Marcus Miller - Renaissance

http://www.marcusmiller.com

https://www.myspace.com/marcusmillerband





Origine du Groupe : North America

Style : Jazz Fusion

Sortie : 2012

By John Fordham   
From http://www.guardian.co.uk



This is bass-guitar star Marcus Miller's UK-tour repertoire of last month, plus a few bonuses, including the finely spun vocals of young New Yorker Gretchen Parlato and the rasping ones of Dr
John on two tracks. For jazz-funk fans, it's paradise – Miller's arrangements have the clamouring horn parts, snappy basslines, raw guitar fills and whipcrack backbeats of this style meshing like
a racing engine, and, of course, there are plenty of jawdropping bass solos. Creative obliqueness (of the kind Miller brought to Miles Davis's Tutu and Amandla albums in the 1980s) isn't always
apparent. The assertive foregrounding of the bass guitar doesn't exactly enhance the potentially mysterious Brazilian feature Setembro, with its vocals by Parlato and Ruben Blades, and
horn-punching groovers such as Cee Tee Eye veer to the formulaic. But the exhilaratingly funky Detroit, the lyrical (and Tutu/Amandla-related) Redemption, or the Headhunters-like Slippin' into
Darkness confirm Miller's mastery of his particular world. Solos from Lincoln Centre trumpeter Sean Jones and excellent regular saxophonist Alex Han spark fireworks, sly quotes from Dizzy
Gillespie and Bob Marley classics add spice, and there's a poetic solo-bass finale on I'll Be There.









Pour http://www.disquesdreyfus.com



Avec ce nouvel album studio, son premier depuis 5 ans, Marcus MILLER innove à nouveau. « Je sens qu’une page se tourne », dit Marcus Miller ; « Nos derniers héros disparaissent et nous entrons
dans une ère nouvelle, à la fois politique et culturelle. Mais la Musique n’est pas aussi révolutionnaire que les médias. Il est temps pour une Renaissance. »



Avec un casting incroyable de jeunes musiciens, et des invités comme Dr. John, Gretchen Parlato et Ruben Blades, Marcus Miller crée un nouveau chef d’œuvre moderne pour une nouvelle ère.



Huit nouvelles compositions originales ainsi que cinq standards : « Slippin’ Into Darkness » par War, « Tightrop » par Janelle Monae, « Setembro » par Ivan Lins, et un hommage virtuose à Michael
Jackson pour n’en nommer que quelques uns.





Tracklist :

01 – Detroit

02 – Redemption

03 – February

04 – Slippin’ Into Darkness

05 – Setembro (Brazilian Wedding Song) [feat. Gretchen Parlato & Ruben Blades]

06 – Jekyll & Hyde

07 – Interlude Nocturnal Mist

08 – Revelation

09 – Mr. Clean

10 – Goree (Go-ray)

11 – Cee-Tee-Eye

12 – Tightrope (feat. Dr. John)

13 – I’ll Be There

Emeterians - Power Of Unity

http://www.emeterians.es

https://www.myspace.com/emeterians





Origine du Groupe : Spain

Style : Reggae

Sortie : 2012

Par ludovibz pour http://ludovibz.blogspot.fr



Impressionnant en live le groupe reggae "Emeterians" diffuse les bonnes vibes jamaïcaine partout en Espagne et en Europe



Basé à Madrid, le groupe se  forme en 2004, comprenant douze musiciens et un ingenieur son (PABLO: Bass; XALS: Drums; JAVIBI: Guitar; RIPOLL: Keyboards; FELIPE: Vocals, Rythm guitar; MARY:
Vocals, Piano, Melodica; PIÑA: Vocals; SARA: Percussion; MARCOS: Trombon; JONAS: Sax; PEPAIX: Trumpet; JULEN: Sound Engineer).

'Power of unity' est leurs troisième opus après 'Seeds' (LP-2007) et 'Change the Mood' (2009), Contenant 15 chansons inspirées par les racines de la musique jamaïcaine, reggae roots !!!





Tracklist :

01-Too Many Weapons

02-Judging Not

03-Rumours

04-Love Is The King

05-Pour Some Water

06-Blue Lights

07-Lesson Fe Learn

08-Send Me Some Love

09-Long Time

10-Life Is Not Easy

11-Give Thanks

12-Get A Blow

13-Dem A Wrong

14-Spirituality

15-Power Of Unity

 

Mononome - The Secret Melody

http://soundcloud.com/mononome





Origine du Groupe : Greece

Style : Abstract Hip Hop

Sortie : 2012

 

From http://dustedwax.org



The Greek samples sculptor and beatsmith Mononome drops his second masterful EP for Dusted Wax Kingdom.

The tracks are structured completely out of samples and are reminiscent of the amazing jazzy vibes, lo-fi down-pitched drums

and powerful moods of the golden early 90s.





Tracklist :

01 - Forever Is Wasted

02 - Many Dreams Ago

03 - To Break A Broken Heart

04 - Fools Rush In

05 - Endless Nights

Fetsum -The Colors Of Hope

http://page.fetsum.com

https://www.myspace.com/fetsum





Origine du Groupe : Germany

Style : Folk , Soul , Alternative

Sortie : 2012

 

From http://www.sonarkollektiv.com



Of the many words that one might choose to define FETSUM’s long awaited debut perhaps the most accurate is ‘global’. It’s an adjective that not only summarises the sound that he has fashioned
since he first started writing, but also his background. FETSUM’s parents were Eritrean revolutionists but he was born in Cairo after his mother had to flee because of a battlefield injury. After
18 months they moved to Rome for several years before heading on to Stuttgart, Germany.



It was during these formative years that FETSUM developed his love for music (from Bob Marley to Donny Hathaway and Bob Dylan) and tried to find his own voice – first in German and later in
English. "It was a complete rational consideration. I always wanted to reach as many people as possible with my music. My lyrics shouldn't be only understood in these parts but all around the
world."



His self declared "Urban Folk" soon proved popular. The German tabloid BILD celebrated his impressive voice and none other than reggae star Patrice began to support him after hearing his music.
First by taking him on tour as opening act several times, then as a guest in his own Supow Studio in Cologne. Here FETSUM started to record his debut "The Colors Of Hope". An album rich in years
of experience and astonishing maturity. Over the last three years the now Berlin-based musician shared stages with international and national acts like Estelle, K'NAAN, Peter Fox, Soehne
Mannheims, Cassandra Steen and - as mentioned - Patrice. These treasures of practical experiences and also the touching story of his own and his family's life fully shine through in this first
work.

"The Colors Of Hope" is once again an album you have to hear at a stretch. On the opener "Say Who You Are" FETSUM searches for his own identity in a world which to him isn't defined by country's
borders and status symbols, but is always full of hope and the belief in the good in mankind. Even when he criticizes the system and its injustice in songs like "Emotional Android" and "Divided
By Thoughts" the positive outweighs at all times. With "Egypt", "Homeless & Free" and "Letters From Damascus" FETSUM adds his very personal stories and tales to this brilliant piece of work.
There's rarely music coming out so intimate and life-affirming at the same time. All the more it's recommended to enter the world of FETSUM and to draw hope from his beautiful songs. This voice
will find its audience. There's no hope for that - but certainty.





Tracklist :

1. Say Who You Are

2. One People

3. Trials of Time

4. Emotional Android

5. Divided By Thoughts

6. Egypt

7. Homless & Free

8. Letters From Damascus

9. Waitin' for You

10. Queen of My Heart

11. Birth of a River

 

The Bombay Royale - You Me Bullets Love

http://thebombayroyale.com





Origine du Groupe : Australia

Style : Psychedelic , Surf , Funk , Indian Music

Sortie : 2012

 

From https://freegankolektiva.wordpress.com



The Bombay Royale is a dedicated homage band, bringing the classic cult days of Bollywood into the fore with a storm. It is a cinematographic band in that the looks, the moves and the music video
are at least of equal importance to the music. Actually, the whole enterprise here has totally integrated the aesthetics of 1960s and 1970s Bollywood, both visually and sound-wise.



At this point I have to admit that my knowledge of Bollywood’s golden age is rather limited; however, I  know that the sounds of that era constitute a bottomless vessel of invaluable sounds
as they have been used routinely as samples in electronic music, hip-hop etc. I am sure that there are tones of exceptional music from that time & place still to be unearthed for the
international audiences.



Some artists of Indian descent like Bally Sagoo have already tried to bring some Bollywood sounds in new music forms, but here we have a radically different approach. The Bombay Royale do not
just feature some Bollywood samples here and there, they are a total recall in the most authentic way possible. The whole artistic direction, from the instrumentation, the production, the
clothes, the cover, the video and the ways of singing reinstate the unruly cinematic imagination of that era.



They want to party, they want to create mayhem, they came to impress. In such cases, when artists are so provocative with the aim to attract as much attention as possible, I am usually on the
skeptics’ side. More often than not the packaging is fancy but the essence is absent – and a band’s essence is to play good music. So what about the music here?



Led by the musical director and founder Andy “The Skipper” Williamson and the vocal duo Parvyn ‘La Femme Mysterieuse’ Singh and Shourov ‘The Tiger’ Bhattacharya, the Bombay Royale, surrounded by
a host of skilled session musicians, deliver wholesome, fully instrumented, funky South Asian surf-a-delica. The music is high-octane masterfully orchestrated and adherently vintage in the vein
of a growing number of retro-funky orchestras out there (e.g. The Funk Ark).



Right from the uncompromising instrumental opener ‘Monkey Fight Snake’ they set the stage borrowing the vibes of the Budos Band, the bizarre funk/soul maestros. The organ gives the command, the
mysterious woody chords dance like rattling snakes, the tablas place the Asian timbres in the right place while the horns are lashing out insistent irreverent verses. Everything is consistent and
tightly arranged with memorable parts but there is even room for some playful improvisation.



The title track is the first single of the album with both vocalists stepping closely on Bollywood tones – the horns are impressive again unleashing a massive sound. With a big band like this and
such a quality analog production there a level above the rest of retro lovers. Production-wise and with all the spaghetti vintage atmosphere, Calexico come to mind.



‘Sote Sote Adhi Raat’ is laden with outrageous vintage bleeps and tape echoes which sound like a Hawkwind space rock revival while ‘The Perfect Plan’ is quite poppy with mysterious exotic
melodies, a fiery rhythm section and blazing bhangra guitars. I bet that it is going to be their second single. ‘Bobbywood’ reveals more openly their ethio-jazz influences or their affiliation
with Cambodian pop-influenced psy rockers Dengue Fever.



Every song reveals another facet of the Bombay Royale – their material is well-revised and the influences are as wildly diverse as they used to be in the era of Bollywood’s most boisterous
experimentation. ‘Phone Baje Na’ is probably the perfect closer with an infectious dubbing pulse, slow, hypnotic and adventurous – a dose of evasion.



Gladly, bands like the Bombay Royale appreciate more the classic saturated colours and outward world mash-ups of the 1970s than the polished digital productions of today. ‘You Me Bullets Love’ is
a strong debut, it sounds as if the band members were playing together for years. I am waiting with curiosity to see how far they can go with this ensemble.





Tracklist :

01. Monkey Snake Fight [03:33]

02. You Me Bullets Love [04:37]

03. Jaan Pehechan Ho [04:27]

04. Sote Sote Adhi Raat [04:14]

05. The Perfect Plan [03:39]

06. Bobbywood [04:16]

07. Mahindra Death Ride [03:41]

08. Oh Sajna [02:39]

09. Dacoit's Choice [03:46]

10. Phone Baje Na [07:26]

 

Suhov - Instrumentals vol​.​01

http://suhov.bandcamp.com

https://www.myspace.com/suhovbeat

https://www.facebook.com/suhovbeat

Origine du Groupe : Hungary

Style : Abstract Hip Hop

Sortie : 2012



some rights
reserved

 

 

 

 

 

 

Suhov Instrumentals from 7 Released Hungarian Underground Hip-Hop Album!





Tracklist :

1.Do2 - Álmodj (Suhov Instrumental) 05:33

2.Do2 - Ami ami az (Suhov Instrumental) 04:00

3.Do2 - Ucca Ucca (Suhov Instrumental) 04:18

4.Hazai Márka - Idill (Suhov Instrumental) 03:31

5.Joe - Tér (Suhov Instrumental) 02:09

6.Jószomszéd - Csak az olvassa (Suhov Instrumental) 03:46

7.Jószomszéd - Reggeli illúziók (Suhov Instrumental) 03:43

8.Jószomszéd - Vész (Suhov Instrumental) 04:40

9.ASK-HM -Lakótép (Suhov Instrumental) 03:45    

10.Mikrofontos & FMaN - Csapásszám (Suhov 55 Instrumental) 03:54        

11.Striktbeatz - Písz van a tatamin (Suhov Instrumental) 03:57    

12.Wemsical - Szegeden Szabadon (Suhov remix Instrumental) 03:38

Ez3kiel - Barb4ry

http://www.ez3kiel.com

http://www.myspace.com/ez3kielmyspace







Origine du Groupe : France

Style : Electro Dub , Alternative Fusion

Sortie : 2003

 

Par Buffet Froid   
pour http://www.metalorgie.com



Céleste, poignant, pharamineux, ahurissant, admirable, gracieux, magnifique, pénétrant, surprenant, limpide, sinueux, attendrissant, impressionnant, phénoménal, troublant, …

Je pourrais comme ça agrandir la liste encore et encore sans pouvoir vraiment m’arrêter, oui je pourrais … Sans aucun doute cet album et tout ce qu’il signifie pour moi ne rentre pas dans un seul
et unique mot, une seule définition. Non, il ricoche avec arrogance et magnificence sur tout un tas de sentiments, de situations, d’atmosphères. Il est pluri disciplinaires, à plusieurs niveaux,
des strates musicales, mais aussi d’autres dimensions… Je m’égare un peu, mais je suis troublée, sincèrement, il n’existe pas de mot adéquat, propice pour qualifier toute l’ampleur de cet opus.
Perfection fourmilleuse, « barbary » est plus que de la simple musique, plus qu’un simple album, c’est un tout un Monde à part, un univers que j’aime découvrir et re-découvrir. D’ailleurs sur
scène, c’est aussi tout un visuel qui rentre en compte, avec un dispositif de plusieurs écrans où sont diffusés au millimètre prés des vas et viens d’images sublimes, et en rapport direct avec
l’artwork qu’on peut découvrir avec délectation sur ce digipack. Un blanc salvateur, un poupon aux milles éclats… j’en passe et des meilleurs… Etant de l’electro relativement ‘calme’ (j’appuie
bien sur les guillemet), on pourrait imaginer un set de live soporifique à souhait, à peine dansant… Et bien non, au contraire, si un jour vous allez à un de leur concert préparez vous à
transpirer… Car en plus d’être visuellement vraiment étonnant, ce sont des bêtes de scène, qui transportent incroyablement… Mais revenons à Barbary… je le sais, je suis absolument conquise, voire
même pire, sous le charme, comme obnubilé et rêveuse à la vue d’un gourou au quel je crois dur comme fer, car il m’aura ouvert les yeux sur l’au delà. Faites attention, on ne ressort pas indemne
de cet album… vraiment …



A chaque nouvelle écoute, c’est une nouvelle histoire qui commence, avec son lot de magie fourmilleuse qui s’empare de tous vos sens. Pourtant il est pas si neuf (l’album est sortit en 2003),
mais que nenni. On s’évade, on se laisse bercer, cajoler, et puis réduire en poussière pour filer tel un grain de rien au vent d’une nouvelle ère. Appliqués, tout est passé au crible, tout, c’est
limite indécent une telle perfection. Pas un seul micro instant ne me déplait dans cet album, tout, absolument tout, incroyablement tout, du début à la fin tout est succulent, et l’écoute est
toujours aussi surprenante tellement les samples sont judicieux. Et ce n’est pas juste une seule et unique fois de temps en temps, mais en boucle que tourne cet album tellement il me transporte,
tellement il est magique. Oui, voilà je cherchais un mot … ce serait peut être celui là, « magique ».



Ez3kiel, avec cet album c’est quoi au juste ? Certains les mettent dans un style « dub electro ethnique », pour diverses raisons. En tous cas, rien à voir avec le dub reggæ classique et allègre,
bien au contraire, Ez3kiel a un environnement de prédilection c’est la noirceur, qu’il magnifie avec des mélodies aigres/douces, et envoûtantes, mais aussi et surtout des superbes envolées tirées
d’un univers alternatif. C’est electro, certes mais avec un esprit ‘coreux’. Il y a aussi ces nappes de basses lourdes, très lourdes, mêlé à tout un tas de samples incongrus, ludiques, et sinueux
aussi des fois ; un peu de chant quelques fois, qui retrace surtout des sons en tant qu’émotions qu’elles soient malsaines, ou féeriques. On notera d’ailleurs la participation d’un très grand
monsieur Angelo Moore (chanteur des Fishbone) qui n’est pas pour me déplaire, et qui en plus est un morceau de toute beauté.



Que dire de plus ? Peut être que c’est le plus ‘rock n roll’ de tous les albums de dub que je n’ai jamais entendu. Et que à mon humble avis, barbary mériterait bien une place entre Aphex Twins,
et Bjork dans une discothèque, même si indéniablement ça n’a rien à voir.



Barbary, c’est magique, pis c’est tout. Voilà …





Tracklist :

1. Kika

2. Versus

3. Another

4. 3 rue Monplaisir

5. Phantom land

6. Tôt ou tard

7. ObSsD

8. Barb4ry

9. Thought

10. Sûrement

11. Akik

Kaiti Kink Ensemble - Under The Iron Sky

http://kaitikink-ensemble.com

http://www.facebook.com/KaitiKinkEnsemble





Origine du Groupe : Finland

Style : Trip Hop , Electronic

Sortie : 2012

 

 

 

From http://kaitikink-ensemble.com



Inspired by their collaboration and amazing feedback from the Iron Sky fans, Kaiti Kink Ensemble decided to develop their music into a full scale album release. During 2011 Naskali and Siirtola
started composing, recording and producing the album in their recording studio in Tampere and partially in an old countryside mansion, where cows were grazing on the backyard. During that year it
became clear that the band didn't want to limit themselves into a specific predetermined genre. Instead the group wanted to fully explore different emotions and soundscapes in their first big
release. As a result, their debut album Under the Iron Sky is nothing less than an outstanding collection of dynamic and fresh-sounding tracks.







Singer: Kaiti Kink

Composers: Tapani Siirtola & Joonas Naskali

Violin (1,3,4,5,7): Anri Tuohimäki

Cello & Double Bass (1,3,7): Esa Korja

Trumpets (2): Mikko Routimo, Jouni Parkkonen

Saxophone (9): Aki Ekqvist

Drums (2): Vilho Rajala

Drums (3): Juha Alaste

Bass (5): Mikko Soukkala



Album art: Hanna-Kaisa Huhtamäki



Album produced and released by Sound Reel Finland

Mastered by Chartmakers





Tracklist :

1.Let Me Into Your Mind 04:47

2.Under the Iron Sky (Extended) 04:39

3.Dark Side of the Moon 03:51

4.Superstitious 04:53

5.You're the Home 05:25

6.Too Much Energy 04:24

7.Remedy 04:39

8.Dusty Words 04:07   

9.With You Now 05:07   

10.The Journey 09:26

Various Artists - Jahtarian Dubbers Vol. 3

http://www.jahtari.org





Origine du Groupe : V.A World

Style : Reggae , Dancehal , Dub , Electronic , 8-Beats

Sortie : 2012

 

From http://www.jahtari.org



The tape heads of the Jahtari echo machines have been finetuned, the reverb modules are

rewired, the bass implant is set to maximum blast and now the third episode of our ongoing

series called "Jahtarian Dubbers" is ready to rock your walkman for a long time to come.



Mikey Murka went up to the dancehall again, John Frum is back with a hauntingly beautiful dub,

Soom T is in top shape on one of his other riddims, Maffi team up with Ranking Levy from MyLord

Sound while the Jahtari Riddim Force is on the loose, El Fata rinses Tapes' smashing "Gold Love

Riddim", disrupt dug out a forgotten treasure from the vault and Rootah runs his tube delays

into the red zone.



Wearing the black belt for beatmaking and new in the Jahtari camp is Monkey Marc (who

supplied a wicked instrumental to the last Roots Manuva album). Our favourite sound system

champions Mungo's Hifi are about to blow your speakers alongside veteran Jim Nastics, plus

there's a very special Rootah version of a Dub Syndicate / Adrian Sherwood classic - with Lee

Perry (!) on the mic, lazergun in hand, straightjacket and all. So better pack enough supplies

for an interstellar trip - this one might take a while.





Tracklist :

01  Mikey Murka - Sweeter

02  John Frum - Healing Dub

03  Soom T - Bullets Will Bounce

04  Monkey Marc - Rudebwoy Dub

05  Ranking Levy - Mad Man Style

06  Lee Perry & Dub Syndicate - Secret Laboratoy (Rootah version)

07  Jahtari Riddim Force - One Armed Swordsman

08  Jim Nastics & Mungo's Hifi - Nah Lef Africa

09  El Fata - Dancehall Girls

10  disrupt - Asteroid Dub Force

11  Rootah - Mr. Vibes

HeRajiKa Tracks - Love Universal

http://www.herajikatracks.com

https://www.myspace.com/rutobeats





Origine du Groupe : Canada

Style : Abstract Hip Hop

Sortie : 2011

 

From https://balafonic.wordpress.com



Tranquil Hip Hop Instrumentalists Herajika Tracks create a Rare Album of beats consisting of carefully placed samples and well constructed, thought out song structures. Calm and precise- gently
sculpted out of Beautiful, complex piano pieces (Which  one the members Koki plays live, rather than being sampled) complemented with Heavy drums, Flutes, strings, and  Soul crooning
Vocals. Instead of dwelling within  the City boundaries like most Hip-Hop, There’s a distinct Sense of Nature on this album- on any given (Herajika) track you can hear a bubbling stream or a
wind brushing Chimes into motion and a bird call echoing in the background. Like walking through a lush, secluded Forest, Love Universal wraps around you warmly with their peaceful Methods and
approach to Zen-like Hip Hop.





Tracklist :

01. Intro

02. Hu-getsu

03. I Believe

04. Shigure

05. Fragment

06. Higurashi

07. Celebration

08. Footsteps

09. Memory Lane

10. Dreaming

11. Meguri

12. Pavane

13. Love Universal

 

Robin McKelle & the Flytones - Soul Flower

http://robinmckelle.com

http://www.reverbnation.com/robinmckelle





Origine du Groupe : North America

Style : Jazz , Soul , Funk

Sortie : 2012

 

Par Francis Dordor pour
http://www.lesinrocks.com





Mayer Hawthorne, Robin McKelle : deux façons de s’inviter dans



les grandes traditions soul,



avec respect des canons ou malice.



Pour avoir décollé dans l’entourage des Herbie Hancock et Wayne Shorter, la voix expressive de Robin McKelle a vite inspiré des comparaisons flatteuses. On la jaugea à l’aune d’une Ella
Fitzgerald, d’une Sarah Vaughan et c’était déjà beaucoup à assumer pour cette petite New-Yorkaise blanche sans pedigree. Avec Soul Flower, la voilà qui se glisse dans un autre sillon, celui tracé
par Aretha Franklin, avec la même réussite.



Si ce quatrième album semble réciter par coeur toute la syntaxe de la soul de l’écurie Atlantic – celle des années Tom Dowd où chaleur rimait avec efficacité –, elle évite aussi tous les pièges
du remake tiroir-caisse à la Seal ou l’exercice de style scolaire façon Ben l’Oncle Soul.



Compositions inédites, dans l’esprit, mais jamais soumises à la lettre, reprises de standards qu’elle personnalise (dont un Walk on by au pas de charge), Robin se révèle excellente cuisinière,
faisant usage d’anciennes recettes de fabrication pour mieux y injecter une certaine dose d’intelligence et de passion contemporaine.



Mayer Hawthorne serait plutôt, quant à lui, une sorte de fashion vampire. Originaire de Detroit, il a débuté comme rappeur sous le pseudo d’Haircut avant de se replonger dans ce qui a forgé
l’identité musicale de sa ville, le son Tamla Motown. Sur How Do You Do?, il cherche souvent à recréer l’esthétique du prestigieux label de Marvin Gaye et des Supremes, sans oublier l’essentiel :
en retirer du plaisir.



Ce second album ressemble à ces ateliers de couture où de jeunes stylistes inventent des modèles en s’inspirant des collections du passé. Avec parfois des patchworks amusants quand il coud du
Smokey Robinson sur du Stevie Wonder (Finally Falling) ou épingle du Supremes avec du Spinners (Hooked). Gentil vampire, Hawthorne séduit par sa fraîcheur à défaut de convaincre par son
originalité.



Au milieu des années 80, le critique américain Nelson George avait inventé une étiquette pour un courant musical auquel Robin McKelle et Mayer Hawthorne peuvent se rattacher. Il appelait ça le
“retronuevo”. On connaît la valeur des étiquettes et leur tendance à valser. Mais c’est toujours mieux que “solde”.





Tracklist :

01 So It Goes 05:20

02 Tell You One Thing 03:58

03 Nothing's Really Changed 03:34

04 Fairytale Ending 03:49

05 Miss You Madly 05:09

06 Don't Give Up 03:41

07 Walk On By 03:11

08 To Love Somebody 04:06

09 Change 03:42

10 I'm Ready 04:48

11 Love's Work 04:29

12 I'm A Fool To Want You 04:49

 

MJ A ROCKER - The DRASTICS vs Michael Jackson

http://www.podomatic.com/profile/mjarocker





Origine du Groupe : North America

Style : Remix , Reggae , Ska

Sortie : 2012

 

 

 

 

 

From http://mjarocker.podomatic.com



MJ A ROCKER IS HERE!



In honor of his recent birthday..!



Some of you thought it was a joke ... but it's very very real ... and finally here ... ! THE DRASTICS tribute to Michael Joseph Jackson .. imagine SIR COXSONE in the production seat instead of
Quincy and you're about half-way there ... Included are I Want You Back, Rock With You, Don't Stop 'til You Get Enough, Billie Jean, Smooth Criminal, and The Way You Make Me Feel ... These aren't
instrumentals or covers-per-se ... you just gotta hear it to believe it ...



The Drastics are a stepping razor don't you watch their size....they're DANGEROUS!

Lorn - Ask The Dust

http://www.lastfm.fr/music/Lorn

http://ninjatune.net/artist/lorn





Origine du Groupe : North America

Style : Ambient , Electronic

Sortie : 2012

 

 

From http://ninjatune.net



Lorn returns with a new full-length album, his debut on Ninja Tune, and it’s a huge stride forward since Nothing Else (released on Brainfeeder, June 2010). Listening back to his first album, Lorn
says it now seems “cold and strict.” Ask The Dust, on the other hand, is “haunted, oily, smeared,” and with this description he captures something of the intensely felt, visceral aliveness of the
music.



If Lorn began his musical career as a poet of alienation, then Ask The Dust (named after the 1939 proto-Beat classic novel of the same name by John Fante) sees his music develop a more human
energy. In particular, the use of his own singing voice (a process which began on the last track of Nothing Else, “What’s The Use”), which has added a new dimension to his often crunching and
brutal but never less than beautiful electronic music.



Take “Weigh Me Down,” where Lorn comes surprisingly close to glitched-out soul music. It would be easy to overlook while reaching for muscular superlatives, but his music is also supremely
melodic, where a tune like “The Well” (ostensibly “a soundtrack to being buried alive”) is memorable for a melody that nags at your brain long after the music has stopped.



“Dead Dogs” combines spectral choirs with explosive drumming, (one of three tracks with live drumming). “Chhurch” combines the feel of early electro with Lorn’s own highly developed aesthetic
(originally written on tour, GonjaSufi came up with lyrics to accompany it, but never recorded them anywhere else save his iPhone). But it’s on a tune like “Ghosst” that he shows the sheer energy
and raw drive he commands. It is exhilarating and slightly terrifying all at once.



Other highlights include, "This", a wipe of a hand across a chalkboard, so to speak. A simple sequence to reset things, a mantra to calm the nerves. "Diamond", was among the first written for Ask
The Dust, while Lorn was still up in northern Wisconsin, the last surge in his isolation, over the expanse of the lake in the house his grandfather built



Since the release of Nothing Else, Lorn has toured the world alongside the likes of Mary Anne Hobbs, Amon Tobin, and GonjaSufi to name a few. He became a devout owner of a B5 A4, and much like
his dedication to music and art, wasted no time tearing it apart in order to learn how to put it all back together again. Ask The Dust suggests he’s learnt to do much the same with his
emotions.





Tracklist :

01. Mercy

02. Ghosst

03. Weigh Me Down

04. This

05. Diamond

06. Everything Is Violence

07. The Well

08. The Gun

09. Dead Dogs

10. Chhurch

11. I Better

12. Ghosst(s)

 

Roberto Fonseca - Yo

http://www.robertofonseca.com





Origine du Groupe : Cuba

Style : Jazz World , Piano

Sortie : 2012

 

 

Par Paco pour http://delaluneonentendtout.blogspot.fr



Avec une petite dizaine d'albums à son actif, et des collaborations prestigieuses (Ibrahim Ferrer, Omara Portuondo, ou encore Orlando Cachaito López), Roberto Fonseca fait figure d'incontournable
de la musique cubaine actuelle. Sur son nouvel album « Yo », le pianiste de La Havane évolue toujours sur une base cubaine tout en s'envolant très souvent vers l'Afrique, en compagnie de Baba
Sissoko au n'goni, Sekou Kouyate à la kora, ou la chanteuse Fatoumata Diawara. Ils sont d'ailleurs réunis sur la merveilleuse communion africo-cubaine « Bibisa ». On retrouve aussi le chanteur
Assane Mboup, de l'Orchestra Baobab, sur « Quien Soy yo », et plus surprenant, Faudel « le petit prince du raï », qui pose ses mélismes sur le très free « Chabani ». Mais Fonseca peut aussi
prendre un virage rock avec une kora quasi Sanatanesque sur « JMF », ou cinématique avec un orgue Hammond très 70's sur « Rachel ». On n'oubliera pas « Mi Negra Ave Maria », composé avec sa maman
Mercedes Cortés, illuminé par le spoken word de Mike Ladd. Un album de grande classe, d'une fluidité remarquable pour notre plus grand plaisir !





Tracklist :

01. Roberto Fonseca - 80's (6:24)

02. Roberto Fonseca - Bibisa (4:33)

03. Roberto Fonseca - Mi Negra Ave Maria (5:21)

04. Roberto Fonseca - 7 Rayos (5:29)

05. Roberto Fonseca - El Sonadoresta Cansado (5:05)

06. Roberto Fonseca - Chabani (5:11)

07. Roberto Fonseca - Gnawa Stop (5:17)

08. Roberto Fonseca - El Mayor (1:22)

09. Roberto Fonseca - JMF (4:49)

10. Roberto Fonseca - Asi Es La Vida (4:31)

11. Roberto Fonseca - Quien Soy Yo (3:42)

12. Roberto Fonseca - Rachel (3:37)

13. Roberto Fonseca - Bibisa (Remix) (4:08)

14. Roberto Fonseca - 80's (Remix) (3:56)

 

Gabrielle - Always

http://www.gabrielle.co.uk





Origine du Groupe : U.K

Style : Nu-Soul, R&B

Sortie : 2007

 

 

By Ben Wood from http://www.bbc.co.uk



This album isn’t going to change the world, but it’s a very pleasant surprise.



For many people (including me), Gabrielle has always seemed a mite middle of the road, her well-crafted soul-pop winning her a permanent berth on daytime radio alongside Celine, Mariah and
co.



However, maybe the relative failure of her last album Play To Win has inspired the formerly eyepatched one to take a few more risks. Her voice - more conversational than the foghorn favoured by
many modern R’n’B singers – is still instantly recognisable. But on Always, it is wrapped around a more eclectic, better-produced, funkier set of songs.



The production takes it out of Magic FM land and into more interesting waters. And maybe it’s the influence of the sainted Kanye West, but there’s a definite early 70s soul vibe. However, the
lyrics are still a slight weak point, tending towards the prosaic and the therapy-speakish at times.



The first single from what the singer has described as her ‘break-up album’ is “Why”, quoting Wild Wood and featuring the voice and guitar of Mr Weller himself; while Gabrielle’s voice seems
raspier, with a touch of Macy Gray. The prominent strings introduce one of the album’s central motifs.



“Always” is another tale of a shattered relationship, its updated ‘70s soul feel strengthened by harp, cooing backing vocals, hip-hoppy beats, and a chiming guitar hook.



“Heartbreaker”’s Primal Screamesque rock/soul stomp is more evidence of the unexpected. This unashamed party track starts with a beat filched from Bobby and co’s “Rocks”, while “When We Were One”
is another meditation on loss, as hip-hop beats mesh with strings once more.



“Closure”’s break-up blues places churchy organ against a funky backbeat. It’s simple, dignified and effective, Gabrielle refusing to over-emote, and demonstrating that less is more.



“Every Little Teardrop” seems to take its melody from Lenny Kravitz’s “It Ain’t Over ‘Til It’s Over”. It’s not the album’s strongest track, but that’s no crime in such company. This album isn’t
going to change the world, but it’s a very pleasant surprise.





Tracklist :

01 - Always       

02 - Heartbreaker       

03 - Why       

04 - Remember       

05 - Every Little Teardrop       

06 - I'm Not In Love       

07 - Love Me Like You Do       

08 - Wiser       

09 - All I Want       

10 - It's Breaking My Heart       

11 - Cold Sober Moment       

12 - Show Me Love       

13 - Closure

 

Commix - Dusted

https://www.myspace.com/commix





Origine du Groupe : U.K

Style : Drum & Bass

Sortie : 2012

 

 

From Wikipedia :



Based in Cambridge, Commix originally comprised George Levings, Guy Brewer and Conrad Whittle. As a DJ/production team, they began working together in 2002 and the trio released a series of
12-inch singles on the Aquasonic, Tangent Recordings, Good Looking Records, Creative Source and Brand.nu labels, with notable tracks including 2003's "Feel Something", and 2004's "Herbie" and
"Surround". After Whittle's departure, Commix was signed to Goldie's label Metalheadz in 2005. The trio met when they were at an international pokemon competition.



Commix's signature track, "Satellite Song", was featured on the Metalheadz compilation Winter Of Content, while two other club favourites ("Urban Legend" and "If I Should Fall") were paired up on
a 12-inch single. Their debut album, Call To Mind, was released in summer 2007, to generally positive reviews. Call To Mind was the second release of an artist album on Metalheadz, after Goldie's
Rufige Kru alter-ego's Malice in Wonderland. The duo has also notably remixed tracks by artists including Bebel Gilberto, Adam F and DJ Die.

Influences



Commix's sound has been influenced by many different musical genres. Their sound features elements of liquid funk,[9] techno, soul and even house. Levings previously played saxophone, flute and
piano, before venturing into the hip hop and electronic music scenes.[citation needed] Similarly, Brewer had a wide-ranging interest in music before being introduced to drum and bass.





Tracklist :

1. Time Has Come 5:47

2. Change On Me 5:40

3. MFSB 7:10

4. Everything 5:46

5. Golden 5:48

6. I Have You 5:52

7. Untitled (Sept 06) 5:02

8. Tracking You 6:26

9. Audience 5:37

10. EXP 6:24

11. Envious (Original Commix Demo Version) 6:59

12. Autumn Rides 7:11

 

Nguyen Le Feat. Paolo Fresu & Dhafer Youssef - Homescape

http://www.nguyen-le.com



http://www.paolofresu.it



http://www.dhaferyoussef.com





Origine du Groupe : France , Sardinia , Tunisia

Style : Alternative Fusion World Music , Jazz World

Sortie : 2006

 

 

From http://www.allaboutjazz.com



Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences
beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.



Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French
newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino
Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians
together on the album Maghrebi & Friends.



None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef.
Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi
trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian
aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.



Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since
2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy
Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.



In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of
round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very
exotic drifting in and out of the mix, it’s rich, colourful and beguiling.





Tracklist :

1 -  Stranieri (Paolo Fresu / Nguyên Lê) (06:00)

2 -  Byzance (Dhafer Youssef / Nguyên Lê) (04:25)

3 -  Muqqam (Dhafer Youssef) (02:44)

4 -  Mali Iwa (Nguyên Lê) (06:27)

5 -  Zafaran (Dhafer Youssef / Nguyen Le) (06:02)

6 -  Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)

7 – Kithara (Dhafer Youssef) (02:18)

8 -  Chelsea Bridge (Billy Strayhorn) (03:00)

9 -  Safina (Dhafer Youssef / Nguyên Lê) (03:27)

10 -  Des Pres (Paolo Fresu / Nguyên Lê) (02:19)

11 -  Thang Long (Nguyên Lê) (05:33)

12 -  Neon (Paolo Fresu / Nguyên Lê) (03:12)

13 -  Mangustao (Dominique Borker) (07:26)

14 -  Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)

15 -  Beyti (Dhafer Youssef / Nguyên Lê) (02:53)