jeudi 27 septembre 2012
Tracks - World Web War
DL : DF , RG
Tracks
Fil rouge de ce spécial "World Web War", il est connu pour avoir rétabli l'accès à Internet dans une Égypte en pleine révolution. Portrait de Christopher Kullenberg, hacker nouvelle génération.
Urban Hackers
Leur terrain de jeux : l'espace public. Regroupés sous le nom d'Urban Hackers, ces pirates se battent au coeur de la cité, tel le Français Florian Rivière qui transforme les bancs publics en abris pour SDF...
Men in grey
Méfiez-vous des attachés-cases ! Basé à Berlin, le collectif Men in grey dissèque le réseau Wifi grâce à une mallette recouverte d'un écran lisant à voix haute vos messages. Loin de vouloir voler des données, ces espions veulent nous sensibiliser à l'aspect "Big Brother" du Web.
Kathleen Cleaver
Première femme à faire partie du comité directeur des Black Panthers, aujourd'hui professeure de droit à Yale, l'activiste Kathleen Cleaver raconte comment on changeait le monde avant Internet.
Test of Turing
La légende veut que le logo Apple ait été créé en hommage à Alan Turing, qui s'est suicidé en 1954 en croquant une pomme au cyanure. Retour sur un génie de l'intelligence artificielle, inventeur d'un test permettant de comparer hommes et machines.
ARTE F
Date(s) de rediffusion :Vendredi, 28 septembre 2012, 01h30
DJ DemonAngel - Abstractelectroclash 1.8
http://bbpiratesradio.over-blog.com
Origine du Groupe : V.A , France
Style : DJ , Mix , Electro , Ambient , Abstract Electro , Abstract Hip Hop , Electro Dub , Downtempo , IDM
Sortie : 2012
POWER BY DJ DEMONANGEL
Tracklist :
01 - Opiuo - Spanners
02 - Mäyd Hubb meets Joe Pilgrim - Twilight
03 - EZ3kiel - Barbary
04 - Lorn - Everything Is Violence
05 - Mr. Moods & DJ Racy A.J - Zaman
06 - Mabataki - Woods
07 - The Malex Kings - Dix-Neuf
08 - Violent Public Disorderaz - Whiskey Sessions (Innereyefull Remix)
09 - Fat Jon - Watch Out
10 - Mononome - Fools Rush In
11 - DJ Krush - Kouro - Optical path
12 - Commix - Everything
13 - Bangkok Impact feat. Kassen - Puppets
14 - Waitapu - Truckin' (Dziga Remix)
15 - Zenzile - Roosters at War
16 - Headshotboyz - Calypso
17 - Pepil Pew - Jellyfish Galaxies
18 - Diligent Fingers - Sway With Me
19 - Tonda Trio - Time Afta
20 - Chimp Beams - Lost Nomad
Ez3kiel et le Naphtaline Orchestra au grand Théâtre de Tours
http://www.ez3kiel.com
https://www.myspace.com/ez3kielmyspace
Origine du Groupe : France
Style : Alternative , Experimental
Sortie : 2012
Durée 00:55:20
From http://liveweb.arte.tv
Depuis 1993, EZ3kiel bouscule les cadres. D’un référentiel rock plutôt brutal (Fishbone, Bad Brains…), le goût pour l’ivresse des transes mènera rapidement le groupe vers un trip-hop qui tire au dub. Si bien qu’on le rangera, peut-être un peu hâtivement, dans la même case électro dub qui explose à la suite d’ High Tone à la fin des années 1990. Il faut dire qu’EZ3kiel est signé chez Jarring Effects, label lyonnais qui consigne alors tous les grands noms de ce mouvement. Mais EZ3kiel est déjà un peu plus loin, il louche vers l’abstract hip-hop et sort des structures du dub qui commencent à être franchement trop normées pour lui.
Et puis il y a ce gout pour le boucan, les grosses basses, les grosses guitares, les batteries qui claquent fort… Ez3kiel n’a jamais vraiment perdu son affection pour le hardcore. Si bien que sur scène, le groupe évoque parfois plus franchement le post-rock de Mogwai. De plus, très tôt, Ez3kiel travaille à la mise au point d’une sorte de projet total, musical et visuel.
C’est l’expérience scénique qui intéresse aujourd’hui le plus EZ3kiel. Pour faire vivre les chansons de Naphtaline (2007), un album tout en finesse qui interroge la thématique du sommeil et de l'insomnie, Ez3kiel a créé le Naphtaline Orchestra, un ensemble symphonique constitué d’élèves du conservatoire de Tours et dirigé par Stéphane Babiaud, batteur et multi-instrumentiste du groupe.
Un concert filmé les 25 et 26 juin 2011 au Grand Théâtre de Tours
• Artistes : Stéphane Babiaud (Direction et arrangements), Joan Guillon (Guitares, claviers, accordéon), Matthieu Fays (Batterie, percussions), Yann Nguema (Programmations et Projections), Invités - Thomas Quinart (Saxophones, thérémine, Scie musicale), Cyril Soufflet (Piano), Gérald Bouvet (Guitares), Thomas Lesigne (Basse, contrebasse), Erick Pigeard (Séraphin, Percussions), Christelle Lassort (Violon), Naphtaline Orchestra • Réalisateur : Samuel Petit • Ecriture / Compositeurs : EZ3kiel • Cadreurs : Alexis Dussaix, Hervé Laousse, Cédric Alliot, Arthur Le Ret, Eric Thomas, Florence Levasseur, Samuel Petit • Son : Dimitri Mercier, Matthieu Villoteau, Rémy Deliers • Production : Sombrero & Co – KIKA
Kalpataru Tree - Preverberations From The Infinite Future
https://www.myspace.com/kalpatarutree
http://kalpatarutree.bandcamp.com
Origine du Groupe : North America
Style : Electronic , Spy Dub , Ambient
Sortie : 2010
From http://kalpatarutree.bandcamp.com
The Kalpataru Tree sound is sculpted with a sacred intention of healing through inspiring imagination. Distilled from the souls peak experiences into sonic form, etheric realms unfold riding along a dub backbone. Music in devotion to the mystery. A prayer of sound in resonance with dream like unfoldings of this present reality unfolding.
Tracklist :
01. Serpentrise (8:30)
02. Creation Matrix (8:40)
03. Kalpataru Tree - Singular (8:25)
04. Chimera Pyramid (6:48)
05. Vibrate The Frequency (9:11)
06. Prayer (10:12)
07. Elliptical Sequence (5:25)
08. Transfigure (9:28)
09. Earth Party (7:22)
R;Zatz - Cruel Summer
http://www.jarringeffects.net
https://www.myspace.com/rzatz
Origine du Groupe : France
Style : Trip Hop
Sortie : 2012
Par Mr Blue pour http://www.undisqueunjour.com
Il est des saisons comme de la vie, parfois attendue avec ses bons et ses mauvais côtés, parfois changeante, faite d'imprévus, agréable ou cruel. L'été, temps des contrastes, période des orages les plus violents et des sérénités nocturnales, à la chaleur harassante ou la douceur embaumante, vision du labeur agraire ou du repos oisif, est à même de peindre les aspérités émotionnelles comme il esquisse les circonvolutions climatiques. Pas étonnant que beaucoup d'artistes s'inspirent de ces quelques mois pour retranscrire quelques émois. Peut être qu'R-Zatz a cogité sur ces mêmes allégories pour ainsi penser et nommer son dernier opus « Cruel summer », après « Will we cross the line ? » en 2008 et « Vagina Rush » en 2010. Adepte du style Trip-hop, enrobant sa voix claire, qu'elle sait moduler et scander, dans des nappes électro donnant encore plus de relief à ses arrangements, l'ingénieur du son officiel du label lyonnais Jarring Effects et responsable du studio d'enregistrement "Jfx studio" a de quoi en imposer dans cet univers où les figures de proue se nomment Portishead, Massive Attack ou Tricky. Pour exalter ses senteurs estivales, R-Zatz s'est accompagnée de trois comparses, traçant les contours d'un son qui se veut un peu plus chaud et éclectique qu'à son habitude. Les deux premiers titres expriment ce choix, là où « Take a look in the mirror » est plutôt Downtempo, imageant l'apaisement d'un soir d'été, « U got me » se montre plus enlevé, proche d'une rythmique Dance hall. Et tout Cruel Summer se construit autours de ces variations, la voix épousant ces accords, tantôt contemplatifs et ethérés (Flower in Heaven), tantôt sombres et pesants (Stormy), inclinant vers l'Afro-beat (Meadows of the soul) ou l'Abstract Hip-hop (Ordinary chronicle). Et, le clin d'oeil est saisissant, ou plutôt le son, cette pérégrination saisonnière se clôt par une référence au pays du Soleil Levant (Bo-kyo), comme pour signifier que toute fin est le début d'un autre cycle. Vivement l'été prochain.
Tracklist :
01 Take A Look In The Mirror 03:51
02 U Got Me 03:04
03 Cruel Summer 04:26
04 Meadows Of The Soul 02:50
05 Flower In The Heaven 04:09
06 Cycles Stream 02:10
07 Jaws 03:36
08 Dark Brown Eyes Feat Black Sifichi 04:07
09 Stormy 03:45
10 Take A Pill 03:31
11 I Cant Believe 03:07
12 Ordinary Chronicle 03:54
13 Bo Kyo 03:55
lundi 24 septembre 2012
La sale guerre des terres rares
Realisateur : GUILLAUME PITRON / SERGE TURQUIER
Production : MANO A MANO
Participation : FRANCE TELEVISIONS
DL : DF , RG
Les terres rares sont des métaux aux noms mystérieux : cerium, terbium, samarium, gadolinium... Peu connus, ils sont pourtant très présents autour de nous : dans nos écrans, nos téléphones et jusque dans nos billets de banque.
Les terres rares sont le pétrole du XXIe siècle, le moteur des industries d’aujourd’hui.
Avec la fermeture des mines aux USA, la Chine est actuellement le seul producteur de ces métaux. Le reste du monde s’est engagé dans une lutte sans merci contre ce monopole.
La guerre des terres rares, c’est l’histoire d’un conflit économique aux conséquences dévastatrices pour les hommes et pour l’environnement : une sale guerre. Dans cinq ans, la Chine ne pourra plus répondre à ses propres besoins en terre.
Les Chinois recherchent des partenaires et effectuent un retournement de stratégie. Ce pays qui avait tant oeuvré pour conserver ce monopole n’en veut plus : épuisement de la ressource et pollution l’obligent à chercher à l’étranger la réponse à ses besoins croissants.
Le monde entier se lance dans la recherche des ces terres rares pas si rares que ça : il y aurait des gisements en Afrique du Sud, en Australie, au Canada, sur la Lune et au fond des mers. Des mines fermées rouvrent aux USA.
Mais les peuples sont plus exigeants sur le plan environnemental ; c’est peut-être une occasion de repenser le monde !
Vincent Cheirezy - Le Voyageur
http://www.vincentroncheirezy.com
Origine du Groupe : France
Style : French Touch
Sortie : 2012
Pour http://www.vincentroncheirezy.com
Vincent Tronc Cheirézy auteur compositeur interprète avec de nombreuses tournées en France et à l’étranger.
Accordéoniste, chanteur , guitariste, ses influences sont multiples.
Entre violence et douceur, les voyages et les rencontres lui inspirent la plus part de ses textes et musiques. Ce qui prouve encore une fois que la musique se moque bien des frontières.
Tracklist :
01 Le voyageur 3:12
02 Les moutons 3:13
03 Comme on dit l-bas 4:12
04 L'ère des libertés 4:26
05 Ca ne fait rien 4:01
06 Accroche ton me 2:16
07 Génèse 4:41
08 Adam et Eve 7:16
Amon Tobin - Boxset Sampler
http://www.amontobin.com
https://www.myspace.com/tobinamon
Origine du Groupe : Brazil , U.K
Style : Electronic , Glitch , Ambient , Experimental
Sortie : 2012
By Live4ever from http://mog.com
Part of an elite group of artists who emerged during electronic music’s boom period in the mid 90s along with the likes of Richard D. James, DJ Shadow and Richie Hawtin, when people tell you that Amon Tobin is a pioneer, you’d better believe it.
Flipping from career to career since then and keeping his options open, the Brazillian’s nomadic existence has now lead to Montreal and in the rosy glow of a massively successful transition into a ground breaking live performer (a trick few of his peers or copyists have pulled off successfully), the DJ/Producer/Other finds himself in the midst of his most ambitious project yet.
More of a sprawling curate’s egg than a structured timeline, his new multi-format retrospective is stuffed with outakes, remixes, demoes and other obscure, and previously unreleased, material.
Unlike last year’s year ‘Arkives‘ collection released by Hawtin under his cult-famous Plastikman alter ego, this isn’t a straight reissues project as such, although it does span work from Tobin’s entire career. At 6 ten inch vinyl discs, seven CDs and two DVDs, it almost goes without saying that it’s also pretty breathtaking in scope, and one which despite the inherent quality, is going to require levels of fan-only commitment on a par with fasting and pilgrimages. Truly if electronica has a trial by fire, then this must surely be it.
This fourteen track sampler trails the main body of work trying to execute on the thankless task of giving an accurate impression of the motherlode. Feted by a list of industry names that range from Trent Reznor to Brian Eno, as expected there’s a richness, intensity and wild contrast to the contents even in this highly distilled environment, the break dominated opener ‘Carry On Marmaduke‘ blending industrial white noise with flute and keyboard motifs, an intriguing combination all leaving the impression of a folk barbershop quartet jamming off their tits somewhere in the orbit of Mars.
This richly off centre experience is from one of the most orthodox compositions Tobin chooses to include. ‘Shut Down‘ sounds like Orbital filtered through an old East German public information film, whilst the eerily droning ‘Bath Man (Here Comes The Moon)‘ could’ve come direct from the soundtrack of one of the David Lynch films of which he’s reputedly such a fan.
Having successfully transitioned from producing to scoring both video games – to the extent that his work on Splinter Cell 3 is now universally recognised as a bona fide release – and films, it’s perhaps no surprise that one or two interludes come to sound stranded out of context. As proof, ‘Sunhammer‘s techno stabs and high impact breaks are head spinning, but sound too close to FSOL’s proto-glitch efforts circa ‘We Have Explosives’. In a similar way, both the ambient ‘Angels & Demons‘ and ‘Carl The Gift‘ offer brief glimpses of fascinating potential, and presumably exist in more expanded and rewarding formats elsewhere in Tobin’s vast hard drive archives.
Unpredictably however, this is a collection that offers greatest insight when structured at its simplest. To this end Bibio‘s remix of ‘Wooden Toy‘ features a gorgeous analogue undertow and spectral, processed voices that eloquently give speech to ghosts, and by contrast a blistering drum and bass remix of Ryuichi Sakamoto‘s ‘Grief‘ spins from ambiance to neck snapping dancefloor aggression and back again.
Few projects can escape the glare of concurrent spotlights on artistic integrity, creative scope and commercial imperative, but on this admittedly scant evidence it seems like here Tobin has managed to satisfy all three dimensions. Pricey but beautifully produced, this isn’t a box set with a perspective on the mainstream, although you suspect that Thom Yorke has already signed up.
Clearly, there was never any hope in a 60-a-mere-minute running time of offering a complete perspective on every nook and cranny of this release, which in full will take a review of biblical proportions. For greatest reward, complete immersion is likely to be recommended.
Tracklist :
01. Carry On Marmaduke
02. Madam Larivee
03. Wooden Toy (Reworked by Bibio)
04. Lost & Found (The Thief Colin Stetson's Lost & Found Redux)
05. Grief (Amon Tobin Remix)
06. Angels & Demons
07. Hard Run (Chase Scene Test)
08. Bath Scene (Here Comes The Moon Man)
09. Surge (Pete Wareham Translation)
10. Night Swim (Lorn Reel)
11. The Third Hand
12. Shut Down
13. Sunhammer (VIP Version)
14. Bloodstone
Secret Cinema & Psycatron - Rotterdam - Belfast EP Part 1
https://www.myspace.com/secretcinemasound
https://www.myspace.com/psycatron
http://www.gemrecords.nl
Origine du Groupe : Nederlands
Style : House , Trance
Sortie : 2012
From http://www.gemrecords.nl
Stephan Bodzin - "Will def hammer both of these tunes!!! Killers!!! Toy Soldier’s my fave here. 6/5."
Pig (Pig&Dan) - "WOW! Toy Soldiers is a real anthem!!!!"
Guy J - "This is such a GREAT release guys!! I am loving both trax here!!!! Thnx and good luck."
Laurent Garnier - "Ohhh YESSSSSSSSSSSS!! I am loving Toy Soldiers… 5/5!!”
Kenny Larkin - "Toy Soldiers is SLAMMIN!!! Will be playing these for sure guys!!”
Karotte - "Again a great release on Gem!! 2 great tracks from 2 big players from the scene. Love it!!"
Hernan Cattaneo - "Nova k is really REALLY good guys! Will be playing 100%"
Nick Warren - "Loving Toy Soldiers BIG TIME guys!!! Superb track!"
Jamie Anderson - "As to be expected from this collab - Both GREAT tracks!"
Mauro Picotto - "Great techno here!! What more can you say? Great tracks!”
Dosem - "Oh yessss.... Amazing tracks! PURE GEM LOVE!!”
Alan Fitzpatrick - "Great release, great artists, great music! Definite support from me on Nova-K."
Alexander Kowalski - "Brilliant teamwork!! I am totally in love with both tracks!!"
Steve Ward - "Fooookin S.I.C.K. Both tunes are as good as a pair of perfect titties!"
Tracklist :
1. Secret Cinema & Psycatron - Nova-K
2. Secret Cinema & Psycatron - Toy soldiers
Blockboy - Heartbox
http://www.blockboy.de
Origine du Groupe : Germany
Style : Abstract Hip Hop , Downbeat
Sortie : 2012
From http://soundcloud.com
Who the f_ck is Blockboy?
As an avowing vinyl-junkie, the native of Munich sees his inspirational roots mainly in Beat and Rockmusic of the early 70s as well as in the New York HipHop of the 90s.
In his recording studio and atelier in an old building flat in Munich, he regularly descends into spheres of visual art and sound, while swinging between bliss and desperation because of his perfectionism. With attention to detail, the communication designer plays and records all instruments himself, strictly according to the motto: keep it real!
To put a label on Blockboy's sound is not easy, since he moves between Ambient, Dubstep, HipHop, BigBeat and Funk - always enhanced by an affection for detailed samples of vinyl treasures.
Along with his band 'Octopussies', a HipHop-Funk combo, that he is founding member, guitarist and musical lead of, Blockboy already has a lot of live
experience and attention in Southern Germany - with hand-made music and real instruments. But now, after his first tracks on the well received sampler 'Yummy! Yummy!', his debut as a solo artist in the world of electronic music has arrived:
'Heartbox', which will be released as a limited collector's vinyl edition (of course!) as well as a Download edition, is the start of a trilogy of topically defined EPs, that showcase his incredibly wide spectrum. On 'Heartbox', Blockboy presents his affection for Downbeat, HipHop and deep sound - but it will be interesting, what else is to come...;)
Tracklist :
01 - The Worst
02 - Survive
03 - World against us - feat. MISTA MIN
04 - The Hornet
O5 - Well wicked
06 - The Renaissance
07 - Satellite - feat. CAROLIN ROTH
08 - Murder - feat. MISTA MIN
09 - Golden Junglehood
dimanche 23 septembre 2012
Erik Jackson - Rainy Days
https://www.facebook.com/pages/Erik-Jackson
http://dustedwax.org
Origine du Groupe : North America
Style : Abstract Hip Hop Jazz
Sortie : 2012
From http://dustedwax.org
American producer and sound maestro Erik Jackson; shares his incredible album "Rainy Days" with the Dusted Wax Kingdom's audience. The release is a unique fusion of light melancholic drum & bass, romantic acid jazz and relaxing downtempo.
Tracklist :
01 Put On A Record (Intro)
02 It's Time
03 Now And Then
04 Tonights Forecast (Interlude)
05 Rainy Days
06 Starlight
07 Through The Storm
08 Be Mine
09 Genuinely
10 Staying Home Tonight (With You)
11 It's Getting Late (Interlude)
12 Dark Skies
Brain Damage - Dub Sessions Meets Sir Jean
http://brain-damage.fr
https://www.myspace.com/braindamagedub
Origine du Groupe : France
Style : Electro Dub
Sortie : 2012
From http://brain-damage.fr
Après plus de 12 ans d'existence, une nouvelle fois, Brain Damage est en pleine refonte, prêt à prendre le contre pied, à surgir là où on ne l'attend pas...
Suite au départ du bassiste Raphaël Talis, c'est désormais seul que Martin Nathan donne une nouvelle direction au projet.
Si le son de Brain Damage semble toujours rester personnel et identifiable, il se teinte ici d'une couleur résolument plus "roots".
Testée grandeur nature depuis quelques mois dans le cadre de la tournée High Damage, la formule live Brain Damage Dub Sessions apparait radicalement consacrée à une certaine vision du Sound System.
Pour la création de ce nouveau set, de nombreux intervenants ont été sollicités : Sir Jean, Brother Culture, Madu Messenger, Zeb McQueen, Learoy Green, M. Parvez, ainsi que la section cuivres ArtDeko, pour de puissantes et fructueuses sessions de studio.
Enfin, comme il se doit, plusieurs productions discographiques voient le jour, avec notamment un premier maxi vinyl en compagnie de Sir Jean,
en attendant la sortie du prochain album en octobre prochain, toujours sur Jarring Effects.
Après s'être tant éloigné du modèle dub anglo-jamaïcain, Brain Damage Dub Sessions en propose donc finalement sa version en 2012.
After more than 12 years of existence, once again, Brain Damage enters into a complete overhaul, ready to rethink everything and to rise where we do not expect.
After Raphaël Talis, the bassist, left, Martin Nathan goes on solo and prompts the project into new directions. Even if Brain Damage’s sound always had its personal and identifiable signature, it becomes here definitely more tinged with « roots ».
Already experienced during this recent « High Damage » tour (High Tone meets Brain Damage), Brain Damage Dub Sessions‘ new live set appears to be more sound-system orientated than ever.
To build this new set, many artists have been invited: Sir Jean, Brother Culture, Madu Messenger, M. Parvez, Zeb Mc Queen, Learoy Green, as well as ArtDeko brass section, for some powerful and fruitful studio sessions.
Then, as is proper, one first vinyl EP just came out on Jarring Effects « Brain Damage dub sessions meets Sir Jean », introducing the release of a brand new LP on the next month of october.
After straying away from the UK-Jamaican dub style, Brain Damage Dub Sessions offers actually its own version of it in 2012.
Tracklist :
01. royal salute
02. royal salute (sound system version)
03. tans for life
04. tans for life (unplugged version)
New Primitives - American Nomad
http://www.newprimitives.com
Origine du Groupe : North America
Style : Indie , Alternative , Reggae
Sortie : 2012
From http://www.newprimitives.com
Stanley Kipper:
lead vocals, timbales, trap drums and percussion
Stanley returned to Minneapolis in 1989 after nearly 20 years in Los Angeles touring and recording with such artists as Minnie Riperton, Bill Withers, Joe Walsh, Jay Ferguson, Andrew Gold, Randy Meisner, Barry Gibb, Little Richard, Bo Diddley and Karla Bonoff. Stanley has composed songs for several films and commercials, and has also won top honors in the Coors Light National Song Contest.
To know more about Stan and his musical background, please check out his full-length bio.
Chico Perez:
percussion and backing vocals
Chico has been an active percussionist for many years, touring with such groups as Crow Cola, Gypsy, Jump Street, and 7th Wave. His professional career includes numerous studio projects, as well as keeping busy as a drum-maker and teaching African and Afro-Cuban percussion at the Minneapolis Drum Center.
Matthew (Mateo) Stevens:
bass guitar, backup vocals
Matthew grew up in a musically rich environment, learning his first blues lines on bass guitar at age 14 from his father. Soon, he began playing with brother, Nate, and Javier Trejo in The Beads. Matt has studied and played with Gary Hede and Jeoffry Baily and played Jazz at the U of M School of Music. He also played with his group, The Jazz Bastards, and with Hip-Hop group, United States of Consciousness. In 1999, he and Mason Hozza re-formed The Beads. Soon after winning the Cabooze's contest for �Best Unsigned Band in the Twin Cities�, The Beads released their 2003 CD, "Ordinary Sunday People." After The Beads' run, Matt formed the Stevens Brothers Band with longtime friend, Dave Libman (aka Juice), brother, Sam, on drums, and Nate on Vox and Harp. In the spring of 2005, Matt began performing with Wookiefoot, adding another dimension to his repertoire.
Matthew first met New Primitives in 2003 when they co-billed a show with The Beads. A few months later, Matt was invited to fill-in for Tommy Peterson while he was away on his honeymoon. During a practice/jam session before the gig, Matt remembers his feeling of glee over the rhythmic differences and all the possibilities of playing with this group. He finished the show, but did not hear from them about playing until 2005. This is when Javier called to say that Tommy was working on a new endeavor with his business partner and would he be interested in filling in regularly?
Since then, Matt has played many gigs with New Primitives. His experience playing jazz, hip-hop, reggae, and world beat converges with New Primitives� style: multi-genre, percussion-driven music at its finest.
Joel Schann:
guitar
Joel Schaan started music at age 5 when his family moved into a house with a piano to big to get out of the basement. By age 14 he talked his brother Toby into buying a bass and soon they formed their first band together. They played the northern North Dakota barn circuit in the late eighties, then reformed as Wallace Hartley and the Titanics in the early nineties. As a ten piece Funk/R&B group they traveled the midwest bar scene playing original music, as well as recording with Tom "Bones" Malone, and Paul Shaefer. In early 2000, they co-founded Test Site 67, where Stan Kipper became a regular member of their weekly house gig at famous NE bar Mayslacks. The band released one CD, followed up in '06 with a solo effort by Joel entitled "Accoustic." After years of sharing stage with Stanley in each others' bands, Joel finally joined the New Primitaves in the spring of 09.
Park Evans:
guitar
Park Evans is a Minneapolis based guitarist, composer, and music educator. Originally from Ithaca, New York he grew up studying with classical guitarist Karl Wolff and British fingerstyle master Martin Simpson. He moved to Minnesota to further his study of classical guitar and composition at Saint Olaf College. Upon discovering the rich music scene in the twin cities and studying with local jazz guitarists Dean Magraw and Kevin Daley he became a permanent resident. In addition to working with New Primitives for the past 10 years and joining them full time in 2010. Evans also performs in his solo project, the genre-bending jazz quartet Parker Paisley, He has released 2 cd’s of his original music; 'Impossible Party' (2003), and 'Surviving Desire' (2006); with his 3rd release, 'Satori for a Hungry Ghost', coming out in early 2012. He works as a studio musician and can be heard on numerous recordings including jazz, rock, alt-country, and folk albums. He has taught guitar lessons for the past 20 years with tenures as a faculty member of the Music Connection and the Rymer-Hadley center for the arts.
http://myspace.com/parkevans
Daryk Durwood:
saxophone
Daryk Narum (a.k.a. Durwood) has floated around the periphery of the New Primitives voodoo landscape since first meeting
Stan and Chico when they were in One World and just forming the New Primitives. Before joining the band, Durwood played in multiple projects with different members of the New Primitives. Since moving to the Twin Cities in 1994, Daryk has performed in Test Site 67, Inspirado, Wallace Hartley and the Titanics, Slow Motion Walter, and Rhythm Jones, as well as adding his signature bari and tenor sound to other bands in the area. Daryk has been enjoying being a permanent member of the New Primitives since 2007.
Tracklist :
1. Love Walks In 0:31
2. Didn't I Tell You 4:37
3. Must Be Love 5:05
4. Average 3:02
5. What You Want To Hear 4:06
6. Rogues Moon 5:08
7. Brand New Day 4:09
8. Love Is All I Need 4:20
9. Primative Road 0:24
10.Working Man 4:05
11.Give It All Away 4:05
12.Sally Go Round The Roses 3:22
13.Holding On To Yesterday 4:44
14.Cakewalkin West 1:02
Black Roots - On The Ground
http://www.blackrootsreggae.com
https://en.wikipedia.org/wiki/Black_Roots
Origine du Groupe : U.K
Style : Reggae
Sortie : 2012
From http://www.cicadelic.com
The Morning Dew Story (continued from the previous CD release "No More"). The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968. Ten songs were recorded, eight of them penned by Robinson. He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this". Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”. The influence of The Beatles’ “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator. Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”. “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions). “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music. Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.
The ten-song demo tape was circulated around to record labels and A & R men. Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”. A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records. This occurred in the fall of 1968. A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording). Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days. Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”. Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries. Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception. The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.
Tracklist :
01. I believe 03:45
02. pompous way 03:53
03. long long ago 03:45
04. militancy 03:55
05. earth land 04:05
06. i am flying 04:29
07. slavery 04:30
08. oh mama africa 03:41
09. hide out 04:40
10. on the ground 04:15
11. call me out 03:04
12. no fee 03:22
13. struggle 04:44
14. landscape 03:41
15. without direction 03:58
16. capitalism 03:49
17. come and sing 03:46
Morning Dew - Morning Dew
http://www.morningdewband.com
Origine du Groupe : North America
Style : Rock Psyché
Sortie : 1967
From http://www.cicadelic.com
The Morning Dew Story (continued from the previous CD release "No More"). The next recording sessions by The Morning Dew were done during the dates of July 24-25, August 6 to 11, and August 25 to 26, 1968. Ten songs were recorded, eight of them penned by Robinson. He reflected on the songs of The Morning Dew by saying "We're the Morning Dew twenty four hours a day, so we've got plenty of time to do this". Regarding the suggestive drug and sex references in song lyrics by many bands Robinson said that "anyone can write a dirty song, besides, if you're not high on drugs, it's hard to write about it". The changes from their previous singles could be explained in one word “psychedelic”. The influence of The Beatles’ “Sgt. Pepper” album is evident on the opening band playing that segues into what becomes “Sycamore Dreamer” with its eerie John Lennon phased vocals and lyrics. “Then Came The Light” features Robinson on the wah-wah pedal while guest Lou Rennau plays the weird sounding oscillator. Dubbed over the break is a message from Robinson, similar to the Jimi Hendrix monologue in his psychedelic masterpiece “If 6 was 9”. “Then Came The Light” , “Cherry Street” and “Something You Say” would all show up later on The Morning Dew’s highly collectible Roulette album, issued in 1970 (albeit in different versions). “Lady Soul” was The Morning Dew’s sarcastic reply to the fans at their shows that asked the band to play some soul music. Robinson’s clever use of a double tracked fuzz guitar sound blended with help from the Missouri University Marching Band on horns turns the song into a odd blend of psychedelia and soul.
The ten-song demo tape was circulated around to record labels and A & R men. Sligar stated “What helps so many other groups is the fact that they are in big cities, nobody from a record company is going to come to Topeka to hear a band somebody tells them is pretty good, you’ve got to take it to them”. A stroke of good luck occurred when a local agent, was able to secure The Morning Dew a contract with Roulette Records. This occurred in the fall of 1968. A promoter/investor from Columbia, Pete Shanaberg (an affiliate of Lou Rennau) took the ten song demo tape with recordings from other Midwest acts (Don Cooper, Morgan Mason Downs) to New York and peddled these tapes to record companies. Consequently, Shanaberg was successful in obtaining record deals with Roulette Records for all the acts. Due to the time that had expired from the 1968 Fairyland recordings, Roulette wanted to hear some current recordings of the group so The Morning Dew recorded “Get Together” and “Young Man” in May of 1969 but both tracks were never released (although “Young Man” was later issued on the Roulette album, it was a different recording). Unfortunately, Shuford had already left the band due to the draft and was replaced by former Burlington Express member, Blair Honeyman on the two recordings.
A producer for Roulette, Fred Munao came to Topeka in June 1969 to hear The Morning Dew perform live. He was so impressed with the band that a recording contract was signed the day he came to hear them in Topeka. In August of 1969, The Morning Dew drove their van up to New York for the Roulette album recording sessions. The album was recorded in three days. Three of the 11 songs recorded for Roulette had been previously done the year before at Fairyland Studios, “Cherry St.”, “Then Came The Light”, and “Something You Say”. Seven other songs were new Mal Robinson originals. The band submitted to Roulette a proposed album cover but it was rejected in favor of a photo of a hippie couple in the nude on the verge of making love or finding the answer to life’s mysteries. Unfortunately the album was delayed for unknown reasons and released in September 1970, over a year since its inception. The album received little promotion from Roulette and sold poorly, but today is recognized as a classic with original copies going for over a hundred dollars.
Tracklist :
01. Crusader's Smile (3:42)
02. Upon Leaving (2:12)
03. Young Man (2:32)
04. Then Came The Light (4:15)
05. Cherry Street (4:09)
06. Gypsy (5:48)
07. Something You Say (4:29)
08. Country Boy Blue (2:39)
09. Save Me (3:40)
10. Epic: (4:33)
vendredi 21 septembre 2012
Fukushima , une population sacrifiée
Documentaire inédit écrit et réalisé par David Zavaglia (52’) - 2012.
Coproduction LCPAn / Scientifilms
DL : DF , RG
Vendredi 11 mars 2011. 14h46 heure locale. Le Japon vient d’être touché par l’une des catastrophes naturelles les plus terribles de son histoire. Depuis, l’archipel vit avec une épée de Damoclès audessus de lui : celle de la centrale de Fukushima qui ne peut être réparée et qui continue de fuir…
Un an après, la situation s’est-elle améliorée ? L’Etat a-t-il pris des dispositions suffisantes ? Comment les habitants s’organisent-ils sur place ? D’un côté, on observe un Etat qui engage un retour progressif de la population au lieu d’élargir la zone d’évacuation. De l’autre, la résistance s’organise à travers des opérations de détection et de mesure de radioactivité…
Le réalisateur nous livre une enquête saisissante sur le rôle de l’Etat Japonais et les risques encourus par les populations locales. Une chronique édifiante d’une catastrophe au long cours…
Aesop Rock - Skelethon
http://aesoprock.com
https://www.myspace.com/aesoprockwins
Origine du Groupe : North America
Style : Hip Hop
Sortie : 2012
By Luke Winkie From http://www.pastemagazine.com
It was more than a little surreal emailing a Rhymesayers publicist for a copy of Skelethon. One, because obviously Aesop Rock’s dungeon-dark mutterings were like the Socratic ideal form of Def Jux street-rap, but also because five years after None Shall Pass, the world’s skeptics began doubting if Ian Mathias Bavitz would ever start rapping again. A new family, a dead label, a litany of oddball sidetracks, and rumblings of personal strife and loss—you couldn’t really blame Aes for an impromptu quarter-life crisis. And Skelethon is a very single-minded, sober-hearted record: entirely self-produced, dipping in gut-busting, welled-up, radically efficient rhyming all streaked with the shadow, subtly badass insulation that Aesop has built a legacy on.
No feature-verses and no frills, no goofy party-cuts like “The Harbor is Yours,” Skelethon is dark, dank and dense. It’s Aesop Rock muttering to himself in a musty cellar, his vocabulary stretched across obtuse cultural debris like “cherry bomb” and “propeller hat,” and the self-designed beats are about as black as his voice. The record lives with angst, melancholy and a macabre grimness—probably the most focused Aes has ever sounded.
You could never call Skelethon soft. Sure he cribs through an opening trio of forgettable setlist-filler in “Leisureforce,” “ZZZ Top” and “Cycles to Gehenna,” but it settles into itself with a lot of elegance. “Crows 1” opens with a death-knell lullaby courtesy of Kimya Dawson, which Rock promptly detonates with his “black crows shredding innards/ the silhouettes are fencing lefty scissors” slash on a sauntering, seasick bass. “Saturn Missiles,” arguably the greatest single-act of pure technical flow this year, is essentially a heavy dose of Aesop Rock mythology on a scatterbrain breakbeat. The subwoofer bleat on “Tetra” feels like a futuristic club banger for a crowd that gets off on high-impact syntax—same with the eroded, velvet big-band samples skirting under “Racing Stripes.” For a guy who’s been journeying for more than a decade, this feels like a natural habitat—building the beats he’s most comfortable with and safely assassinating them with his wit.
Skelethon isn’t the sort of album you’re going to talk about in terms of weaknesses, but it certainly is clear where things have changed over the last five years. Compatriots like El-P and Blockhead painted past Aesop records with synesthesic flair, the gloomy keyboard drizzle of “None Shall Pass” or the music-box tinsel coursing through “9-5ers Anthem.” In reigning in and self-producing, Bavitz has made an album heavy on centralization and blunt-force trauma, but disparagingly lax on colors. These beats are sputtering and muddy, like primal thumps with a bad attitude—it’s tailored to fit the moody demeanor, but something is lost along the way. None Shall Pass has become the revisionist Aesop relic, simply because his grubby tones worked in exotic environments, Skelethon is digested in a single, subterranean suite. Effective, but occasionally flavorless.
In some ways Aesop Rock has been marginalized, mostly because of his friends, coworkers and former, scene-famous label. He’s been sent up more as a broad representation, rather than an artist. The way Skelethon dismantles those notions might be its greatest triumph. It’s a rap album at its core, with Aesop spouting such a catalog of dizzying, powerful and impeccably professional verses; anyone who slept on him starts to look very, very silly. The true joy of Skelethon is sitting back and watching an incredibly talented and incredibly keyed-in MC run circles around your brain. It may not be his best record, but it absolutely reaffirms why his craft is so vital.
Tracklist :
01. Leisureforce
02. ZZZ Top
03. Cycles to Gehenna
04. Zero Dark Thirty
05. Fryerstarter
06. Ruby ‘81
07. Crows 1
08. Crows 2
09. Racing Stripes
10. 1,000 O’Clock
11. Homemade Mummy
12. Grace
13. Saturn Missiles
14. Tetra
15. Gopher Guts
Bibi Tanga And The Selenites - 40 Degrees Of Sunshine
http://www.bibitanga.com
https://www.myspace.com/bibitanga
Origine du Groupe : Republic Central Africa , France
Style : Alternative , Funk
Sortie : 2012
From Official Site :
Parisian groove theorists Bibi Tanga and The Selenites return in 2012 with 40 ° of Sunshine, their second release for the Nat Geo Music label. Due out on late spring 2012, 40 ° of Sunshine was recorded in the studio after a two month African tour, and it’s the group’s most warm, relaxed and deeply poetic recording yet.
“The whole band was in a more sunny and happy place for the recording of this album,” says frontman/bandleader Bienvenu (Bibi) Tanga, “which took place after an African tour that brought us to 12 hot countries. Our relationships as musicians and as friends were reinforced by this long tour, and the album is more sunny than the previous ones. On the first two albums, the moon was our central symbol figure, this time it’s the sun”.
The album’s title track, “40 ° of Sunshine”, was also inspired by this experience, as Bibi explains: “40 ° of Sunshine takes some poetic license. It’s a story that imagines what would happen if alcohol were replaced by liquid sunshine; 40 ounces of bottled sunshine”.
It’s been two years since the world was introduced to Bibi and Selenites on Dunya, their 2010 release for Nat Geo Music, but the group’s unique retro-futurist vision and smooth, Afro-Parisian sound remain intact on 40 Degrees of Sunshine. And their longtime producer and collaborator, le Professeur Inlassable, was once again at the controls in his studio near the banks of the Seine on the left bank of Paris, polishing the group’s sound to a luxurious sheen.
For those who missed out on Bibi Tanga’s international debut, here’s the recap: Born in Bangui in 1969,the dusty capital of the Central African Republic, Bienvenu (Bibi) Tanga didn’t see his homeland until the age of 2, when his parents brought him back from Paris where they moved just after he was born. Growing up, Bibi was one of 7 children and spent his earliest years shuttling from Paris to Africa to Moscow to Washington, D.C., and Brooklyn, thanks to his father’s diplomatic postings. Eventually Bibi’s family ended up living in the suburbs of Paris, where he became a musical omnivore – devouring British new wave, African pop, and American blues and R&B in equal doses. As a teenager, Bibi learned guitar, bass and saxophone – and even took up tap dancing.
In 2000 Bibi – by now fronting his own band – teamed up with Professeur Inlassable (the tireless professor), and never looked back. A student of early decades of French popular music, Le Professeur adds a whole new dimension to Bibi Tanga’s sound, recreating lost musical soundscapes that invoke echoes of Edith Piaf, Jacques Brel and Serge Gainsbourg. Together with Bibi’s band The Selenites – Arthur Simonini on violin and keyboards, Rico Kerridge on guitar and Arnaud Biscay on drums – Bibi and Le Professeur craft an otherworldly sound.
On 40 Degrees of Sunshine the Selenites are tighter than ever, and Bibi stresses that “This record is an even more collective effort than the previous one” stressing that the albums songs emerged spontaneously and naturally from the bands’ informal studio jam sessions.
“The album was recorded over a few weeks in the summer of 2011, during nightly jam sessions,” Bibi explains. “All the tracks emerged from collective jams based around le Professeur Inlassable’s sample techniques. He set the mood with his loops and then the band joins in to create musical background for me to write songs or sing poetry.”
That relaxed, collective approach paid off with funky synchronicities and poetic couplings on tracks like “Poet of the Soul” – built around a slippery funk groove married to lines from poet Walt Whitman’s masterpiece “Leaves of Grass” – and “Laughing Song” – based around a poem by canonical English poet William Blake.
Two of the album’s tracks, “Kangoya” and “Banda a gui koua” are sung in the Sango language of Bibi’s ancestors. Bibi explains that “kangoya is the name for palmwine in Sango, and the song deals with the beverage in a positive way, as a social and familial means to bring people together. While banda a gui koua is the name of a traditional dish of greens from Central African Republic. The song deals with immigrants’ love of recipes from their native countries.”
“Banda a gui koua” also introduces guest singer Emma Lamadji, who appears on seven of the album’s tracks. A fellow immigrant to France from the Central African Republic, Bibi and the band saw Emma singing with an Afrobeat band while on tour and a friendship was soon forged.
One track, “My Heart Is Jumping.” has a darker backstory than the rest, as Bibi recounts: “the track is built around Professeur Inlassable‘s loops of an obscure 1930s recording, which had a woman singing the words, ‘my heart is jumping’. Two days after le Professeur made the loop he had a little heart attack of his own.”
“Don’t worry” Bibi adds. “He feels better now and this event even had some positive influence on his life. But these kind of magic synchronicities happen frequently when the band is creating, because of our improvised/ free composition process that implies a lot of unconcsious and irrational attitudes.”
It’s this kind of fearless embrace of the creative mysteries that makes 40 ° of Sunshine such a surprising and satisfying listen – you never know where your head will roam, but your feet will always be firmly planted on the dancefloor.
Tracklist :
1. Poet of the Soul (03:28)
2. My Heart Is Jumping (03:48)
3. Banda a Gui Koua (03:34)
4. Can't Handle This (03:53)
5. Laughing Song (03:36)
6. Kangoya (03:01)
7. Do What You Wanna Do (03:29)
8. Dark Funk (04:00)
9. Happy Dustman (04:58)
10. People Are Working (02:24)
11. 40 of Sunshine (02:50)
12. Attraction (01:47)