#saul adamczewski

[alexandre-hervaud]

Merveille.

[taybrits]

@blogovision 2023:

6. Adventures In Limbo by Saul Adamczewski

"We are drifting away We are drifting away in a shameful display"

©alexandrascheja

Last year's #6:

Poli_Ploki by Ελένη Φουρέιρα

So far:

7. A New Tomorrow by Zulu

8. Let's Hope Heteros Fail, Learn And Retire by Alice Longyu Gao

9. Formal Growth In The Desert by Protomartyr

10. I Though I Was Better Than You by Baxter Dury

11. Living Human Treasure by Italia 90

12. Did You Know That There’s A Tunnel Under Ocean Blvd by Lana Del Rey

13. Blooming by Donna Candy

14. Θύματα Ειρήνης by Πυρ Κατά Βούληση

15. Tracey Denim by Bar Italia

16. CACTI by Billy Nomates

17. Rotten Bun For An Eggless Century by mui zyu

18. The Land Is Inhospitaple And So Are We by Mitski

19. Quaranta by Danny Brown

20. i’ve seen a way by Mandy, Indiana

[blogovision]

blogovision 2023 150-200

150. Aversions - "You Wanted The Bike" (24) 151. Ryuichi Sakamoto - "12" (24) 152. Metallica - "72 Seasons" (24) 153. Saul Adamczewski - "Adventures In Limbo" (23) 154. Iggy Pop - "Every Loser" (23) 155. Overmono - "Good Lies" (22) 156. Sweeping Promises - "Good Living Is Coming For You" (22) 157. Coti K.,Yiagos Hairetis, Panos "Tsiko" Katsikiotis - "Ρ​ι​ζ​ι​κ​ό Φ​α​ν​τ​α​σ​ι​α​κ​ό / Radical Imaginary" (22) 158. Danny Brown - "Quaranta" (21) 159. Palms Psalm - "Ohana" (20) 160. Arooj Aftab, Vijay Iyer, Shahzad Ismaily - "Love In Exile" (20) 161. The Veils - "...And Out Of The Void Came Love" (20) 162. Victory Over The Sun - "Dance You Monster To My Soft Song!" (20) 163. Grave Pleasures - "Plagueboys" (20) 164. Hotel Lux - "Hands Across The Creek" (20) 165. Death Valley Girls - "Islands In The Sky" (20) 166. Kevin Morby - "More Photographs" (20) 167. May Roosevelt - "Pearl" (20) 168. Julie Byrne - "The Greater Wings" (20) 169. James Holden - "Imagine This Is A High Dimensional Space Of All Possibilities" (20) 170. Fews - "Glass City" (20) 171. KVB - "Artefacts" (19) 172. The Reds, Pinks & Purples - "The Town That Cursed Your Name" (19) 173. Me Lost Me - "RPG" (18) 174. Kate Davis - "Fish Bowl" (18) 175. Deeper - "Careful" (17) 176. Home Front - "Games Of Power" (17) 177. Pretenders - "Relentless" (17) 178. Liv Kristine - "River Of Diamonds" (17) 179. Bonnie Prince Billy - "Keeping Secrets Will Destroy You" (17) 180. Shabazz Palaces - "Robed In Rareness" (17) 181. Tirzah - "Trip9love​.​.​.​?​?​?" (17) 182. Evil Blizzard - "Rotting In The Belly Of The Whale" (17) 183. Bear Ghost - "Jiminy" (17) 184. Faidra - "Militant : Penitent : Triumphant" (17) 185. ††† - "Goodnight, God Bless, I Love U, Delete" (17) 186. Tuber - "Joyful Science" (16) 187. Acid Arab - "Trois" (16) 188. Feist - "Multitudes" (15) 189. Yeule - "Softscars" (15) 190. Manii - "Innerst I Mørket" (15) 191. Kofi Flexxx - "Flowers In The Dark" (15) 192. Årabrot - "Of Darkness And Light" (15) 193. Hyperculte - "La Pang​é​e" (15) 194. April Magazine - "Wesley's Convertible Tape For The South" (15) 195. Beirut - "Hadsel" (15) 196. HMLTD - "The Worm" (15) 197. Loopsel - "Oga For Oga / Eye For An Eye" (15) 198. Misanthropes - "The Misanthropes" (15) 199. Trevino - "Back" (15) 200. Telehealth - "Content Oscillator" (15)

[angelferto]

"El mejor disco de la década que jamás se escuchará.

Lo anterior lo vi en un comentario en instagram y creo que es cierto, por lo menos no en esta década. "Adventures In Limbo" es una odisea a través de melodias melancolicas con una gran variedad de sonidos folk de épocas que evocan las pequeñas villas medievales.

Canciones tristes para gente triste.

Saul Adamczewski probablemente es una especie de Syd Barrett de nuestra generación, donde al igual que el "The Madcap Lauhgs", "Adventures In Limbo" es un reflejo de la metamorfosis que ha pasado el artista a través de varias catarsis.

Hail Saul A.

[shortmusicreviews]

Saul Adamczewski - Adventures in Limbo

Fat white family guy being classy AF. A real stunning and beautiful album.

[ztremx]

from PITCHFORK in 2017:

The eighth Black Lips album finds the band with a new five-piece lineup. Weighing in at 18 tracks, it assumes the form of a concept album while making a complete mockery of the medium.

The Black Lips have been many things over their 18-year run: insolent garage-rockers and innocent pop balladeers; good-ol’-boy country crooners and bad-trip trainwrecks; lo-fi dirtbags and hi-fi hustlers. But ever since their four-piece line-up solidified in 2004—just in time for their first great record, Let It Bloom—the band always exuded a fraternal, last-gang-in-town sense of solidarity. Their catalog may be defined by dramatic shifts in fidelity and focus from album to album, but you never doubted their commitment to seeing each one through.

Their eighth album, though, is the product of some radically reformulated chemistry. The Black Lips are now a five-piece, only 40 per cent of which—guitarist Cole Alexander and bassist Jared Swilley—appeared on their previous record. Original drummer Joe Bradley (singer of arguably their most enduring anthem) and long-time guitarist Ian St. Pe are gone. Not all of the new faces are actually new—recent addition Jack Hines preceded St. Pe’s tenure in the group—but in addition to recruiting drummer Oakley Munson, the Black Lips also now have a full-time saxophonist in Zumi Rosow to thicken up their sound.

Whatever the reasons for it, the shake-up has altered the course of a band that was approaching a career crossroads. The Black Lips’ previous two records—2011’s Arabia Mountain and 2014’s Underneath the Rainbow—saw them make tentative tip-toes toward the mainstream with the help of some platinum-grade producers: the former tapped Mark Ronson’s retro-pop panache, the latter assumed Patrick Carney’s Black Keys bounce. But neither record really elevated the Black Lips beyond their club-level/cult-act station. And so with Satan’s graffiti or God’s art?, they essentially say “fuck it” and indulge their every scatterbrained whim. Like its immediate predecessors, the new album boasts some familiar names in the liner notes: Sean Ono Lennon served as producer, his mom provides (barely perceptible) backing vocals, and additional spiritual guidance was provided by Saul Adamczewski of anarchic UK slop-rock outfit Fat White Family.

As its title suggests, Satan’s graffiti or God’s art? invites oppositional, Rorschach-test interpretations. It is at once the Black Lips’ most sonically elaborate album and its most aggressively primitive. The band wrap the songs in a cinematic, carnivalesque clamor, but shout themselves hoarse as if they were still trying to hear themselves over a blown-out church-basement PA. Weighing in at 18 tracks, Satan’s graffiti or God’s art? assumes the form of a concept album while making a complete mockery of the medium. There are overtures and interludes and reprises and spoken-word passages, but no discernible logic holding them together. Which could very well be the point—when a band as notoriously unruly as the Black Lips opt to make a double-album opus, don’t be surprised when they come off like a group of road-tripping teenagers who’ve scored a Groupon for a five-star hotel and opt to take a dump in the bidet.

[alalrobinson]

Featured On

Era Kin - Hail Fellow Well Met - 2023 - (Guitar Solo)

Jonny Kosmo - Self titled - 2019 - (Bass Guitar)

R Mccarthy - Dick Arkive: Issue 3 - 2020 - (Synthesizer)

DUNCE

Life? Or Theatre? - 2023 - (Saxophone)

Live at Avalon - 2023 - (Saxophone)

Saul Adamczewski - MUSIC OF HATE SONGS OF FRUSTRATION JIGS OF LUST - 2023 - Digital (Saxophone)

[always-crash1ng]

Is Saul Adamczewski gonna drop this fucking album or what

[dissidentlibrary]

My current reading is a rollercoaster of disgust and laughter.

[horsegirl]

[taybrits]

@blogovision 2023:

1. Desire, I Want to Turn Into You by Caroline Polachek

"Welcome to my island"

©Aidan Zamiri

Last year's #1:

MOTOMAMI by ROSALÍA

So far:

2. No Thank You by Little Simz

3. CYRM by ØXN

4. 10.000 Gecs by 100gecs

5. False Lankum by Lankum

6. Adventures In Limbo by Saul Adamczewski

7. A New Tomorrow by Zulu

8. Let’s Hope Heteros Fail, Learn And Retire by Alice Longyu Gao

9. Formal Growth In The Desert by Protomartyr

10. I Though I Was Better Than You by Baxter Dury

11. Living Human Treasure by Italia 90

12. Did You Know That There’s A Tunnel Under Ocean Blvd by Lana Del Rey

13. Blooming by Donna Candy

14. Θύματα Ειρήνης by Πυρ Κατά Βούληση

15. Tracey Denim by Bar Italia

16. CACTI by Billy Nomates

17. Rotten Bun For An Eggless Century by mui zyu

18. The Land Is Inhospitaple And So Are We by Mitski

19. Quaranta by Danny Brown

20. i’ve seen a way by Mandy, Indiana

[falsestuff]

Warmduscher - The Sweet Smell of Florida (2016)

[imtalkingaboutneutronbaby]

BTS Stills from Feet

📸: Lou Smith

[twinkandwink]

Stripped down Fat White Family but it worked. Great set & big clap to the young guy who got up on stage & frisked the band.  Fat White Family (Album Launch acoustic set)- Rough Trade, Bristol 23rd April 2019

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/interview-fat-white-family/

INTERVIEW - Fat White Family, thérapie rock

Coup de maître pour le 3e album du groupe punk le plus déjanté d’Angleterre. Interview sans filtres.

Serfs Up! aurait pu ne pas voir le jour. Fat White Family aurait pu ne plus exister, rongé par ses démons intérieurs. Mais, après des années à dynamiter la scène londonienne en se droguant outrageusement et en buvant jusqu’à plus soif, la bande de musiciens a frôlé la catastrophe lorsque le guitariste Saul Adamczewski a dû quitter le navire, dévoré par l’héroïne. Au détour de notre conversation dans les bureaux parisiens de leur label, le teint livide et l’œil délavé, il nous explique sa définition de la liberté : “Dire et faire ce que tu veux, même si c’est abusif.”

Son complice Lias Saoudi, chanteur et principal songwriter des Fat White, est alors parti prendre l’air à Sheffield : “C’est une ville éloignée de la folie du quotidien, qui nous a apporté plus de temps, plus de discipline… et de sobriété.” Accompagné de son frère Nathan, qui officie aux claviers du groupe, il a accueilli avec soulagement le retour du sale gosse Adamczewski. Ce qui amuse la presse depuis 2013, date de sortie de leur premier album, Champagne Holocauste, qui aurait pu les tuer : de l’excès en tout genre du matin au soir. De quoi donner des performances incontrôlables comme des chansons 100 % punk. “Notre indépendance tient au fait que nous sommes liés par le fun, l’humour, nos références, explique Saoudi. Mais c’est une bataille constante.” Si Songs for Our Mothers (2016) enfonçait le clou d’un rock sans concession, Serfs Up! est étonnamment plus construit, plus accessible peut-être, “moins chaotique” d’après Adamczewski, mais toujours viscéralement radical. Il représente une revanche sur le destin qui aurait pu connaître une issue tragique : “Chez nous, tout nouvel album est une victoire”, sourit Saoudi. “Une petite victoire, poursuit Adamczewski. Faut bien faire le boulot. On s’est infligé tellement de trucs, on a tellement rendu notre vie tellement merdique qu’on se réjouit déjà beaucoup d’être là et de pouvoir même chanter des chansons.”

Serfs Up! est engagé, comme tous les disques de Fat White Family. “La montée du populisme n’a plus rien a voir avec la classe ouvrière qui se soulève partout dans le monde, commente Saoudi. Comme s’il y avait une erreur de révolution. Certains vont jusqu’à réclamer moins de pouvoir. C’est un échec, et c’est tellement ironique…” Mais qu’on n’aille pas leur parler de protest songs, même si des titres comme “Tastes Good With the Money”, qui profite de l’intervention de Baxter Dury, n’en sont pas si loin. Lorsqu’on évoque un des vers de l’album, “Down the bright white apology of my skin”, Saoudi répond : “On ne sait pas si c’est sur la race, l’aliénation, le viol, l’amour, la tendresse, la guerre, la violence, la chair… Tout ce qui fait notre monde, pour l’embellir ou le contaminer.”

Dans le clip de l’ouverture de Serfs Up!, “Feet”, on voit les membres de Fat White Family rejouer un inquiétant remake de Querelle de Fassbinder, lui-même inspiré de Querelle de Brest de Jean Genet. L’ombre des régimes fascistes du passé, qui les ont toujours questionnés, habitent la vidéo.

Cette proposition témoigne de la curiosité intellectuelle d’un groupe qui fait mine de ne pas être trop malin, et qui refuse de se montrer sous son meilleur jour : “Les gens attendent de l’artiste qu’il soit cool et sympa, et ça, c’est au-dessus de nos forces, sourit Saoudi. Nous ne sommes pas là pour les réconforter face à la culture de la peur ambiante, juste pour leur montrer qu’ils ne sont pas seuls, que nous aussi on remonte nos manches pour affronter le réel.” Car le rock demeure leur échappatoire (et un excellent prétexte pour rester en vie), comme l’affirme Adamczewski : “La musique, c’est la seule thérapie disponible facilement pour nous.”

Sophie Rosemont