)

01 La Ballade Du Georges 4:24
02 La Ritournelle (Mr Dan's Mix) 3:21
03 Black Douleur 2:33
04 Dixi 2:23
05 Broadway 4:19
06 Le Long De La Rivière Tendre 3:05
07 La Dolce Vita 4:14
08 Le Démon Pupkin 3:34
09 Universe 4:14
10 Fantino 3:30
11 League Chicanos 4:08
12 La Ritournelle 5:36
13 Classic 2:45
14 Bye Bye 2:06
 
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Sebastien Tellier has, as the British music mags of the '70s used to put it, heavy friends: in his native France, he's signed to Air's boutique label, and this, his fourth album, was produced by Daft Punk's Guy-Manuel de Homem-Christo. Previous records have been intriguing and fitfully great mergings of modern French electronica and sophisticated chamber pop, but Sexuality is built almost entirely on the Air/Daft Punk model of vintage synthesizer sounds melded to canny pop songwriting. Unfortunately, it hews so closely to that concept that most of Tellier's own personality is lost. Nominally a concept album concerning the titular topic, Sexuality is too chilly and cerebral to be particularly erotic: even on "Pomme," the requisite homage to Serge Gainsbourg's sleaze pop epic "Je T'Aime, Moi Non Plus," the anonymous female moans in the background are curiously overt in their utter fakeness. There are some very good tracks here: the light-hearted "Divine" is a brilliant homage to early-'80s synth pop built on sampled voice fragments (like most of Trevor Horn's productions for the Art of Noise, Yes, and others circa 1984) and featuring the album's most immediately arresting melody. The Art of Noise comparison is even more apparent later, on the languid "Manty," which is built on loops of wordless female harmonies and a woman's fetching giggle that make it sound like a close cousin of the epic "Moments in Love." Elsewhere, the album's first single, the seven-minute instrumental "Sexual Sportswear," sounds like Air's take on vintage '70s synthesizer records like Jean-Michel Jarre's Oxygene, and is as curiously irresistible as that description suggests, and the equally retro clavinet sound that drives the hushed closer "L'Amour et la Violence" is pretty swell too. But too much of Sexuality consists of rote dance-pop songs like "Kilometre" and the utterly average slow jams "Elle" and "Une Heure,": pleasant enough tracks, but with little of the wit and invention of Tellier's best work.

Sebastien Tellier - Sexuality (flac 312mb)

01 Roche 5:01
02 Kilometer 4:18
03 Look 4:34
04 Divine 3:04
05 Pomme 3:31
06 Une Heure 3:51
07 Sexual Sportswear 7:17
08 Elle 4:37
09 Fingers Of Steel 5:15
10 Manty 3:31
11 L'Amour Et La Violence 5:22

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