samedi 27 août 2011

Low Fidelity Jet Set Orchestra - Studio Works

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYYIvyoxcscekYynr-RqBBCwU1fRK_wsTovCoVcOnDAQ0znK380TzNS6J2V7_FN65sm0Fn53hsQTUto5n9CGDHcDg1DKFjlGVqVDhDt9KpP-CmM1oaTcEiGRcU0JWspmEdn7k7qSTSWOs/s1600/Low+Fidelity+Jet+Set+Orchestra+-+Studio+Works.jpg

http://www.myspace.com/lowfidelityjetsetorchestra

Origine du Groupe : Italia

Style : Acid jazz , Nu-Jazz , Lo-Fi

Sortie : 2009




From http://www.discovery-records.com



Low Fidelity Jet-Set Orchestra is a spin-off from Modulo 5, also on Irma.



This album is a fusion of Nu-Jazz and Electronica, bearing something of a cinematic style.



Tracklist :

01. Groovy Motion

02. The Original Sound

03. Value For Money

04. Sounds idea

05. Four-Channel Sound

06. The Broadcast Signal

07. The Project - Part 1

08. The Project - Part 2

09. The Amplifier

10. Watts & Impedence

11. Ground Noise

12. Pitch Control

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Wu-Tang Clan - Legendary Weapons

http://47.img.v4.skyrock.net/479/donsameleone/pics/3015564845_1_3_eyDGaIAj.jpg

http://www.wutang-corp.com

http://www.myspace.com/wutang

Origine du Groupe : North America

Style : Hip Hop

Sortie : 2011




Par  Lebowski pour http://www.dmute.net



La surprise hip-hop 2011 vient des old-timer du Wu-Tang Clan. Tout arrive.



Legendary Weapons donc. Est-ce véritablement un disque ou une simple superposition de titres enregistrés à droite à gauche, sans réelle cohérence ? Car si la forme et le manque de promotion y
est, ce disque, à la pochette sentant bon le montage photoshop à trois sous, n'a rien d'une fructueuse compilation.



Sortit sur l'ancien Koch Records, aujourd'hui E1 Music, (label important du Wu-Tang post-97 sur lequel sont sortis les Digital Bullet, The Movement, Digi Snacks), malgré l'absence de Masta Killa
et GZA, et des interventions au compte-gouttes des membres originaux, Legendary Weapons n'est pas loin de s'imposer comme un album de groupe à part entière. D'une, parce que la qualité est
indéniable, et deux, parce que ce fameux retour aux sources que prône RZA fonctionne à merveille.



Comme pour Chamber Music (2009, même label, quelques bons titres mais essentiellement de l'interlude et du tout-venant), RZA se pose en producteur exécutif, supervisant les nouvelles têtes
gravitant autour de la nébuleuse W, à savoir les New-yorkais Noah Rubin et Andrew Kelley, ainsi que le batteur d'origine lituanienne Gintas Janusonis (on peut ajouter le bassiste Josh Werner, non
présent ici mais ayant plusieurs collaborations récentes avec RZA depuis quelques temps). Loin du format type du producteur de hip-hop, ce sont ces petits blancs d'une trentaine d'années,
représentatifs de la grande majorité de ce qu'est le public du Wu-Tang dans sa globalité, qui ont eu les faveurs du maître pour faire revivre le son si particulier de la Shaolin Island. Des fans
de la première heure, certainement nostalgiques de l'âge d'or 93-97. Sans oublier Fizzy Womack, dit Lil Fame de M.O.P., lui aussi, déjà présent il y a deux ans pour Chamber Music, ainsi que
l'apport non négligeable de The Revelations (Bob Perry et Tre Williams), autre présence récurrente désormais chez RZA.



Ressort ici l'âme du Wu, que l'on avait perdue ces dernières années, si ce n'est entrevue avec les trop rares nitescences type No Said Date en 2004 ou le pourtant décrié mais excellent 8 Diagrams
en 2007. Le Wu-Tang Clan est, que l'on veuille ou non, une institution, un collectif sans précédent dans l'histoire du hip-hop. Le respect de la tradition est garant de la réussite à travers les
âges, au même titre que les Bayern Munich, Manchester United ou FC Barcelone, pour une comparaison footballistique on ne peut plus claire. Le WTC United ? Sans pouvoir être assimilé aux
différents albums marquants réalisés, notamment en terme d'ambiance, Legendary Weapons n'a rien de l'album bâtard. Sombre, en rien « tub-uesque », sans fulgurances, mais avec une constance dans
la qualité des beats, des raps, dans le tissage d'une ambiance chère à l'esprit Wu-Tang que RZA qualifie de « throw-back sound […] inspired by classic soul and kung-fu imagery) ».



Pour les MCs, des confirmations : Ghostface Killah, rappeur le plus en vue du disque (présent sur 4 titres), est insensible au poids des années. Killa Sin (de Killarmy), en dépit d'une carrière
gérée n'importe comment, est l'un des plus gros gâchis de la « Wu-Fam ». Trife Diesel, le protégé de Ghostface, n'a aucun charisme. U-God résume sur ses deux couplets l'ensemble de sa carrière:
on/off. Pour les invités, joli touché que d'avoir pensé à Roc Marciano, auteur l'année passée d'un excellent Marcberg. Sean Price, si ça avait besoin d'être rappelé, ne sert toujours à rien. Et
Cappadonna, bien que sympathique, a toujours du mal.



Sans grande difficulté, Legendary Weapons s'impose comme le meilleur disque labellisé Wu-Tang depuis 8 Diagrams. Une pensée pour Pro-Tools, le (pour le coup) faux-album solo de GZA.



Tracklist :

1. Start the Show (feat. Raekwon and RZA)

2. Laced Cheeba (feat. Ghostface, Sean Price and Trife Diesel)

3. Diesel Fluid (feat. Method Man, Trife Diesel and Cappadonna)

4. Played By The Game

5. The Black Diamonds (feat. Ghostface, Roc Marciano and Killa Sin)

6. Legendary Weapons (Ghostface, AZ and M.O.P.)

7. Never Feel This Pain (feat. Inspectah Deck, U-God and Tre Williams)

8. Angels Got Wings

9. Drunk Tongue (feat. Killa Sin)

10. 225 Rounds (feat. U-God, Cappadonna, Bronze Nazareth and RZA)

11. Meteor Hammer (feat. Ghostface, Action Bronson and Termanology)

12. Live Through Death

13. Only the Rugged Survive (feat. RZA)

14. Outro

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Getatchew Mekuria & The Ex - Live At The Rio Loco (Toulouse/France) (Full Concert)

http://download.liveweb.arte.tv/o21/liveweb/media/event/2369/2369-visual-crop-small.jpg

http://www.theex.nl

http://www.myspace.com/theexnl

Origine du Groupe : Nerderlands , Ethiopia

Style : Alternative , Jazz Rock Punk , Jazz World , Experimental

Sortie : 2011

Durée : 89min

 





Par http://www.toulouseblog.fr


Quel est le point commun entre un groupe anarcho-punk hollandais et un saxophoniste éthiopien

professeur à l’Orchestre de la Police d’Addis Abeba ? La musique bien sûr ! Impressionné par

la réédition dans la collection Ethiopiques de l’album mythique de Gétatchèw Mékuria, Negus

of Ethiopian Sax (1972), le groupe The Ex a convié en 2006 le saxophoniste à fêter ses 25

ans d’existence à Amsterdam… The Ex, après ses débuts punk en 1979, avait déjà tenté de

multiples expériences avant-gardistes avec des groupes très éloignés de la sphère rock, venus

de Turquie, Hongrie, du Congo, d’Erythrée ou d’Ethiopie.

Pour sa part, Gétatchèw Mékuria est l’une des stars du Swinging Addis, l’âge d’or de la soul-jazz

éthiopienne. Lui qui n’avait jamais quitté son pays, il s’est régénéré au contact des Hollandais et a suivi The Ex en tournée en France, laquelle est notamment passée par le festival Banlieues
Bleues en 2006. Comédien au début de sa carrière, Gétatchèw Mékuria s’est fait le dépositaire du « shellele », un genre traditionnel vocal entonné par les combattants avant de partir au combat.
Il en transpose l’exubérance déclamatoire au saxophone… En 1947, il démarre sa carrière professionnelle au Municipality Band d’Addis Abeba, avant de rejoindre en 1965 le fameux Police Orchestra,
une véritable institution musicale en Ethiopie. L’empereur Hailé Sélassié fait alors des fanfares une fierté nationale et les nuits d’Addis Abeba sont réputées comme les plus incandescentes du
continent… Les jazzmen américains n’avaient pas encore inventé le free-jazz que Gétatchèw Mèkuria en avait déjà lancé les prémices en Afrique !

En tournée entre 2006 et 2008, le Négus du saxophone éthiopien a choisi The Ex pour l’accompagner en Europe et aux Etats-Unis. Ils ont enregistré ensemble deux albums, Moa Anbessa, avec
différents invités et un DVD live, publié chez Buda Musique en 2007. Leur rencontre donne naissance à un jazz-rock hypnotique, à découvrir absolument sur la scène de la Prairie des Filtres
! 



hd dvd rw

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Daipivo - Reggae engatsé

http://ecx.images-amazon.com/images/I/41QWHM9ZMGL._SL500_AA240_.jpg

http://reggae.engatse.online.fr

Origine du Groupe : France

Style : Reggae

Sortie : 1998




Site Officiel :



"DAÏPIVO" remplit de nombreuses salles durant la tournée de 1997, et prépare en même temps la sortie d'un deuxième album. Celui-ci sortira en 1998 et sera intitulé "Reggae Engatsé". Ce titre
correspond bien à la musique qu'il représente "Reggae Engagé, Enervé"... Cet album sera lui aussi autoproduit par le groupe... Scalen Distribution les découvre et signe la même année. Restant
prudent au départ avec ce groupe « méconnu » et ne distribuant que le deuxième album, Scalen s'aperçoit très rapidement du potentiel du groupe et de la demande en magasin. Il décide alors de
mettre en bac le premier album "Back to The Roots" qu'il jugeait au départ trop "local" et double alors les ventes. Le groupe s'impose alors dans le monde du reggae français avec plus de 10 000
disques vendus sans autres support promotionnel que leurs propres concerts... Plus tard, des articles de presses et interviews sont réalisés spontanément par des médias tels que Groove magazine,
Surf session, Lylo, Tendances positives, Presse Locale, Envoyé Spécial (France 2) , France 3, MCM, Radio Nova, Radio Golfe d'Amour, RCFM (Corse), Radio Grenouille, Radio Galère, etc... Le groupe
a aussi réussi à surmonter de nombreuses difficultés liées à ce "métier", leur passion pour la musique passant en priorité… Pendant ces années "galères", la totalité de leurs gains est réinvestie
: achat de matériels, instruments de musique, ainsi que tout ce qui concerne l'enregistrement des albums.

 






Tracklist :

01 - Clicasse

02 - Roots marseillais

03 - Euh'l'rapeul'

04 - La mort en vente

05 - Salska

06 - J.T agité

07 - Boom Boom Festival

08 - Les boues rouges

09 - Reggae engatsé

10 - Le temps des seigneurs

11 - Clicasse

12 - Etat d'urgence

13 - Le fric

14 - Fire / Dub P13

15 - La mort en vente (dub)

16 - Etat d'urgence (dub)

17 - Le temps des seigneurs (dub)

18 - J.T. agité (dub)

19 - Roots marseillais (dub)

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Eric Lau - Makin' Sound

http://f.bandcamp.com/z/28/58/2858732021-1.jpg

http://www.ericlaumusic.com

Origine du Groupe : U.K

Style : Abstract Hip Hop

Sortie : 2010


By jeej from http://www.juslikemusic.com



Jus Like Music favourite and soulful production extraordinaire, Eric Lau, is back with an instrumental long player on Kilawatt Music called Makin’ Sound. At just shy of 45 minutes long, this
collection of 20 songs at first appears like a sort of sophisticated beat-tape, but albeit understated, Makin’ Sound is actually a lot deeper than that. Plus, it’s available to buy right now via
Bandcamp both digitally and on vinyl (strictly only 500 copies available!).



London based Eric Lau has been on my radar since he dropped I’m Fine (featuring Rahel) back in 2006 as part of Gilles Peterson’s Brownswood Bubblers series. Since then it’s been up and up for the
talented young man. Producing an EP on Fat City with Dudley Perkins et al, plus his own debut album (New Territories) a couple of years ago on Ubiquity, and with a host of other high profile
production credits – Eric Lau’s CV is rich indeed. Makin’ Sound sees Eric return to previously unreleased work that lacks the aid of vocal contributions, just a producer at his most exposed. And
the outcome is solid.



Most of the tracks are less than three minutes long – about half are less than two minutes long – but combined they make up a rich tapestry of beautiful downtempo hip-hop sounds. Exquisitely
produced beats with tight instrumentation are present throughout. The levels on the respective sounds, and their consequent spatial placement, are in perfect balance – although, it’s probably
worth mentioning that Eric had the assistance of, J Dilla and Pete Rock mastering engineer, Shawn Joseph on the final masters. In which case… what a match made in heaven it is between Shawn and
Eric! The longest track on the album is Cruise Control, which is actually available for free download via Bandcamp at the moment.



This is the sort of release that can sit in the background and create an atmosphere, yet also be cranked and appreciated by purists and beat-heads alike. I’ve genuinely not got a bad word to say
about the release. As Eric mentions in the above video, he’s putting to bed some unfinished business with Makin’ Sound, with a view to moving to the next stage of his musical journey. Naturally,
I’m intrigued to hear what he has up his sleeve with regards to new work, but this latest release will be on rotation at JLM HQ for some time to come.



If you’re looking for an instrumental hip-hop tip with tinges of A Tribe Called Quest, Erykah Badu, Mos Def, J Dilla, Slum Village, then you wont be disappointed. But, rather, you’ll be
refreshingly surprised as Eric Lau comes correct with his own unique style and methods. Yet again Eric manages to create music that has sincerity woven into it, with something so organic and
honest about it. It’s pretty rare to find hard hitting, laid back tracks with such pure instrumentation and structure, so you better savour it!

 






Tracklist :

01. What The World Should Be

02. Cruise control

03. Some Time

04. What's Going Down

05. Lil' Chop

06. Home Run

07. Ppg

08. Warp

09. Bendy

10. Dreamsville

11. Change

12. Give Light, Give Love

13. Militant

14. Minnie

15. Love, love, love

16. Watcha doin

17. Noma (Feat. Ben Hadwen)

18. The Bed

19. Nadir

20. Stand bye

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Lisa Ono - Asia

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi376msXZRk9BVPpkCx8nh5QPUyUJKi_oLJr5InebP2TBlB35Ck-vfu3s0rf2HFJr3je-LcB9hwpq2He5bELyghjrrJptIJvUbxAt6IgK3uPHhWX7z9XJFVDVSB0hW1WyAiaFoPAFYwG9U/s1600/lisa+ono+asia.jpg

http://lisaono.homestead.com

http://www.myspace.com/jazzymuzzy

Origine du Groupe : Canada , Japan , Brazil

Style : Jazz

Sortie : 2010




Pour http://bossanovabrasil.fr



La chanteuse brésilienne Lisa Ono continue son tour du monde en bossa nova. Après Dans Mon Ile – recueil de chansons françaises, Dream – ballades jazz, Naima Meu Anjo – chansons africaines, et
Soul & Bossa – comme son nom l’indique, elle s’attaque cette fois-ci à sa région d’origine, l’Asie. Rappelons que Lisa, née à São Paulo de parents nissei, partage sa vie entre Rio et
Tokyo.



Cet album réunit une sélection de dix chansons asiatiques en provenance de Chine, de Malaisie, d’Indonésie, de Thaïlande, du Sri Lanka, de Corée, des Philipines et même de Mongolie, dont j’avoue
bien humblement tout ignorer des pratiques musicales. Certaines d’entre elles sont traitées en bossa, d’autres constituent de jolies ballades exotiques.



Du même coup, la Lisa Ono de cette année ressemble plus à Frances Yep qu’à Rosa Passos. Encore un peu plus easy listening que d’habitude, ce nouvel album de Lisa Ono ne sera pas mon préféré. J’en
retiens cependant Olu Pipila et Vande Mataram, deux jolies néo-bossas, et surtout Rosa Sayang, une chanson Malaisienne transformée en un forro charmant, dont je vous rappelle les paroles avant
que vous l’écoutiez :



Buah cempedak di luar pagar, ambil galah tolong jolokkan,

Saya budak baru belajar, kalau salah tolong tunjukkan.

 






Tracklist :

01.When Will You Come Again (03:50)

02.Olu Pipila (04:15)

03.Saichon (04:36)

04.Dahil Sa Iyo (03:34)

05.Rasa Sayang (03:22)

06.Evening Primrose (04:29)

07.Arirang (03:44)

08.Vande Mataram (04:43)

09.Bengawan Solo (04:14)

10.Buuvein Duu (04:39)

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vendredi 26 août 2011

Otis Grove - The Runk

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg50Z2ctPa9FK7huw-HK4qA-IPnpP4LyCOmVeClBQB8_yPY734TLIVL6Zjcox4sTbB0N7xPSn8heFhifC9tnbUAK74-UFI6wt9o0Pruus1N07c4GiC6STN1r5HGlADBebmpjLDKvKWpCvUz/s1600/og.jpg

http://www.otisgrove.net

http://www.myspace.com/otisgrove

Origine du Groupe : North America

Style : Funk Groove Rock , Instrumental , Alternative Rock

Sortie : 2010




By Kevin from http://indiesandtheunderground.blogspot.com



Remember crunk? That mix of booming 808 bass, drum machines, sinister samples and screamed, one-syllable chants that gave birth to countless strip club anthems ("Get Low" anyone?) and provided
the soundtrack to countless nightclub brawls? Which would account for about 80 percent of Lil Jon and the Eastside Boys' music. Well maybe not 80 percent. But at least 50 percent tops.



Well make way for runk, a mix of funk and rock birthed by Boston trio Otis Grove. Drawing on those genres as well as R&B, jazz and hip hop, the band comes up with some truly unique sounds.
Album opener "Monark," with its blistering, distorted riffs and maniacal organ, sounds like Metallica dropping in on a New Orleans church service, while the collision of twin guitar solos and
whirling, eerie synthesizers sound like a long lost Red Hot Chili Peppers track.



The laid back guitar licks and bright organs of "Uncle Runky" would feel right at home at a afternoon barbecue. "Waiting," crafts a seductive mix of minimalist licks and sharp drums before
surrendering midway to a monstrous groove of floor-shaking bass, fiery, frenetic guitar solos and a wailing wall of organ sound. Brash funk freakout, "Fausto" with its fuzzy distortion,
rubber-band bass, is another standout track.



Otis Grove are clearly talented musicians, able to both improvise and snap back into the melody at a moment's notice. Sam Gilman coaxes a endlessly array of sounds out of his organ, electronic
piano and mellotron, while guitarist Tyler Drabick and drummer Blake Goedde display enough versatility to keep with Gilman's experimentation. It would be interesting to hear what the band would
sound like with words and vocal melodies. But Otis Grove have provided more than enough ways for listeners to get runk.

 









Tracklist :

01 – Monark – 05:17

02 – The Bunk – 04:25

03 – Basket Case – 03:48

04 – Rock City – 04:09

05 – Bobby Nosox – 05:20

06 – Uncle Runky – 05:27

07 – Plywood Snowshoe – 05:11

08 – Waiting – 06:13

09 – I Won’t Forget – 05:21

10 – Fausto – 06:31

mp3

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Karkwa - Les Chemins De Verre

http://www.renaud-bray.com/ImagesEditeurs/PG/1066/1066789-gf.jpg

http://www.karkwa.com

http://www.myspace.com/karkwa

Origine du Groupe : Canada

Style : Indie , Alternative

Sortie : 2010




By Galen Milne-Hines from http://monamibonhomie.blogspot.com



When the Polaris Music Prize announced its annual shortlist this year, there were at least a few things to note. First off, the appearance of two former winners of the still relatively new
Canadian music prize (Owen Pallett/Final Fantasy and Caribou) and some serious indie rock heavyweights like Broken Social Scene, The Sadies, and Tegan And Sara. Along with other Polaris familiars
Shad and The Besnard Lakes and newcomers to the nominations like Radio Radio and Dan Mangan, it would make this, as always, a very interesting and inevitable decision for the jury.



Sitting somewhere in this list of fairly familiar names, a band name appeared that myself and I'm pretty certain a whole lot of Polaris followers had never heard of: Karkwa. Before we knew it,
the end of September (and summer as we knew it) rolled around and the winner was announced. Karkwa, for their album Les Chemins De Verre! My first thought, of course, was just who exactly are
these mysterious artists? It'd take anyone about two lines of text to read as much as they'd need to figure it out but here, I'm happy to serve a proper introduction to an excellent band that
evidently could use a few more, so here goes.



By way of Montréal and the Francophone province of Canada known as Québec, a band has been using their 12 years together (!) to fine tune a very pronounced and interesting take on the indie rock
template so well studied throughout our country. Having already toured the world extensively, the band most definitely comes through loud and clear as something we probably all should've taken
notice of at least a few years ago. And it's not as if they haven't received significant praise already worldwide but seeing as their music is sung completely in French, it's just one of those
things that doesn't often make it to our ears when we live in a province that more often than not (and quite pathetically) dismisses, ignores or even scoffs at the idea of an official secondary
language.



Well, I implore you to see what happens after a few listens of Karkwa's brilliant Les Chemins De Verre. Even for people who won't be able to understand a damned word the guy is so enchantingly
singin' about, there's a certain charm to the subconscious or emotional interpretation of music that functions in that way. And once you start to revel in the album's sonic beauty, you'll see it
excels in such exercises. The melodies are plentiful, the vocal harmonies lush, the arrangements intuitive, I could go on. From it's eye-opening start to beautiful finish, Karkwa take the
listener on a windswept ride of remarkably solid songs, alternating between folkier studies in acoustic guitar and piano to rocketing, beat-heavy psych rock numbers, all in easy, quick-moving
succession.



Like I said, this album could serve as a music lesson in some of the best, most wholesome indie rock you can find out there but Karkwa don't go without stretching boundaries of what that
quantifies and keeping everything sounding fresh, much in the way what fellow Montrealers Plants And Animals accomplished in 2008 when their still underrated Parc Avenue was beat out for the
Polaris by Caribou's Andorra. This time, the French wins all, and rightly so. Good on ya, Polaris Music Prize guys. For everyone else, it's your turn to win -- find this album and give it a
whirl. It'll return the favor.

 









Tracklist :

01 Le Pyromane 4:09

02 L'Acouphene 3:39

03 Lger 3:09

04 Marie Tu Pleures 3:30

05 Le Bon Sens 3:30

06 Les Chemins De Verre 3:20

07 Dors Dans Mon Sang 4:45

08 La Piqure 5:02

09 Les Enfants De Beyrouth 3:48

10 Au-Dessus De La Tete De Lilijune 1:33

11 28 Jours 4:52

12 Le Vrai Bonheur 5:26

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Nancy Dupree - Ghetto reality

http://cdn2.greatsong.net/album/extra/nancy-dupree-ghetto-reality-103363289.jpg

http://www.lastfm.fr

Origine du Groupe : North America

Style : Soul

Sortie : 1969




From http://www.amazon.com



Nancy Dupree initially found her elementary school music students in Rochester, NY resistant to participation in class. Once she dropped the standard literature (which asked Mr. Bear to come and
play) and began composing music that bore relevancy to contemporary society and to their very tuned-in and grownup interests, she found they immediately took to performing. Her songs addressed,
for example, the contributions icons James Brown and Jelly Roll Morton (aka Docta King) made to society, the intangible assets each child naturally possessed (What do I have? Guts...heart...and
soul) and fighting for civil rights (I want my freedom; I want it now). Not only did singing about meaningful issues in real musical styles reveal the immense talents the students had, but it
gave all a critical lesson in empowerment.



Tracklist :

01. What do i have

02. James brown

03. Bag snatchin'

04. Docta king

05. Virgin mary

06. I want

07. Frankenstein

08. Cold

09. Jingle bells

10. Call baby jesus

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Lee Scratch Perry - Rise Again

http://images.music-story.com/img/album_L_400/lee-scratch-perry-rise-again.jpg

http://www.myspace.com/leescratchperry

Origine du Groupe : Jamaica

Style : Reggae , Dub

Sortie : 2011




By John Bergstrom  from http://www.popmatters.com



Lee “Scratch” Perry turned 75 this year. He has been part of reggae music literally for as long as reggae music has existed. His huge influence on reggae, and dub especially, as producer and
artist, is undeniable. For the past couple decades, though, Perry has been more of a curiosity than a musician in the traditional sense.



From claiming that Island Records’ Chris Blackwell is a “vampire” to claiming to be an extra-terrestrial himself, Perry’s outrageous, though occasionally inspired, non-sequiturs have marked his
post-1970s career. The music has mainly come down to a series of well-known collaborators. Perry’s albums have been overseen by dub maestros Adrian Sherwood and Mad Professor, and Scientist. He
has also worked with the Beastie Boys, the Swiss experimental techno-pop band Yello and the Austrian dub collective Dubblestandart. He’s even appeared on record with film director David Lynch.
The one constant throughout has been Perry’s bizarre orating, made all the more endearing by his unaffected, grandpa-like croak.



Perry’s longevity in a Jamaican reggae world with a lower-than-average life expectancy is nothing short of extraordinary, but when was the last time you could honestly say you were excited about
a new Perry album? The not-so-subtly-titled Rise Again aims to change that. What hasn’t changed is the focus on high-profile collaborators. Only now there are more of them. Overseeing, producing,
and co-arranging the project is veteran dub/psychedelic artist Bill Laswell. The collaboration makes so much sense it’s surprising to realize Laswell and Perry haven’t teamed up before. To
sweeten the pot, Laswell has brought in legends like drummer Sly Dunbar and P-Funk keyboardist Bernie Worrell, and relative fresh faces such as Tunde Adebimpe from TV on the Radio. It’s a noble
effort, and it does result in some of Perry’s most effective work in years. Where and how exactly Perry fits in, however, is up for debate.



Perry hasn’t changed—why would you expect him to? If you were hoping for him to pull off some kind of Bim Sherman or Johnny Cash move and completely remake himself as a sort of shaman, with
musical gravitas to match, know that it doesn’t happen here. No, on Rise Again Perry is still the same eccentric jester. He rails against the “parasites” who threaten his inner peace. He
constantly reminds you who you’re listening to; “Lee Scratch Perry” is one of his favorite phrases. He’ll be rolling along on a fairly lucid line of thought and then hit you with something like
“I conquer Prince Charles”.  Over the course of the album, he claims to be, among other things, the lord of the earth, the father of time, an Ethiopian king and the heart of God. All in that
voice, mind you, that suggests you’re listening to something created by Jim Henson.



A certain amount of this is charming. No one else could utter the word “Satan” as charismatically as Perry does on “Scratch Message”. Each phrase of the chorus is a rebuke to, as Perry puts it,
“Seee-taan”. Really, the evil one had better listen.  When Perry subtitles a song “Japanese Food”, there’s nothing cryptic about it. As Worrell’s signature helium synth sound whines in the
background, Perry deadpans, “Japanese dude / I am a lover of the Japanese food”. But how much more of Lee Perry the Loveable Crazyman do you really need?



That’s where Laswell comes in. Wisely, he forgoes electronics in favor of live, earthy soundscapes that give Perry the rustic backdrop he needs. Laswell and his team of experts add some variety,
too. “Higher Level” sets Perry’s bravado against some soulful flute and backing vocals. It’s a bit Gil Scott-Heron, and it fits. “Orthodox” and “African Revolution” have a more rocksteady reggae
vibe. But Perry’s legacy and Laswell’s expertise lie in dub. Laswell fills tracks like “Scratch Message” and “House of God” with snaking bass, sneaky echo and sound effects that slip through the
cracks in your speakers. On the title track, he captures Perry’s best performance in years, if not decades. Against a somber, almost melancholic backdrop, Perry intones the one phrase, “I rise
again”. He says it with some self-assurance, with some defiance. He almost sings it. And the words beget the deed, because Perry once again has gravitas.



Of course, there’s no way Perry could deliver an entire album that’s so focused and powerful, regardless of who were behind the boards. Thus, on the latter half of the album the “guests” become
the primary vocalists and Perry wafts in and out, a guest on his own record. Put it all together and though the legendary Upsetter of Perry’s golden years has not been resurrected, on Rise Again
he’s closer in spirit to Perry than he has been in quite some time.



Tracklist :

1. Higher Level

2. Scratch Message

3. Orthodox

4. Wake the Dead

5. Rise Again

6. African Revolution

7. Dancehall Kung Fu

8. E.T.

9. House of God

10. Butterfly

11. Inakaya (Japanese Food)

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Cabiria - A Product Of Humankind

http://ecx.images-amazon.com/images/I/51VbMTUgRWL._SL500_AA280_.jpg

http://www.cabiriamusic.com

http://www.myspace.com/cabiriamusic

Origine du Groupe : North America

Style : Trip Hop , Downtempo , Neo-Classic

Sortie : 2010




By Examiner from http://www.amazon.com



Review



CABIRIA: Downtempo Trip Hop, Driven by Classical Voice and Harmony: If you have heard Cabiria perform around New York City this year, they are likely to have made a strong impression on you.
Their unique and powerful sound, mixing modern and classical music, is impressive and haunting. Since the band s first Manhattan show at Side Walk Café this past April, they have had the
opportunity to perform as a trio as well as a larger ensemble. On different occasions, they have been joined by a trumpet player, a bass player, and a drummer, who have joined them on stage as
well as in the recording studio. The band has also ventured outside of New York, giving live performances in Maine and Massachusetts, both areas where they plan to return. If their talent and
determination are indicators of future success, Cabiria is sure to travel further, literally and figuratively, in the future.



Product Description



Cabiria has a unique sound that combines sensual trip-hop grooves driven by classical voice and harmony. The phrasing of their hauntingly melodic music borrows from classical works of composers
such as Rachmaninov and Chopin, with a down-tempo groove inspired by Portishead and many others who have shaped the trip-hop genre. Cabiria's melodic sound is captured through the powerful
operatic vocals of Rachel Jane Henry, who has been trained classically. Part of the band's characteristic sound is the interplay between Rachel's intense, high-register lyrical melodies, and
Meredith Bogacz s sullen and seductive violin playing. The main accompaniment is the nylon string guitar played by Claudio Morsella, adding hints of Flamenco and Spanish technique to the brooding
quality of Cabiria s sound. The trip-hop influence manifests through the combination of live drum and bass, defining this genre for Cabiria. Originally from Boston, Cabiria came to life in 2004
and developed a following in New England by performing most venues in the city. In 2006 they released their debut LP No Time for Dreaming which has been described as a Hauntingly Beautiful
Operatic Trip-Hop Masterpiece . Now in New York City, Cabiria has been performing with a new lineup and has just released their six song EP, A Product of Humankind . This album reflects the new
qualities in Cabiria s sound, as the band tries to market their music to a bigger audience. Cabiria is seeking interests from Labels, Film and other avenues for their music.

 















Tracklist :

1.  Consumed (05:00)

2.  No Help For That (07:20)

3.  A Product Of Humankind (07:21)

4.  Someone I Know (05:09)

5.  Humming Reverie (06:17)

6.  A Comedy Of Errors (03:38)    

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samedi 13 août 2011

Cake - B-Sides and Rarities

http://www.ninebullets.net/wp-images/lenticular3.jpg

http://www.cakemusic.com

http://www.myspace.com/cake

Origine du Groupe : North America

Style : Alternative

Sortie : 2007




By Hal Horowitz  from http://www.allmusic.com



After five mostly successful studio albums, the time seemed ripe in 2007 for a cash-in "Best Of" from irony-heavy pop/rockers Cake. But instead of a typical romp through the band's catalog
highlights, frontman John McCrea and company gathered this set of "rarities." While there are some interesting and hard to find sides here, this is a far too brief 12-track, 40-minute
compilation. There are virtually no liner notes nor any indication of what year the songs were recorded, or in the case of the B-sides, what the A-side was, which is an unforgivable omission for
a historical overview of this type. Everything screams quickie, from the haphazard track sequencing, to the lack of information in the pamphlet and the lackluster graphics. If this is indeed made
for die-hard Cake fans, and who else would even pick it up? It's a shoddy, short set that doesn't show respect for the group's dedicated followers, of whom there are many. A full ten minutes of
the album's already meager running time is dedicated to two versions of Black Sabbath's "War Pigs," with the opening one a studio recording, and the unlisted final cut a live performance. While
both are interesting angles on a song that appears to be outside even Cake's eclectic scope, they are similar enough that the repetition only pads the disc's slim contents. McCrea exposes his
love of country with respectful run-throughs of Kenny Rogers & the First Edition's hit arrangement of "Ruby Don't Take Your Love to Town" and Buck Owens' "Excuse Me, I Think I've Got a
Heartache" that don't add anything interesting to the classic versions. Much better is Cake's take on Barry White's "Never Gonna Give You Up," which twists the tune through McCrea's built-in
sarcasm resulting in the album's most attention-grabbing performance. The spoken word "Thrills" is a cool and strange oddity that gives trumpet player Vince DiFore a chance to solo. Live
recordings, although ones without any crowd sounds including applause, of "Short Skirt, Long Jacket" and "It's Coming Down" aren't substantially different than the originals. A smarmy, unfunny
"Strangers in the Night" sounds like it was done as a goof in rehearsals, and the short instrumental "Conroy" appears to be cooked up in McCrea's home studio in a few minutes when he was bored.
There isn't much of interest for devoted Cake followers and nothing for newcomers, who are advised to avoid this in lieu of the band's first few releases. The better selections would have made
logical additions to a hits assemblage, but this is a disappointing odds and sods product for the longtime fans it is clearly geared to attract.

 






Tracklist :

1. War Pigs     3:53

2. Ruby, Don't Take Your Love to Town    2:56

3. Mahna, Mahna    2:54

4. Excuse Me, I Think I've Got a Heartache    2:21

5. Conroy    3:01

6. Strangers in the Night    2:51

7. Multiply the Heartaches    2:47

8. Never, Never Gonna Give You Up    3:50

9. Thrills    2:59

10. Short Skirt, Long Jacket    3:16

11. It's Coming Down    4:12

12. War Pigs (Featuring Steven Drozd of the Flaming Lips)    5:20

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George Hirota - Sahasurara

http://www.tkshare.com/pic/20101123/20101123081611490.jpeg

Origine du Groupe : Japan

Style : Alternative , Experimental , Ethno

Sortie : 1976




By vdoandsound from http://mutant-sounds.blogspot.com



Following up on my January post of this monster Japanese fusion drummer's second album The Wheel Of Fortune (under the name Joji Hirota), here's his obscure first outing from five years earlier,
and it's a total stunner. Wholly unlike its follow-up, Sahasurara starts off with absurdly over the top psych/prog histrionics akin to the Kali Bahlu-related Lite Storm album that Jim upped long
ago and follows it with a round of becalmed but luscious vibraphone jazz in the mode of Bobby Hutcherson's Montara, which is surely one way of getting my undivided attention. This sorta inspired
trade off between the ripping and rippling is key to this album's particular wiles. When this does finally launch into shredding fusion territory on the flip side, it does so in a sublime Terje
Rypdal-like atmospheric ethno mystery mode, and it's a vibe that just keeps escalating, as the distinctly odd "The Law Of Causality' slowly wheels into view like some dungeon dwelling inversion
of Popol Vuh, with hand percussion and flute trills tracing an occultic route into incipient hysteria. I'll leave the final delicious rug-pull from this headfuck of an album for you to discover
for yourselves...



Tracklist :

1. The Ancient Consciousness Of Evil Spirit

2. Process Of Cloud

3. The Law Of Causality I

4. A Billion Years' Memory

5. The Law Of Causality II

6. Sahasurara-Sunrise

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Matryoshka - Zatracenie

http://www.nautiljon.com/images/cd/6/7/8/zatracenie_20876.jpg

http://www.matryoshka.jp

http://www.myspace.com/matryoshkamusic

Origine du Groupe : Japan

Style : Trip Hop

Sortie : 2007




From http://www.thesirenssound.com



Matryoshka is a Tokyo, Japan based band consisting of the track maker Sen and the female vocalist Calu. During the days when they were playing in the band Parachute Coats, their material was
released as a 7 inch vinyl by a fan in Netherlands and received good attention in the club scene there.



Only a year after the band was formed, they had already received sponsorship offers from Yamaha and were digitally distributed on their download site. Their music can be described as Modern
Classical, IDM, Experimental.

 






Tracklist :

01. Sink into the Sun

02. Slowsnow

03. Evening Gleam Between Cloud

04. Viridian

05. My Funeral Rehearsal

06. Tyrant's Miniature Garden

07. Anesthetic

08. Ezekial

09. Beyond

10. February Lifesaver

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The Tao Of Slick - Jazz Hall The Epitome Of Epiphany

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO9PoN_aQ4YO_SIwSHVkH0QZda-otaBAxwgYglHQvCn96ytnLh1nS_74RdFPbq_ndaFJ53UQlFT36GWwi30V_EVHRBbHO0fY8Q0kh7F8Yx74zKWEOCZURcCVYI_-XI8CbosB28abK-v6A/s1600/The+Tao+Of+Slick+Presents+-+Jazz+Hall+The+Epitome+Of+Epiphany.jpg


http://www.myspace.com/thetaoofslick

Origine du Groupe : North America

Style : Hip Hop Jazz , Nu-Soul

Sortie : 2007




From Official
Myspace
:




"The Tao surrounds everyone and therefore everyone must listen to find it." There is no male without female. No sound without silence. The way by which we arrive at these truths is indescribable;
it is a way of life, and by now even the poets know we lack the language to express life. Instead, we have music. Lyric and drum, melody and break, harmony and dissonance, divine and base. Treble
and bass. We have jazz, we have hip hop, we have soul: at last we have some semblance of a Way. At last, we have Jazzhall. We have the Tao of Slick. In Piankhi 7, Thur Deephrey, and Hazel Black
we have opposites coming together with seamless integration. Underneath it all, Thur Deephrey lays a quilt painstakingly stiched from bits and pieces of the great jazz era, threading his record
player's needle with the precision and dedication not just an executor, but also of a true fan. Piankhi 7, a wordsmith of unrivaled skill and precision, delivers the blows of a warrior, sending
rhymes with the speed of bullets directly into the minds of those brave enough to listen closely. No matter if he spits of love or war, they are made casualties all in the name of truth. If
Piankhi is the action, the force and the storm, then Hazel Black is the meditation. She breathes in the suffering of not only herself, but her whole human family, and out she breathes our joy.
Together they lay waste to entire populations, then clear the way for solid restoration.



Tracklist :

1. Liquid Light

2. The Tao of Slick

3. The First

4. Auset and Nebhet

5. The One

6. Wit It

7. Rise and Shine

8. Wait

9. Da Land

10. Cosmic Lullaby

11. Heart Blue

12. Wonce Enuf

13. Superfood

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Lee Perry - Various Artists - Excaliburman

http://www.culturareggae.com/images/albuns/leeperry_excaliburman.jpg

http://www.roots-archives.com

Origine du Groupe : Jamaica

Style : Reggae , Dub

Sortie : 1972-1978




Tracklist :

01 - The Upsetters - Perry's Mood

02 - Jah T - Hot Pipes

03 - The Upsetters - Trinity Of Life

04 - Deborah Keese - Travelling

05 - Jackie Bernard - Economic Crisis

06 - Lee Perry - Free Up The Prisoners

07 - The Upsetters - Drum Rock

08 - The Upsetters - Dub Organizer

09 - The Upsetters - Jungle Fever

Producer : Lee Perry

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mardi 9 août 2011

Hiromi - Spiral

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_cuI5uUtQHbcBJFXi79XDT2pZoCvZMXqzigjYJ7w3cKfkuNEdxr2Jl5JvqnBltke2LboO7dma9Bnm82r1xqUQRvBCv92KQaXEESmQrxdSqNtVAGjmQPTwFFYW9zhiMFRiFVeQv_AKT93y/s1600/front.jpg

http://www.hiromiuehara.com

http://www.myspace.com/hiromimusic

Origine du Groupe : Japan

Style : Jazz , Piano , Instrumental

Sortie : 2006




From Wikipedia :



Hiromi (上原ひろみ, Hiromi Uehara, née le 26 mars 1979) est une pianiste de jazz née à Hamamatsu au Japon.





Biographie



Hiromi Uehara prend ses premières leçons de piano à l'âge de 6 ans, et démontre rapidement une habileté et une vitesse d'apprentissage hors du commun. À 7 ans, elle intègre la prestigieuse
«Yamaha School of Music» et à 12 ans, elle joue pour la première fois en public avec un orchestre de prestige. À 14 ans, Hiromi voyage en Tchécoslovaquie où elle a l'occasion de jouer avec
l'orchestre philharmonique tchèque. En 1999, elle s'inscrit à la prestigieuse école de musique de Berklee à Boston. Elle y rencontre le célèbre pianiste Ahmad Jamal, qui deviendra son mentor.
Elle obtient son diplôme avec le rang maximal en 2003.





Hiromi en trio



Hiromi jouait à l'origine en trio avec le bassiste Mitch Cohn et le batteur Dave DiCenso. En 2004, elle enregistre son second album Brain avec ses camarades de Berklee, le bassiste Tony Grey et
batteur Martin Valihora. C'est le trio avec lequel elle s'est produite depuis.

 



Tracklist :

1. Spiral

2. Open Door - Tuning - Prologue

3. Deja Vu

4. Reverse

5. Edge

6. Old Castle, By the River, In the Middle of the Forest

7. Love and Laughter

8. Return of the Kung-Fu World Champion

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