Jamendo groovorama Basses qui vibrent Émoi et moi

This album has "hooked" on me, I like it! It is a single whole. The sound is original and powerful. Unambiguously, the mark is "awesome". Go on your way... :)

An island song Like a floating river Rain Rain Fall Fall

La note résume bien le tout. Superbe réalisation! ça Groove...

les pochettes superbes...le contenu sonore classe.... un travail d'orfevre si si....j'suis sur que tu n'arretera pas...c'est pas possible... sinon je comprend plus rien....

J'ai acheté le premier album d'Haiku lorsqu'il est sorti sur le label parametric (qui à produit de petites perles). J'avais déjà grandement aprécié ce Synthèse. J'apprécie encore plus celui là et je trouve que c'est vraiment dommage d'arreter Haiku... Un très bon album à ecouter.

Personnellement c'est l'album avec lequel j'ai le plus voyagé. 19 est ma préféré, sa rythmique est parfaite, lancinante, entêtante. L'univers de cet album est le plus réussit, les chansons s'enchainent parfaitement, amenant une ambiance détendue, conviviale ... 9 parce que rien n'est parfait (: Merci, et bravo :)

I like every haiku album more than the last. The catchy beats, mixing and instruments on this album are virtually perfect for me. This artist has really come into his own in making synth instrumentals. This is beautiful music.

Excellent cover art, nicely done. So what of the contents. 18 is a fairly mellow effort in electronic music making. Nicely poised and a good opener. As I continue to listen on with the second track, appropriately named 19, I already suspect, having listened to other works by this artist, that there is something inherently mellow throughout. Something, I further suspect, that has to do with the point of origin. That it makes for good listening is down to the communication between that point of origin and the point of reception. Who am I to reason why? I am no musical technician, I am no musician, I am just a pair of ageing ears balanced on a somewhat reckless head. I do find it curious that something that seems to remain fairly constant can retain a certain level of being entertaining over a fair amount of time, without losing its viability. Sometimes that works, though sometimes it does not. What it depends on seems to be that which is numinous. 20 is even more relaxed, a nice ambience. And, then thinking on a bit more, take the cover. A person may say that a mountain is a mountain; a snowflake, a snowflake, and yet, each has its own subtle, though simultaneously profound differences. As is with the mind and levels of perception, it is good at generalising and glossing over differentials. 21 seems to go to the lengths of even taking a further step back, and for me it is done so to incorporate further detail and awe at the beautiful expanse before me. Each peak contains a different perspective, and so forms a kind of topology of parallel viewpoints. Even if the same person was standing on each summit, they could still not help proffering differing interpretations of what they each beheld. And so, the human brain conjoins the dots and creates from such disarray, a testimony that professes to explain the same thing from all points. Such is the topology of my own imagination, having stood on several summits and surveyed the surroundings. Listening to 22, carries me further in my imaginings, knowing that what I know is just that, what I think I know. I am not right, like the music is not simply 'right'. I just happen to like it a lot, it suits me fine. Which then narrows it down to reception alone, for what does such an elevated view transmit to a single human mind? Only really what it chooses to accept and incorporate with emotionality, for the most part, but generally cognitive, synaptical collaboration. And that, at best, based on a fairly unsettled sense of memory. 23 takes over, and I take care to think of how much of memory comes into play when receiving musical configurations. However, as looking from the top of a mountain is not a simple process, so too hearing a piece of music invokes, amongst many interpretations, visual memories and rememberances of patterns once past. Complete with glossing over. So, the inclination to generalise becomes habitual as a shortcut to avoid the complications of detail and intricacy of experience, from summit to sounds. All prone and susceptible to the same cognitive filters. I could just say 'I like it', and have done with it, but life should be more interesting than that. Would you walk to the top of a mountain, look and say 'I like it', then descend? Seems like a long way to go to offer the platitude of mundanity. 24 comes in to play, and having scaled so far, I am determined to reach the end of the journey. It has been a refreshing listening experience, there is something unique to it, and yet at the same time, so similar to other things that there will always be the temptation to overrule judgement and stick to 'I like it'. Such simplicity, for me, is avoiding the point that may be a reflection on the truth. I colour my world of experience with sounds, but words are very important to my integration with my environment. So, while I listen, I wax lyrical, and overdo the necessity of obfuscating detail for the sake of simplicity. Now, I hear 25. Overall, this album has given me good reason to feel suitably entertained. And, in a way it has had a significant effect on my spirit. These words are testimony to the transcendence that may be gleaned from numinous musical creation and transmission. As a listening experience, the holistic simplification is 'I like it', though there is much detail, as there is to be found gazing from atop a mountain peak, that cannot perhaps be easily computed in the most intricate and most misunderstood of computers, the one enclosed in the cranium. 26 rounds it off and brings the album to a close, as it does my excessive flow of words. Maybe next time I'm at the 'top of the world', I will just be speechless.