mardi 9 octobre 2012

Jimmy Cliff - Rebirth

http://cdn.umg3.net/trojanrecords/media/70858/jimmy%20cliff%20%27rebirth%27%20trojan%202012.jpg
http://www.jimmycliff.com


Origine du Groupe : Jamaica
Style : Reggae
Sortie : 2012
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By Paul Whitelaw    from http://www.bbc.co.uk

Has anyone ever sounded as joyous as Jimmy Cliff when expressing such deep concern for the state of the world? Now aged 64, the reggae superstar sounds as socially engaged as ever on this remarkably consistent set of mostly self-penned songs, which explicitly revisit the sonic terrain of his biggest 60s/70s hits.

What could've felt like an ageing artist desperately chasing past glories instead succeeds as a vibrant reconnection with what made him so great in the first place. The refusal to modernise that signature fusion of reggae, pop and soul is an astute decision on the part of Cliff and his producer, Rancid frontman Tim Armstrong.

These crisp, uncluttered arrangements are perfectly in tune with the instantly memorable, pleasingly familiar material Cliff’s made his name with. And much of it compares favourably with his best work.

He remains in tremendous voice, sounding fully engaged with a project that clearly means the world to him. Indeed, Rebirth is nothing if not his urgent state of the planet address.

And yet whether pointing his finger at corporate greed and expressing support for the Occupy movement in Children's Bread, or offering a heartfelt prayer to recession-hit families in Cry No More, he never sounds overly-earnest. Instead, the sheer exuberance and grace that he brings to these universal protest anthems more than makes up for the occasional lyrical lapse.

So, while a line like “Rebel, rebel, rebel, take it to the next level” is rather nebulous – a clarion cry generalised into meaninglessness – it's the spirit of Cliff's performance that matters most, rather than any specific meaning.

Which is why a song like World Upside Down – essentially a mirror-image sequel to his exultant 1969 hit Wonderful World, Beautiful People – doesn't sound as trite as it might in the hands of, well, practically anybody else. Even when ploughing through his rhyming thesaurus for broadsides against everything from “ecological calamity” to mere “vanity”, Cliff undoubtedly believes in every word.  

The title of this delightful album is no idle boast: this is the sound of a great artist fully re-engaged with his muse.


Tracklist :
01 – World Upside Down
02 – One More
03 – Cry No More
04 – Children’s Bread
05 – Bang
06 – Guns Of Brixton
07 – Reggae Music
08 – Outsider
09 – Rebel Rebel
10 – Ruby Soho
11 – Blessed Love
12 – Ship Is Sailing
13 – One More

Terrakota - Re-Cooked Sessions

http://4.bp.blogspot.com/-cnvz3nd44QY/UA8Oq1qD6_I/AAAAAAAANF4/f4cvybFSCko/s1600/Terrakota+-+Re-Cooked+Sessions+%25282012%2529.jpg

https://terrakotaofficialpage.wordpress.com
https://www.myspace.com/terrakota


Origine du Groupe : Portugal
Style : Dub World , Reggae
Sortie : 2012

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From http://optimusdiscos.pt

Terrakota nasceu da viagem e cresceu com a mistura. Não sabe nem quer saber o que são fronteiras. Considerados os embaixadores da multiculturalidade de Lisboa, são já uma referência da música mestiça e de fusão no cenário nacional e internacional.Detentores de uma identidade musical sólida construída a partir de uma inspiração global em elementos tradicionais e contemporâneos, têm vindo a apurar o seu estilo inventivo, mestiço e bem condimentado. A sua música fala por si, une povos, línguas e culturas. Reivindica, exige e concretiza a dimensão universal do ser humano através de uma consciência política e interventiva vital que intensifica ainda mais a energia do espectáculo.
A semente plantada no Burkina Faso, em 1999, germinou em território português e tem dado frutos pelo mundo fora, entre viagens de pesquisa musical e concertos nos palcos mais importantes do roteiro da world music.O reconhecimento disso foi a recente nomeação para o Songlines Music Awards 2011 na categoria de Best Group. O mapa-mundo é virado do avesso e as fronteiras são varridas por esta música poliglota, como se português, creolo, wolof, espanhol, inglês, francês, árabe, fossem uma língua só. Um passaporte para uma viagem pelo globo em passo de dança ao som de ritmos mandinga, afro-cubanos, soukous, funaná, samba, reggae, gnawa, afrobeat, desert blues, batuque, flamenco, maracatu, música árabe, rap ou chimurenga, e mais recentemente com influências da música indiana.
Os Terrakota passaram o inverno passado a "dubbar" sons dos álbuns antigos e a convidar outros cantores que a banda foi conhecendo por esse Mundo fora, sem medo de entrar por novas e mais ousadas texturas musicais. O  EP “Re-Cooked Sessions” é o primeiro resultado destas experiências. Trata-se da reinvenção de temas dos álbuns “World Massala” e “Oba Train” (a abrir o apetite para um álbum completo de remisturas previsto para o final de 2012) e tem a participação de Mahesh Vinayakram, da estrela de Bollywood Vasundhara Das, Kuthla Khan dos Rajasthan Roots, Hélio Bentes dos Ponto de Equilíbrio e Florian Doucet dos Family Jammin’, Conductor (Ngonguenha, Buraka Som Sistema), Ikonoklasta (Batida, Ngonguenha), K Kota (Nigga Poison) e Beat Laden. Ao contrário do habitual, são os próprios músicos que estão a remisturar, aplicando uma linguagem dub a todo o tipo de ritmos na procura de sonoridades novas, mais planantes e envolventes.


Tracklist :
01 - So Free feat Helio Bentes
02 - Massala Dub feat Vasundhara Das & Mahesh Vinayakram
03 - Move On feat Florian Doucet
04 - Ayam Dub
05 - Chelo Habibi Dub feat Mahesh Vinayakram & Kutla Khan

 

Hacienda - Shakedown

http://www.altweeklies.com/imager/hacienda-shakedown/b/main/6329765/83bf/st120620125848.jpg
http://www.haciendaonline.net
https://www.myspace.com/haciendaspace


Origine du Groupe : North America
Style : Alternative Rock , Indie
Sortie : 2012
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By WOODY  from http://www.hearya.com

I’ve had Hacienda’s new LP for a couple of months now and to be honest, I wasn’t feeling it on the first few spins. I recently revisited it as I was scrolling though my iPod, mostly because I like the guys so much. I felt like I owed it to them. Thankfully their good nature won out because now I’m in love with it.

Shakedown finds the San Antonio quartet working with Dan Auerbach of The Black Keys for the third time. And just as Auerbach has been picking up some new ideas and sounds from past collaborations with Danger Mouse, Hacienda has broadened their sound as well. That’s what threw me off on the first few spins. There were areas that I found a little too polished, but once I starting paying attention, I realized I was missing the cool nuances and tones that Auerbach had instilled in this album.

After digging into Shakedown, there were a couple of things that really stuck out to me. The tones that Auerbach pulls out of the rhythm section are sublime. They vary from funky to distorted to soulful. After producing their first two albums and backing his solo tour, Hacienda are obviously quite comfortable taking some sage advice from Auerbach. The other thing that really tickled my fancy were the backing vocals. They really bring something to tracks like Let Me Go, Natural Life and Veronica.

So after three great albums with Dan Auerbach, where does Hacienda go from here? I love that each album shows Hacienda trying out new tricks while staying true to their roots. Obviously Auerbach has been instrumental in this, but I really would like to see the boys step out on their own, even for one album. Maybe see things from a different point of view. Either way, I’m sure whatever lies ahead will be awesome.


Tracklist :
01 – Veronica
02 – Let Me Go
03 – Don’t Turn Out the Light
04 – Savage
05 – You Just Don’t Know
06 – Don’t Keep Me Waiting
07 – Natural Life
08 – Doomsday
09 – Don’t You Ever
10 – Pilot in the Sky


The Cinematic Orchestra - Remixes 98-2000

http://img1.nnm.ru/9/2/f/0/d/92f0d2e0211c346ef65a9391adea6b64_full.jpg
http://www.cinematicorchestra.com


Origine du Groupe : U.K
Style : Electro Ambient , Instrumental , Downtempo
Sortie : 2001
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From http://www.amazon.com

2001 release, a collection of remixes from this intelligent British Electronic outfit led by Jason Swinscoe. Remixes 1998-2000 includes seven reconfigurations of Electronica gems from the likes of Kenji Eno, DJ Krust, and Piero Umilani. Atop their own core sound of bass, drums, and keyboards, the band deftly mixes in samples from the original tracks. The result is a loose-sounding mix of lengthy wide-screen pieces, which conjure up thoughts of Henry Mancini, John Barry, Jah Wobble, DJ Spooky, Herbie Hancock, and King Tubby. Ninja Tune.


Tracklist :
01. Faze Action – Moving Cities (The Cinematic Orchestra Remix)
02. The Cinematic Orchestra – Channel 1 Suite (Tom Tyler Remix)
03. Kenji Eno – The Fear Theme (The Cinematic Orchestra’s Re-interpretation)
04. Les Gammas – Guauanco (The Cinematic Orchestra’s Extended Version)
05. Piero Umiliani – Panoramica (The Cinematic Orchestra Remix)
06. Nils Petter Molvaer – Vilderness (The Cinematic Orchestra Remix)
07. DJ Krust – Re-Arrange (The Cinematic Orchestra Remix)
08. The Cinematic Orchestra – Exit Music (Radiohead cover)

Left Lane Cruiser and James Leg - Painkillers

http://www.savingcountrymusic.com/wp-content/uploads/2012/06/left-lane-cruiser-james-leg-painkillers.jpg

https://www.myspace.com/leftlanecruiser


Origine du Groupe : North America
Style : Punk Rock Blues
Sortie : 2012

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By The Triggerman  from http://www.savingcountrymusic.com

Holy shitballs.

Listen to me folks, GET THIS ALBUM! I know it’s my job as some high fallutin’ music writer to come up with a bunch of stuff to say about music. But after listening to Painkillers, if I were you, I’d skip all the gabbing and just go get it. And then find the biggest, loudest audio player you can procure and crank it to 10. If you want to flatter me, come back and read the rest at some other point.

The merging of Black Diamond Heavies keys player James Leg with the dirty punk blues duo Left Lane Cruiser known as Painkillers is not a cover album. No, it’s a concept album. Yes, it is made of all covers, songs like “Come to Poppa” made popular by Bob Seger, “When The Levee Breaks” by Led Zepplin, but this is a concept album in the truest sense. Concept is what so many albums are lacking these days, and how this album takes a rag tag of recognizable songs from the rock and blues worlds and makes them into a remarkable collection that marks the most viscerally-satisfying album I have heard so far this year. Wanton, ribald, reckless, and uninhibited, Painkillers will have you slam dancing and pissing off the neighbors.

Painkillers isn’t just a catchy idea to sketch some cover art around, it is the idea this album is built from, to take a bunch of timeless, kick ass songs, give them the dirty, heavy-handed Left Lane Cruiser/James leg punk blues treatment, with the result being an album that is perfectly concocted to kill pain. That’s what’s so genius about it. If they had released a batch of original songs under this concept, the painkilling would just be a placebo. By taking songs we all know and love already, songs that mean something to us, the medicine is potent, fast-acting, striking right at your gut.

How’s the instrumentation on the album? The approach? Dirty. Real dirty. Nasty, filthy. All the songs are awash in a mess of gritty reverb and distortion. Don’t come here looking for any lightning-fast chicken-picking licks to tinkling of keys, this is about immersing you in a wall of sound. And though the nasty, dirty punk blues approach may not be for everyone, the song selections are. Pure genius went into picking these songs. For me personally, I didn’t care for some of the blues standards, but “Chevrolet” made famous by Taj Mahal, and The Rolling Stones’ “Sway” are two of my favorite songs of all time, and to hear the James Leg/Left Lane Cruiser tandem do their worst with them was a gift tantamount to a pull of nectar from a goddesses nipple.

One word of caution: Yes, Painkillers is habit forming. (Come on, did you think I was going to make it all the way through this review without some drug cliches?) And just like many albums that pull you right in on the first play, Painkillers can lose its potency rather quickly. But after you set it down for a few days, you will find it calling you back once again.

No joke, if you’re depressed, lonely, angry, sad, whatever, as prescribed, Painkillers will get you to feeling right.

Two guns up!


Tracklist :
01. Sad Days Lonely Nights (3:18)
02. She's Gone (3:13)
03. Come To Poppa (3:50)
04. Red Rooster (2:55)
05. If 6 Was 9 (3:48)
06. Shake It (5:21)
07. Ramblin On My Mind (2:55)
08. Chevrolet (2:34)
09. When The Levee Breaks (4:24)
10. Sway (3:23)

Lunatic Calm - Metropol

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiInovMw-bsf_BXBeCibolzUJehCAXqHyk1r0WUk6mneuX4skt3QBt7jtqFXUJ1sDI19xPU7j4-tpoQnDEksf5R77uKhlv3LGblX5suYj1q3diEtWjwgDiKZ53T4wFhKfcL-P3AyIOTgwk/s320/0000.jpg

http://www.last.fm/music/Lunatic+Calm
http://www.discogs.com/artist/Lunatic+Calm


Origine du Groupe : U.K
Style : Industrial Breakbeat , Electro Rock
Sortie : 1997

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By "blackfox23  From http://www.amazon.com

This is one of the first techno/breakbeat style CDs that I've owned, and its been one of my favorites ever since. One of the most popular songs, "Leave you Far Behind" has made appearances in numerous soundtracks for films, games and other media (Such as "The Matrix," "The Jackal", "Mortal Kombat", "Test Drive 6" and so on)...and for good reason, this song is probably one of the best in its genre. Some other highlight songs include "Roll the Dice" and "Neon Ray," both interesting and different and have worked their way into games and movies (i.e. "Need for Speed:HS", "Arlington Road"...etc). Over all, this CD includes music made to get your adrenaline going and others that have a mellow tone, and almost all tracks being good in their own way. This should be a must for someone into tech, breakbeat, and/or rock music.


Tracklist :
01 - Fuze
02 - Leave You Far Behind
03 - The Sound
04 - Neon Ray
05 - It Evolves On Its Own
06 - Choke
07 - Long Shadows
08 - Roll The Dice
09 - Meltdown
10 - Metropol
11 - Punkywhitenoisething
12 - Neon Reprise

lundi 8 octobre 2012

Orelha Negra - Orelha Negra

http://4.bp.blogspot.com/-MI-2pWGo39Y/T8v3WBdYYXI/AAAAAAAAMoM/DBQFhPG9uto/s1600/Orelha+Negra+%25E2%2580%2593+Orelha+Negra+%25282012%2529.jpg

https://www.myspace.com/orelhanegra


Origine du Groupe : Portugal
Style : Alternative , Instrumental, Soul, Funk, Hip Hop, Trip-Hop, Downtempo
Sortie : 2012

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From http://www.enchufada.com


The thrive to share experiences- in a studio and on stage- was always in the core of music creation. When you combine the individual experience with the common goal, you get more than the sum of all parts, you have ORELHA NEGRA.

Unique bunch of “characters” that bring their talent and knowledge of music to another level compose this Project. For whom it might concern we have Cruz (DJ/ Scratches), Ferrano (Drums), Gomes Prodigy (Keyboards, Synths), Mira Professional, (Voice Sampler/MPC, Synths) and Rebelo Jazz Bass (Bass guitar, Rhythm Guitar).

Orelha Negra uses the sleeve cover technique (sleeveface.com) as a way to bring up the image of a collective enhancing the core and prominence of this project, which is their music.

A MPC, a pair of Technics turntables, Drums, Keybords, Bass and Rhythm guitar. United becomes living tissue that emanates groove beats, samples, loops and a sound of their own.

Orelha Negra is the result of putting together pieces of a puzzle. In each piece you find music history, the roots of black music such as Jazz, Soul, Funk, Groove and Hip-Hop, and a lot of Portuguese culture represented by renowned musicians that are translated to the collective’s language. The ability to transform their influences in to a unique and new sound is their challenge….

You find in their sound borders that are defined by the past, present and a near future. A sound that makes you stamp your foot or clap your hands, a sound that you can´t stay different to…. It makes you reminisce and try to recognize that groove or beat or sample but it turns out to be a fresh new sound in your face!!!!!


Tracklist :
01. Um Brinde
02. Blue Tu
03. Polaroid
04. Throwback
05. Round4Round
06. No Ar
07. Espelho
08. Golden Hotel
09. Juras
10. O Segredo
11. Bala Cola
12. Viva Ela
13. 34-7
14. Luta
15. Aurora

DJ Kentaro - Contrast

http://pingpong.fr/wp-content/uploads/2012/07/dj_kentaro_contrast_jacket-carre.jpg

http://www.djkentaro.jp
https://www.myspace.com/djkentaro


Origine du Groupe : Japan
Style : Abstract Electro , Breakbeat , Turntable
Sortie : 2011

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From http://ninjatune.net/djkentaro

DJ Kentaro returns in August 2012 with his new album 'Contrast', his first since 2007's 'Enter'. One of the world's top turntabalists (receiving top marks and winning at the DMC's no less), 'Contrast' sees Kentaro reinforce his undoubted production chops and add a destructive floor-filling sound to his music.

Featuring the likes of Kid Koala, Foreign Beggars, DJ Krush, Fire Ball, D-Styles, MC Zulu and Matrix & Futurebound, DJ Kentaro has gathered a talented group of guest artists for this record. As turntablist, of course, and also as producer, he paints with a vivid contrast.


Tracklist :
01 – Torus (Oto)
02 – Kikkake (feat. DJ Krush)
03 – Higher
04 – North South East West (feat. Matrix & Futurebound)
05 – Step In (feat. Foreign Beggars)
06 – Big Timer (feat. MC Zulu)
07 – Fire Is On (feat. Fire Ball)
08 – Lapis Lazuli
09 – Crossfader (feat. Kid Koala & D-Styles)
10 – Next Page (Dora) (feat. C2C)
11 – Step In (Instrumental) (Digital Bonus Track)

 

Mr. Moods & Vicky Flint - Straight twisted lounge

http://f0.bcbits.com/z/39/58/3958367729-1.jpg

http://mrmoods.bandcamp.com
http://www.vickyflint.co.uk


Origine du Groupe : Canada , U.K
Style : Abstract Hip Hop Jazz , Acid Jazz
Sortie : 2011

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From http://mrmoods.bandcamp.com

Collaboration with trumpetist Vicky Flint and beatmaker Mr. Moods.

Credits

Lyrics and cuts by Jesse Warner
Trumpet on all selections, Vicky Flint
Music background and twisted rhythms by Christian Denis (Mr. Moods).
Produced, mixed, mastered and arranged by Mr. Moods.


Tracklist :
1.The one and only (With Cheese) 03:43    
2.The end of the affair 04:21    
3.You got the feeling 04:05    
4.Subterranean horn 05:10    
5.My love for you 04:20    
6.Love is a prelude (With Skence) 04:42        
7.The one and only (Instrumental) 03:47

Hollie Cook aux Vieilles Charrues

http://b.vimeocdn.com/ts/325/666/325666439_640.jpg

http://holliecook.com


Origine du Groupe : U.K
Style : Reggae
Sortie : 2012
Durée 01:01:34

hd dvd rw

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Par http://liveweb.arte.tv

Quoiqu’elle ait chanté les chœurs dans les Slits, Hollie Cook n’a rien d’une « typical girl ». A l’âge où ses semblables écoutent des comptines sur un lecteur Fischer Price, la petite Hollie assiste aux répétitions de Culture Club, le groupe de sa mère, tandis que papa Paul Cook – batteur des – l’initie au rock. A l’adolescence, au lieu d’user ses pantalons sur les bancs de l’école d’art, la Londonienne part en tournée aux côtés d’Ari Up, la regréttée égérie punk aux longues dreads-locks, qui lui fait découvrir le chant.

Mais marcher dans les pas de son père en jouant sur des guitares crasseuses serait trop facile, aussi Hollie Cook va chercher d’autres racines musicales du côté du rocksteady, du ska et du dub. Sur son premier album paru en 2011, elle remet au goût du jour le reggae old-school – dont elle invite les figures de proue George Dekker (The Pioneers) et Dennis Bovell – en mêlant aux orgues et au skank des éléments plus pop (piano, chant éthéré), le tout étant relevé par la production très contemporaine de Prince Fatty. Un mélange qu’elle qualifie elle-même de « tropical pop » – adjectif qui devrait convaincre les festivaliers en manque de soleil.

Silverstreaks - Dream Noir

http://i064.radikal.ru/1207/fa/2acd47d6f6c9.jpg

http://soundcloud.com/silverstreaks
https://www.facebook.com/pages/SilverStreaks


Origine du Groupe : U.K
Style : Trip Hop
Sortie : 2012

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From https://www.facebook.com

About
We are Silverstreaks. We are dark bass, heavy beats, layered with soft and dreamy vocals and surreal key changes to add a fairy tale like athmosphere.


Description
So we are silverstreaks, an electronic band from East London.

We are dark bass, heavy beats, often outside the 4/4 dimensions... layered with soft and dreamy vocals, surreal key changes to add an other-worldlyness and fairytale like ambience to our songs. You might even say Tim Burton is in there somewhere.

Influence wise, we can not deny the love for trip hop/indi bands and artists such as Blonde Readhead, Portishead, Beth Gibbons, Massive Attack, Björk, Ladytron, Robots in Disguise, Sneaker Pimps, Fisherspooner etc.... Jack White, Radiohead, Kasabian and other rock/indi-electro groups have found their way into our songs, especially in the later ones. And yes, if you listen very carefully you might just hear some traces.

We are hard to pigeonhole. So we've been told by quite a few producers and whatnots. I have to say, I'm pretty proud of this.


Tracklist :
01. Black Sheep
02. Dream Noir
03. City Sirens
04. Vexed & Things
05. Sepia
06. Folkz
07. The Black Light
08. Ashtray
09. A Secret
10. Shadow Puppets - Pi Ying Xi
11. Like City

 

mercredi 3 octobre 2012

Deux traités pour un coup d’Etat européen

Par Raoul Marc Jennar
Juin 2012
pour http://www.monde-diplomatique.fr

english

Le ministre de l’économie français, M. Pierre Moscovici, a annoncé que le traité budgétaire européen ne serait « pas ratifié en l’état » et qu’il faudrait le « compléter par un volet croissance ». Mais la renégociation promise suffira-t-elle à modifier la nature d’un texte qui annonce le démantèlement des systèmes sociaux et des mécanismes démocratiques européens ?

Le traité sur la stabilité, la coordination et la gouvernance (TSCG) dans l’Union économique et monétaire « rassure peut-être les amis politiques de la chancelière Angela Merkel, observait récemment Mme Bernadette Ségol, secrétaire générale de la Confédération européenne des syndicats (CES), mais sûrement pas les millions de chômeurs, travailleurs pauvres et précaires en Europe, qui attendent en vain un véritable soutien de la part des institutions européennes. C’est pourquoi nous y sommes opposés (1) ». La déclaration n’avait rien d’anecdotique de la part de la dirigeante d’une organisation qui ne s’était jusqu’ici opposée à aucun traité européen ; sa complaisance à l’égard de Bruxelles avait même conduit l’un de ses fondateurs, le syndicaliste belge Georges Debunne, à déplorer que la CES soit devenue la « courroie de transmission du patronat européen (2) ».

Signé le 1er mars par vingt-cinq gouvernements de l’Union européenne, le TSCG — qui impose notamment la « règle d’or » en matière budgétaire (lire « Huit dispositions principales ») — doit être ratifié au cours des prochains mois. Cadenas condamnant l’accès aux ressources publiques nationales, il s’accompagne d’un autre traité instaurant le mécanisme européen de stabilité (MES). Ratifié par le Parlement français le 21 février 2012 — avec l’abstention bienveillante de l’immense majorité des élus socialistes et écologistes —, le MES constitue une sorte de Fonds monétaire international (FMI). Il est destiné à prendre le relais, à partir de 2013, des instruments créés en 2010 pour faire face à la crise de la dette en Europe (3).

Transfert de compétences 

 

Ces deux textes marquent une étape importante dans le démantèlement des institutions démocratiques et le détricotage des modèles sociaux européens. Après une phase de relative discrétion, cette évolution ne peut plus être ignorée : le poids croissant de la Cour de justice de l’Union européenne (CJUE) et des jurisprudences qu’elle élabore, puis les traités proposés par M. Jacques Delors quand il était président de la Commission (Acte unique de 1986, traité de Maastricht de 1992), ont favorisé l’émergence d’une puissante technocratie qui n’est pas tenue de rendre des comptes aux citoyens, et qui peut les priver de certaines conquêtes sociales. Cette dérive fut confortée par les décisions prises lors des sommets de Lisbonne (2000) et de Barcelone (2002), alors que treize des quinze gouvernements de l’Union européenne s’inscrivaient pourtant dans la mouvance sociale-démocrate ; puis à nouveau par l’adoption parlementaire en 2008, en France et aux Pays-Bas, du traité de Lisbonne, dont l’essentiel du contenu avait été rejeté par voie de référendum trois ans plus tôt dans ces deux pays.

Ce passage en force en annonçait un autre : l’utilisation de la procédure dite « simplifiée » pour la création du MES par les pays de la zone euro. Théoriquement, elle ne peut être employée pour « accroître les compétences attribuées à l’Union (4) ». A l’évidence, le MES entre dans cette catégorie. Dirigé par un conseil des ministres des finances appelés « gouverneurs », il s’apparente à un Etat dans l’Etat : il est indépendant du Parlement européen et des Parlements nationaux, ses locaux et ses archives sont inviolables, et il ne pourra faire l’objet de poursuites.

En revanche, lesdits « gouverneurs » pourront saisir la CJUE, seule compétente, contre un Etat membre contrevenant. Le MES vise à « mobiliser des ressources financières et [à] fournir, sous une stricte conditionnalité (5) », un soutien à un pays membre qui connaît de graves difficultés financières susceptibles de menacer la stabilité de la zone euro. A cette fin, il dispose de la capacité de lever des fonds auprès des Etats et sur les marchés. Son capital est fixé à 700 milliards d’euros, fournis par les Etats membres, qui s’engagent « de manière irrévocable et inconditionnelle » à doter le MES « dans les sept jours suivant la réception de la demande ». Pour sa part, la France devra verser 142,7 milliards d’euros. Le MES pourra décider de revoir à la hausse la contribution de chacun des Etats membres, sans que ceux-ci aient leur mot à dire.

Quand un pays sollicitera le soutien du MES, c’est la Commission, en liaison avec la Banque centrale européenne (BCE), non soumise à un contrôle démocratique ou politique, qui estimera le risque encouru par la zone euro. En collaboration avec le FMI, elle appréciera la « soutenabilité » de l’endettement public du demandeur et évaluera ses besoins « réels » en termes de financement. Ensuite, si le soutien est accordé, c’est encore la Commission, en lien avec la BCE et le FMI, qui en négociera les termes avec l’Etat demandeur. Cette « troïka » sera chargée du respect des conditions imposées.

Le MES bénéficiera de l’apport des Etats membres, mais pourra aussi faire appel au marché des capitaux. Ce qui signifie qu’il sera lui-même soumis aux agences de notation. Les banques, qui peuvent emprunter à 1 % auprès de la BCE, prêteront au MES à un taux nettement supérieur, puis le MES aux Etats… à un taux encore supérieur. Ces fonds serviront à payer la charge de la dette, et donc à garnir les coffres des banques. En résumé, le nouveau mécanisme s’annonce bien plus avantageux pour les banquiers que pour les populations. Or il ne s’agit pas d’une délégation de souveraineté réversible, mais d’une perte d’indépendance que le traité qualifie d’« irrévocable et inconditionnelle ».

Et, déjà, une seconde étape se dessine. Car, contrairement à ce qu’affirment certaines personnalités écologistes qui comparent le MES à une « mutuelle » (6), un Etat devra avoir accepté l’austérité budgétaire prévue par le TSCG pour avoir accès aux aides prévues : les deux traités sont indissociables. Il serait ainsi illusoire de prétendre renégocier l’un sans toucher à l’autre. C’est pourtant ce qu’a promis le nouveau président français, M. François Hollande, lors de sa campagne.

Le TSCG contraint les pays signataires à constitutionnaliser la « règle d’or ». Au cas où la Commission — seule compétente ici — décèlerait un « déficit structurel (7) », les Etats devront mettre en place un mécanisme de correction « automatique », c’est-à-dire « qui ne sera pas soumis à la délibération parlementaire ». Ce ne seront donc plus les élus, mais le Conseil constitutionnel qui aura le pouvoir de contrôler la conformité des budgets avec cette nouvelle règle. Lorsqu’un Etat sortira du cadre fixé (déficit budgétaire supérieur à 3 % du produit intérieur brut [PIB] et dette dépassant 60 % du PIB), il devra soumettre un programme de réformes structurelles contraignantes à la Commission et au Conseil. On en imagine sans peine le contenu : « réforme » du marché du travail, remise en cause des retraites, réductions salariales, baisse des budgets sociaux, de santé et d’éducation, privatisations.

Le TSCG ampute la raison d’être première du Parlement : le pouvoir de décider des recettes et des dépenses. Il transfère un rôle considérable à la Commission européenne. Il confie à la CJUE le soin de régler les différends entre Etats, alors que sa mission se limitait jusqu’ici à l’imposition de la législation européenne — un rôle dont elle s’acquitte d’ailleurs avec un zèle tout particulier lorsqu’il s’agit de privilégier les logiques libérales (8).

Selon les défenseurs de ce traité, celui-ci mettrait en place une « gouvernance économique commune (9) ». Les mécanismes créés visent au contraire à enfermer les politiques budgétaires et économiques dans des règles rigides et des automatismes qui interdisent toute adaptation à la situation de chaque pays. Si le terme « gouverner » a un sens, il ne peut se réduire à l’application systématique de règles immuables. Ni admettre l’irresponsabilité dont bénéficient en la matière la Commission et la Cour. Comme le président François Mitterrand avait cédé au chancelier Helmut Kohl, qui réclamait l’indépendance de la BCE, M. Nicolas Sarkozy a cédé à Mme Merkel sur le MES et le TSCG. Mais, si Mitterrand avait finalement soumis le traité de Maastricht à référendum, le président Hollande, lui, a pour le moment écarté cette possibilité, estimant que le TSCG ne contenait pas de transfert de souveraineté. En revanche, au cours de sa campagne, il a promis — au grand dam de Mme Merkel — d’en demander la renégociation, arguant de la faiblesse des dispositions en faveur de la croissance économique.

Considérant que la fiscalité relève de la souveraineté nationale, le Royaume-Uni et la République tchèque ont refusé de signer ce traité qui entérine ce transfert de compétences. Les Etats signataires ont explicitement renoncé à l’exigence de ratification unanime par les Etats membres — qui est le principe dans l’Union —, et ont eux-mêmes fixé à douze ratifications (sur vingt-cinq) le seuil permettant l’entrée en vigueur du TSCG. Les gouvernements n’ont pas souhaité tirer les leçons des référendums français et néerlandais, en 2005 : ils tentent une nouvelle fois d’imposer, constitutionnellement, la même politique économique et financière pour tous.

Raoul Marc Jennar
Auteur de Quelle Europe après le non ?, Fayard, Paris, 2007. 
(1) Communiqué de presse du 31 janvier 2012.
(2) Lors de la réunion publique organisée par M. Henri Emmanuelli contre le traité constitutionnel européen (TCE), le 20 avril 2005 à Paris.
(3) Lire Bernard Cassen, «  Contorsions pour sauver la monnaie unique  », Le Monde diplomatique, janvier 2012.
(4) Article 48, paragraphe 6, alinéa 3 du traité sur l’Union européenne (première partie du traité de Lisbonne).
(5) Traité instituant le mécanisme européen de stabilité, DOC / 12/3, Journal officiel de l’Union européenne, Luxembourg, 1er février 2012.
(6) Jean Paul Besset, Daniel Cohn-Bendit, Alain Lipietz et Shahin Vallée, «  Mécanisme européen de stabilité : la bourde historique de la gauche  », Le Monde, 24 février 2012.
(7) Le déficit structurel correspond au déficit budgétaire en dehors des variations de la conjoncture.
(8) Lire Anne Cécile-Robert, «  Syndicats phagocytés  », Le Monde diplomatique, mars 2009.
(9) Editorial du Monde, 10 février 2012.

Les membres du Parlement européen doivent se tenir prêts à rejeter l'accord commercial Canada-UE, clone d'ACTA

Pour http://www.laquadrature.net
2 Oct. 2012

À l'approche du prochain round de négociations de CETA (accord commercial Canada-UE)1, La Quadrature du Net publie son web-dossier dédié. L'organisation citoyenne appelle les membres du Parlement européen à exiger une transparence totale sur ces négociations et à se tenir prêts à rejeter CETA de la même manière qu'ils ont rejeté ACTA, si jamais des dispositions anti-Internet et des attaques contre les libertés et droits des citoyens subsistaient dans la version finale de l'accord.
 
À nouveau, la Commission européenne tente de contourner le processus démocratique et d'imposer des mesures répressives pour les libertés en ligne à travers un accord commercial. Bien que le commissaire De Gucht prétende que les dispositions issues d'ACTA ne se trouvent plus dans la version actuelle de CETA, rien ne permettra de vérifier cette affirmation tant que les négociateurs conserveront ce document secret. La dernière version fuitée de CETA, datant de février 2012, reproduit mot pour mot les pires dispositions anti-citoyens d'ACTA, au nom cette fois du Canada et de l'UE.
La Quadrature du Net publie son web-dossier sur CETA et appelle les membres du Parlement européen à s'opposer, une fois encore, aux tentatives honteuses de contournement des processus démocratiques de la Commission européenne. Les députés européens doivent exiger de la Commission qu'elle publie la version actuelle de CETA avant le prochain – et probablement dernier – round de négociations à Bruxelles, prévu du 15 au 26 octobre.

Dans le cas où des dispositions répressives issues d'ACTA s'attaquant à l'Internet libre et aux libertés de ses utilisateurs seraient toujours présentes dans la version actuelle de CETA, les membres du Parlement européen doivent garantir aux citoyens qu'ils resteront fidèles à leurs engagements et rejetteront l'accord commercial dans son ensemble.

« Apparemment, la Commission européenne n'a pas tiré les leçons de sa défaite cinglante de juillet dernier. Il semble au contraire que le commissaire De Gucht cache de nouveau des informations essentielles aux citoyens et députés européens, et tente de contourner le processus démocratique avec CETA pour imposer ses mesures répressives. Les eurodéputés doivent rester fidèles à la position courageuse qu'ils ont adopté contre ACTA, et rejeter CETA dans son ensemble si jamais les dispositions issues d'ACTA se trouvaient toujours dans la version finale de l'accord. » a déclaré Jérémie Zimmermann, cofondateur et porte-parole de l'organisation citoyenne La Quadrature du Net.


MEPs must be ready to reject an ACTA-like Canada/EU Trade Agreement

 Ahead of the next round of negotiations of CETA, the Canada/EU Trade Agreement1, La Quadrature du Net publishes its dedicated web-dossier. The citizen organization urges the Members of the European Parliament to demand full transparency and be ready to reject CETA as they did with ACTA, if any of the anti-Internet, anti-citizens' freedoms provisions remain in the final agreement.
 
Once again, the EU Commission is trying to bypass the democratic process by imposing general measures against freedoms online in a trade agreement. Although Commissioner De Gucht's asserts that ACTA measures are not present in current CETA draft anymore, this is a proof-less assertion, as the negotiators are keeping relevant documents secret. The latest leak – dated February 2012 – contains the exact same anti-citizen provisions as ACTA, pushed by both Canada and the EU.

La Quadrature du Net publishes its CETA web-dossier and urges Members of the European Parliament to stand, once more, against the Commission's shameful attempts to bypass the democratic process. MEPs are invited to demand the Commission publishes the current text of CETA, before the next round of negotiations in Brussels from October 15th to October 26th, even more so as negotiators claim it will be the final round.
If any of the ACTA provisions threatening a free Internet and users' freedoms online are still present in the current text, MEPs must give guarantees to EU citizens that they will honour their past commitment and reject CETA.

“Apparently the EU Commission didn't learn from its tremendous defeat last July on ACTA. It seems that Commissioner De Gucht is once again hiding key information from citizens and MEPs and trying to bypass the democratic processes with CETA in order to impose repressive measures. MEPs must stick to their courageous position against ACTA, and reject CETA as a whole if ACTA-like provisions are present in the final agreement.” declared Jérémie Zimmermann, co-founder and spokesperson of the citizen organisation La Quadrature du Net.

Suhov & Mil - Dusty Hungarian Soundbytes

http://f0.bcbits.com/z/31/83/3183823019-1.jpg

https://www.myspace.com/suhovbeat
https://www.facebook.com/suhovbeat


Origine du Groupe : Hungary
Style : Beatmaker , Abstract Hip Hop
Sortie : 2012

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From http://suhov.bandcamp.com

A full-length beat lp from the collaboration of two Hungarian dj/producers, Mil and Suhov offers a personal view of the country's musical heritage.The genre is somewhere around instrumental hip-hop and features unique 70's and 80's samples. The creators raked up a dozen forgotten vinyls, including soundtracks, freaky Hungarian beat, jazz, disco and funky records. Howewer officially blocked, the Western music found its way to the Eastern Blocks' youth via the Luxemburg Radio, and created an underground club scene and some really hard-to-find singles. Mil and Suhov infused these items with dusty grooves and stricts rhythms so at last they can return to the dancefloor.


Tracklist :
01.Ördög (Devil) 02:50    
02.Meccs (Match) 01:44
03.Út (Road) 01:28
04.Soha (Never) 02:39
05.Zene nélkül (Without music) 02:43
06.Rejtett zug (Secret Place) 02:01
07.Fütyülök rá (I don't care a damn) 02:00
08.Szivárvány (Rainbow) 02:14
09.Kiáltozás (The Scream) 02:28    
10.Zöld Wartburg (Green Wartburg) 03:06
11.Fénysugár (Ray) 02:34
12.Levél (Leaf) 03:00    
13.Pénz Bábel (Money Babel) 02:47
14.Az utcán (On the street) 03:01    
15.Estefelé (At Night) 03:13    
16.Jóbarát (Good Friend) 01:47    
17.Színes éjszakák (Colorful Nights) 02:33    
18.Szerenád (Serenaide) 01:31    
19.Kígyó (Snake) 01:56
20.Nathalie Ütem (Nathalie Beat) 02:02    
21.Svihák (Wide boy) 00:51    
22.Várok (Waiting) 02:10
23.Röpke percek (Ephemeral minute) 02:55
24.Könnyű (Easy) 01:49
25.Próbáld ki (Try it) 01:46
26.Bázis (Base) 01:42    
27.Ki vagy (Who are you) 02:51    
28.Modern idők (Modern Era) 02:44

 

Batlik - Le poids du superflu

http://farm8.static.flickr.com/7255/7044427449_df100bb33d.jpg

http://www.abrulepourpoint.com


Origine du Groupe : France
Style : French Touch , Indie
Sortie : 2012

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Par Laura Aupiais pour http://www.radioneo.org

Quand on évoque Batlik, ici à Néo, on a l'impression de parler d'un vieil ami qu'on n'a jamais perdu de vue. Il revient nous voir tous les ans. Et d'autres diraient qu'il fait partie des meubles. Une chose à savoir, peu importe le nombre de journées ou de mois que vous passez à Néo en tant que stagiaire ou bénévole, vous entendrez toujours un mot sur lui comme la source même du « Libérateur de talent ».

C'était en octobre, en 2004, la première fois qu'on l'a rencontré et il nous a dit « Regarde mes images ». A l'époque, il se faisait appeler Gaspard Batlik. Après huit ans d'amitié chaleureuse, aujourd'hui, il nous montre son 7e album studio, « Le poids du superflu » toujours sous son propre label abrulepourpoint.

Batlik fait partie de ces artistes qui arrivent à dépoussiérer la chanson française. Beaucoup n'y croient plus, mais il peut faire changer d'avis. Il suffit juste d'écouter le poids de ses mots. Sa première scène, il l'a faite en première partie de Karpatt à l'EMB de Sannois. On raconte qu'une fille au premier rang s'est évanouie au moment de son entrée sur scène. Nul ne sait si se fut à cause de la chaleur ou du charisme de l'artiste.

Puis, bien sûr, y'en a eu toute une tripotée après, en Belgique, Québec et un peu partout en France. Il y a cette fois-là, en Belgique, où son chien a vomit sur scène, ou encore à Montréal où il a joué devant 15 personnes dans une salle de 1500 places.

    « Une indépendance musicale, et son refus des majors lui offre une liberté d'expression artistique totale ». Muriel

Faîtes-nous plaisir, allez le voir sur scène en compagnie de ses charmants acolytes James Sindatry et Benjamin Vairon et Nicolas Bruche. Notez bien, c'est le 3 mai à la Dynamo à Toulouse, et le 11 et 12 mai au Café de la Danse à Paris.

Voir Batlik sur scène, c'est comme revoir un vieil ami. Il nous rappelle les bons et les mauvais souvenirs qu'on a passé ensemble. A la fin, on se quitte le sourire accroché aux lèvres et les yeux pétillants. Pas besoin de formuler une phrase. On sait pertinemment qu'on se reverra. Sans doute, l'année prochaine.


Tracklist :
01. Enfumée (3:25)
02. Le poids du superflu (4:14)
03. La mer d’Aral (3:34)
04. De la même façon (4:33)
05. Hospitalité (3:57)
06. Encore (3:37)
07. Subtils subterfuges (3:51)
08. Carnaval (3:53)
09. Comédie (3:15)
10. Les transitoires (3:38)
11. Les grandes plaines (3:23)
12. Tentatives ratées (3:42)

Marconi Union - Different Colours

http://www.musicomh.com/albums/albums_images/marconi-union-3.jpg

http://www.marconiunion.com
https://www.myspace.com/marconiunion


Origine du Groupe : U.K
Style : Electronic , Ambient
Sortie : 2012

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By Gareth O'Malley    from http://www.musicomh.com

Marconi Union don't want to sound pushy, but the title of their new album is obviously hinting that a change has taken place within the band. They're six albums in, which is an impressive enough feat in itself, but they had to make it clear they were moving on. More of the same from the band would have been good, sure - their discography is full of strong albums that still hold up very well - but not good enough. One gets the feeling that they knew that, too. Having worked as a duo up until 2010, Richard Talbot and Jamie Crossley decided to bring Duncan Meadows (who had helped to flesh out their live sound) into the fold permanently as their pianist, and Meadows' influence can be felt quite clearly on the new record, most notably on the penultimate track On Reflection.

At times it's hard to believe that just three people are behind the lush soundscapes created on Different Colours. Across its seven tracks, there is a minimalistic approach applied (most notably on Almost Numb, which gets an incredible amount of mileage out of a simple melodic motif and little else), but it often sounds like much more than the sum of its parts, as said parts are allowed to breathe and develop at their own pace. This is an album on which the slightest addition to the mix can have a huge effect. The best example of this is on the measured album opener First Light, which progresses at an unhurried pace for its first half, up until the point that everything falls away and only dreamy keyboard chords remain - that is, until the xylophone is introduced. In an instant, the atmosphere of the track is transformed. Different Colours is full of moments like that.

It's an album that works on multiple levels; it can be either a pleasant background listen, or something to be closely scrutinised. Its ambient style is quiet, reflective and sometimes otherworldly; in fact, should the listener want to be temporarily transported to another world, then it would be a good idea for them to dive in and take as much notice of everything as they possibly can. While it can sometimes come off as a little too contemplative for its own good, there are some unexpectedly euphoric moments scattered here and there, such as when the soft patter of a bass drum enters midway through Flying (Through Crimson Skies) and a gorgeous melody makes its presence felt.

Added to this, there is the gradual unfolding of the stately closer Broken Colours, which is downbeat, but builds to a relatively intense climax, featuring a wall of sound, or at least, the closest the trio have come to it. It is moments like these that reward perseverance, though those who are looking for a more immediate fix will need to look no further than Time Lapse, the album highlight. It's a great place to start, as it is the most direct offering on the album, as well as being the track on which the album's creators show that they are most aware of the constraints of the genre in which they operate, whilst simultaneously defying convention by letting their playful side out. Yes, there's no denying that, with this album, they have changed, but their horizons have also been broadened in its creation. Different Colours is a more diverse album than one might expect, and shows that the state of the Union is very healthy indeed.


Tracklist :
01 – First Light
02 – Alone Together
03 – Flying (in crimson skies)
04 – Always Numb
05 – Time Lapse
06 – On Reflection
07 – Broken Colours

 

mardi 2 octobre 2012

Bullhead // Rundskop (V.F + ENG)

http://rundskop.be
http://www.imdb.com
https://fr.wikipedia.org/wiki/Bullhead

  • Date de sortie(2h 9min
  • Réalisé par : Michael R. Roskam
  • Avec : Matthias Schoenaerts, Jeroen Perceval, Jeanne Dandoy 
  • Genre : Drame, Policier , Thriller
  • Nationalité : Belge
  • DL : V.F : RG , DF
  • DL : STR ENG :  TORR
  • STREAM : V.F : MC
 

PLOT :
No one under 12 years
A young cattle farmer is approached by a veterinarian to make a deal with a notorious beef trader.

The young Limburg cattle farmer Jacky Vanmarsenille is approached by an unscrupulous veterinarian to make a shady deal with a notorious West-Flemish beef trader. But the assassination of a federal policeman, and an unexpected confrontation with a mysterious secret from Jacky's past, set in motion a chain of events with farreaching consequences. BULLHEAD is an exciting tragedy about fate, lost innocence and friendship, about crime and punishment, but also about conflicting desires and the irreversibility of a man's destiny.


SYPNOSIS :
Interdit aux moins de 12 ans

Jacky est issu d'une importante famille d'agriculteurs et d'engraisseurs du sud du Limbourg. A 33 ans, il apparaît comme un être renfermé et imprévisible, parfois violent… Grâce à sa collaboration avec un vétérinaire corrompu, Jacky s’est forgé une belle place dans le milieu de la mafia des hormones. Alors qu’il est en passe de conclure un marché exclusif avec le plus puissant des trafiquants d'hormones de Flandre occidentale, un agent fédéral est assassiné. C’est le branle-bas de combat parmi les policiers. Les choses se compliquent pour Jacky et tandis que l’étau se resserre autour de lui, tout son passé, et ses lourds secrets, ressurgissent… 





Utah Jazz - Groove Therapy

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PZwB2KjBmpKtdpnUchrq8O4Z2OfgmpKh-yJ9iwoziDPi8249p4Q1_FvMcraupFryRm7qEiIwS7BlouK9IZjfJe3NtV228groaPDmwKoaV6OJ4zm5Oz-AApOBs421Jg4Iod0UNqHUFFtK/s1600/Utah%20Jazz%20-%20Groove%20Therapy%20(2012).jpg

http://www.utahjazz.co.uk
https://www.myspace.com/utahjazz


Origine du Groupe : U.K
Style : Electro , Drum n' Bass
Sortie : 2012

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From http://www.skiddle.com

From the man responsible for some of the finest liquid-funk in drum & bass history, comes a brand new album of original dancefloor gold

Back in the groove in his own inimitable style, the original liquid-funkster Utah Jazz returns with yet another dose of soulful medicine that is set to hypnotise dancefloors worldwide. After the runaway successes of debut LP 'It's a Jazz Thing" and 2010's follow-up "Vintage", the Jazz Man is back with "Groove Therapy" - his third and most ambitious album to date.

Hailed by critics, music lovers and dancefloor ravers from Thailand to Tennessee, Utah Jazz remains one of the UK's finest exports, amassing a global army of admirers for his hand-crafted, heart-and-soul drum & bass flavours. From sunshine-drenched vocal sweetness, to funk-strutting party numbers and dancefloor-destroying grooves, The Jazz is all about the music. And it's never sounded so good...

WARNING: this is rare, refined and remarkable dance music.
It may cause your friends to envy your good taste
Utah Jazz Presents Groove Therapy LP - Vintage Recordings


"Truely unique. Utah Jazz's burgeoning success is nothing short of remarkable. It's been two long years since the debut LP of the finest liquid funkster in the galaxy - and what a way to return..." (iDJ)

..."Could Utah Jazz be the most underrated D&B producer out there? This unbelievable album certainly suggests so..."(DJ Mag)

.. "The most eagerly-anticipated album in years... Utah Jazz has got a rhythm, soul & vision, all his own and the entire Drum & Bass world will soon be stepping to his beat..." (Knowledge)


Tracklist :
01. My Own Way Intro
02. Circa 96
03. Loops For Days
04. Everything Is Everything feat Alex Reece
05. The Fountain
06. Conrad Funk
07. Do My Thing
08. Invisible Cities feat Collette Warren
09. Crossing Frontiers
10. The Warning feat David Boomah
11. Fair Play
12. Broken Home
13. Slice Of Nature
14. Infinity 155 Wax Tribute

 

Libellés

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