Note :

http://www.myspace.com/mulatuastatke

Sortie : 1998
Style : Jazz World , Music Ethiopienne

Tracklist :
1 Yèkèrmo Sèw (A Man of Experience and Wisdom) (4:15)
2 Mètché Dershé (When Am I Going to Reach There?) (4:00)
3 Kasalèfkut Hulu (From All the Time I Have Passed) (2:45)
4 Tezeta (Nostalgia) (6:16)
5 Yègellé Tezeta (My Own Memory) (3:18)
6 Munayé (My Muna) (5:03)
7 Gubèlyé (My Gubel) (4:40)
8 Asmarina (My Asmara) (4:58) by Fèqadu Amdè-Mesqel 9 Yèkatit (February) (3:57)
10 Nètsanèt (Liberty) (5:36)
11 Tezetayé Antchi Lidj (Baby, My Unforgettable Remembrance) (6:04)
12 Sabyé (My Saba) (5:28)
13 Ené Alantchi Alnorem (I Can't Live Without You) (5:02) by Girma Hadgu
14 Dèwèl (Bell) (4:16)

Line Up :

* Mulatu Astatke - Arranger, Keyboards
* Fedadu Made-Mesqel - Flute, Tenor Sax
* Mogus Habte - Tenor Sax
* Yohannes Tekolla - Trumpet
* Felleque Kindane - Guitar
* Andrew Wilson - Guitar
* Tekle “Huket” Adhanom - Guitar
* Giovanni Rico - Bass
* Tesfaye “Hodo” Mekonnen - Drums
* Girma Zemaryam - Drums
* Temare Haregu - Drums



Musically trained in London and schooled in the club scene of mid-’60s New York, Mulatu Astatke stands as the exceptional musical innovator of the Ethiopian groove. Starting in 1969, he created the first bands independent of the military, which had previously dominated the country’s music scene. Having immersed himself in Caribbean music, funk, jazz and Latin grooves during his lengthy stint abroad, Mulatu returned to his native land to give rise to a brand new sound. An album of instrumentals, Ethiopiques Volume 4 is a case study in the inventive blending of influences that comprised the Ethiopian groove. Strains of funk and reggae timings permeate the thick and chunky bass lines, which are pushed prominently forward in the mix. Multiple saxophones swirl with the hypnotic, snake-charming sounds of the East, while at the same time resonating with jazzy tones reminiscent of John Coltrane and Lester Young. Guitar is a main ingredient here, growling with funky distorted wah-pedaled fuzz riffs that sound like they were lifted straight out of an early ’70s black-exploitation flick. Drums and percussion combine the punchy funk of James Brown and the Meters with the heavy Latin rhythms of Mongo Santamaria and Willie Bobo. Fusing all of these elements together, Mulatu unleashes a potent brew of afro-jazz grooves that pull you in and leave you in a mystical trance-like state. Whew! Even when the record stops, these mood-inspiring sounds linger on like a drug. Get your head on right, light a candle, sit back, and you too will understand… Tropical in its roots, funky and intoxicating in its impact, Mulatu Astatke’s distinct brand of Ethiopian music features some of the most soulful hip-grinding instrumentals ever recorded in Mother Africa.

Author: John Ballon

permalink

Note :

http://www.basisrecords.com/indigo
http://www.myspace.com/indigojamunit

Sortie : 2006
Style : New Jazz

Tracklist :
1. Sakura
2. Car Chase
3. Ibuki
4. Charlie
5. Alert
6. Gekko
7. Spin A Top
8. 2×2.
9. 5 AM





A killer combo from Japan — a club jazz unit that mixes warm, round bass with hard-hitting piano — all held together nicely with two drummers on the bottom, and some very crisp production! The sound is totally great — a stripped-down take on the mix of modal and soul jazz styles that have been coming from some of the Japanese and European club jazz groups of late — and without any horns to get in the way, there’s an added focus on the acoustic bass and heavy drums, which makes for a nicely funky sound overall! These guys are totally great — way better than the “jam unit” name might make you think — steeped in classic jazz roots, but coming across with a very fresh, very contemporary groove. Titles include “Car Chase”, “Ibuki”, “Charlie”, “Alert”, “Gekko”, “Spin A Top”, “2 X 2″, and “5AM”.
permalink

Note :

Style : Classique

Tracklist :
(1) Alexandre BORODINE
Danses Polovtsiennes du « Prince Igor »

(2) Modeste MOUSSORGSKY
Une Nuit sur le Mont-Chauve

(3) Piotr Ilitch TCHAIKOVSKY
Roméo et Juliette, ouverture-fantaisie

Igor Markevitch
Orchestre National de la Radiodiffusion Française
Choeurs de la Radiodiffusion Française (1)
(chef des choeurs : René Alix)

Enregistré à Paris (Salle de la Mutualité),
les 10-11 mars 1954 (1, 3) et le 15 mars 1954 (2)

Note : ++

http://sandhysondoro.net
http://www.myspace.com/sandhysondoro

Sortie : 2008
Style : Folk , Rock , Pop

Tracklist
1. Why Don't We
2. Superstar - How Could We Not Love
3. End Of The Rainbow
4. You And I
5. In The Name Of Peace
6. Down On The Streets
7. I Don't Know Where
8. An Unordinary Lovely Friend
9. People (Shall We Live For Money)
10. Last Dance With You
11. That's The Way
12. Don't Let It Bring You Down



His name might not be familiar to all, but 36-year-old Sandhy Sondoro has made remarkable achievements in music, putting Indonesia on the international stage by winning New Wave 2009, a contest for young pop singers. Music has been part of Sandhy Sondoro's life since he was a little boy. His mother was in band made up of co-workers from her office; his cousin, Ira Maya Sopha, was a famous child singer during the 1970s. Sandhy, born in 1973, listened to different kinds of music, ranging from American pop, to folk, jazz and the blues; in particular, he adored The Beatles, Michael Jackson and Neil Young. Yet his music career began unexpectedly and unplanned, while he was in Germany. He went to Germany to study architecture after he graduated from high school in Jakarta. As he lived alone there and needed to support himself, he was on the lookout for a job. "I was a singer in a uni band but we rarely appeared on stage, so I couldn't rely on the band to make more money," Sandhy says. He did have the opportunity to work in a supermarket, and headed there by bike. "But I didn't get *the job* because I was late," he says. "On my way back to my apartment, I saw a busker on the street. I thought, *Well, being a busker was a good idea.'" He approached the busker to ask if he could join him in singing on the streets. The busker agreed. "So I borrowed my friend's guitar and played on the streets. We got about 50 deutschemarks in an hour and we shared the money," he says. "That wasn't bad." They played three times a week before he decided to go it alone. "The money was enough to pay the rent or buy materials for my studies," he says, adding he also busked on subways. But he wasn't destined to remain a busker forever. He started to write more songs and played in some gigs in Berlin with his band. His voice made him stand out. Greatly infl uenced by African-American musicians such as Ray Charles and BB King, renowned for their powerful voices, Sandhy often takes people by surprise with his soulful voice. Should you hear his voice without knowing anything about him, you might even guess that he is an African-American singer because the way he sings is so "black". That he is Indonesian surprises many who hear his voice first. He interprets all kinds of songs, such as Percy Sledge's classic "When A Man Loves A Woman", in his own distinctive style. "I'm a big fan of African-American musicians with their blues and soul music. I always sing songs the way I want to sing them, with my own character," he says, adding that if the legendary BB King happened to drop by one day, he would be delighted to write a song with him. He developed as a self-described "all-round musician", spending many years jamming with musicians in jazz bars in Berlin and other cities in Europe. Recognizing his great talent, some African-American musicians in Berlin encouraged Sandhy to take the next step and make his breakthrough. His talents began to attract wider attention when he took part in a talent show, created by prominent entertainer Stefan Raab, that aired on German TV two years ago. The aim of the program was to fi nd young musicians. Even though he came fi fth in the fi nal, Sandhy's performance impressed many major German musicians such as Gregor Meyle. His participation in the competition also opened up the way for further opportunities in a number of shows such as House of World Cultures in Berlin. The release of his debut album Why Don't We, in early April 2008 marked Sandhy's entry into the music industry. The album contains 12 songs in English. His first single "Shine", for which he collaborated with duo DJs, Ibiza and Dublex Inc, was soon in the radio charts in major European cities such as Berlin, Madrid and Paris. It was a good start, but Sandhy was not about to rest on his laurels. He continued to try new things, including competing in New Wave, an international music competition for young singers, in Jurmala, Latvia. The annual contest has become an important event in the international music arena because its live concerts on central channels attract millions of spectators and attention from important journalists and media - not to mention the fans, who are impassioned about the event and support the competitors with all their hearts. "It wasn't completely my own idea *to take part in New Wave*. Brandon Stone *music producer* suggested I take part in the competition," he says. "I'm not really the kind of person who is crazy about participating in American Idol-like contests, but I took the opportunity as a way of getting free promotion. Besides, I love Indonesia and I wanted to promote the country at the international level." He had little idea of winning, although he admitted he wanted to. "But in any case, *I thought* I would benefi t from the atmosphere of the contest and from working with professional artists," he says. In the competition, he proudly performed his own song, "End of the Rainbow", for the judges. The song and his performance captured the judges' attention; he ended up sharing fi rst place in New Wave with a Ukrainian singer. The victory gave him the opportunity to realize one of his dreams: to tour the world. "I'd like to share my songs with people *everywhere*, so that they can enjoy my music," Sandhy says. Despite his achievements and international exposure, Sandhy remains a nice person with a great sense of humor. He is certainly not the kind of a singer who becomes a snob just because he has lived and had successes abroad. At the beginning of our recent interview, Sandhy, sporting blue jeans, an orange T-shirt and a scarf, started out quietly, with a little smile on his face. But as time passed, he became more animated and warm, starting to tell some jokes and fooling around. During his spare time, he says, he likes to write songs or watch funny movies. "I like comedy. It really saves my tough days," he says. "My favorite is Benyamin Sueb. He's awesome." Although Sandhy has been living in Germany for years, he has not forgotten his home, and sometimes performs at gigs in Jakarta. He recently accompanied himself on the guitar for a performance of "Bengawan Solo" for the opening of a batik exhibition in a shopping mall. His fans in Indonesia can listen to his soulful voice on an album called Jazz in the City, from Sony Music Indonesia, containing two of his songs, "Malam Biru (Kasihku)" (Blue Night (My Lover)) and "End Of The Rainbow". He will also be working with star Glenn Fredly for the latter's next album. With his music career well on its way, Sandhy freely admits that when he was younger, it never crossed his mind that he might end up earning a living from music. "I used to want to be an architect, you know. Because I like drawing. I sometimes drew comics during class when I was a student," he says. "But I have changed my mind. Being a musician is much simpler. All I have to do is bring my guitar and sing." And he plans to stick with music in the future. "Because I'm a natural born singer. I can't do anything better," he says. "It's what I do best." Ladies and gentleman, let's welcome our very own newborn world singer!
permalink

Note : ++

http://www.myspace.com/metastazmusic
http://www.tazart-music.com

Sortie : 2010
Style : Electro Dub

Tracklist :
1. Ghost & Assassin
2. Simpsong
3. Orient Folk
4. The Emperor
5. Snakes
6. Son Of Light
7. I'm
8. Evil
9. Flames In The Rain
10. Bagdad's Breath
11. Draw Me A Rainbow

Voila bientôt 3 ans que nous n'avions plus entendu les productions de Metastaz. Après le cyber succès de Anekoik Pressure, Thomas Simoës aurait pris le temps d'affiner son style, de cajoler et de fignoler ses productions pour revenir en ce début d'année 2010 avec ce nouvel opus : Orient Dub Express.

Avec une valise déjà bien pleine, Metastaz nous offre ici son 4ème album. Après la parution de electrochoc cérébral, l'Ep Conquest et Anekoik Pressure, le natif de St-Étienne fait quelques apparitions remarqués dans les compilations New (Dub) Excursion et French Dub System en 2008, ainsi qu'une série de concerts, notament en première partie de Fumuj, Zenzile ou encore Fedayi Pacha.

Depuis quelques mois déjà, le retour d'un nouveau live amorce la sortie de l'album Orient Dub Express. Un album qui représente une maturité affirmée par la recherche de nouvelles sonorités et une véritable ouverture concernant les styles musicaux qu'il visite. En effet, si l'album composé de 11 pistes ne décevra en aucun cas les amateurs de dub, car c'est encore ici la véritable base du projet Metastaz, l'artiste révèle un fort interêt pour le hip hop, les sonorités brésiliennes et dynamise ses productions par un renouveau de son pannel instrumental. Certaines pistes comme Son of light et Orient folk témoignent donc de la maîtrise de ce que l'on pourrait appeler le dub metastasis. Mais Metastaz sort ici des terrains battus pour nous révéler ses talents. On remarquera d'ailleurs la très appréciable track Simpsong, en collaboration avec le groupe Brésilien Mamelo Sound System, envoûtante et décalée. À noter aussi les nombreux featuring avec des Mc de talent, Mc Miscellaneous (Fumuj) et Blu Rum 13 (Oneself). Toujours dans le changement, Metastaz redonne de la force à ses compositions grâce à des riffs énergiques et un travail de finitions de longue haleine. Bref, Orient Dub Express mélange les genres avec cohérence et souplesse et ne manque pas de surprendre.

Quant à l'artwork, c'est un travail d'orfèvre que nous offre Stan (www.stan-gd.com), graphiste et v-jay de Metastaz, qui nous a habituée a des illustrations d'une grande qualité.
Un album qui s'annonce donc comme étant un petit coton-tige bien sympathique pour commencer cette année 2010 en beauté ! On compte sur vous pour l'apprécier et n'hésitez pas à le faire partager!

permalink

Note :



http://spokendub.free.fr/
http://www.myspace.com/braindamagedub

Sortie : 2006
Style : Electro Dub ,  Dark Electro , Spoken Word

Tracklist :

1. Intro

2. Sterile

3. Fenetres

4. Embolism

5. Mistaken identity

6. Metroconversation

7. Under the ground

8. Mad truth

9. Rahtid

10. The beer mystics last day on the planet

11. Pure scenario

12. Final enclosure

Première fois signée chez Jarring effects, Brain damage est le groupe de dub français qui ose franchir le plus les frontières de son style en y administrant une vision moderne et sans limites. Always Greener démarquait le combo par leur façon émotionnelle d’aborder le dub ; Ashes to Ashes / Dub to Dub montrait une esthétique sonore aboutie avec une nouvelle passion pour le spoken word (et les textes de Black Siffichi, désormais passé pour référence du genre). Dans Spoken Dub Manifesto, le duo assume totalement cette nouvelle orientation avec pour seul fil conducteur : le dub poetry. La pléiade d’invité offre au concept une grande richesse, d’une part due à la liberté narrative des intervenants, et d’autre part, par les expérimentations que les musiciens ont bâti. Nombreux instruments (Guitare, duduk, ney, vibraphones) ont été utilisés pour la création des samples, remodelés et réinjectés autour des narrations et de la basse. Les prestations sont multiples et personnelles. Entre le style dénonciateur de Black Siffichi, la poésie orientale de Mohammed El Amraoui et le rap brut de Giovanni Marks, Suzanne Thoma adopte la sensualité et la douceur. Pourtant non dépourvue de charme, Emiko Ota préfère, par une approche moins organique et plus directe, faire passer son discours dur avec énergie. Le grand Mark Stewart, sur l’étrange Mad Truth, prête sa voix grésillante au côté d’un sample paradoxal, à la fois simple et complexe, roots et sauvage. Plus sage, le spécialiste des techniques vocales ancestrales, Bart Plantenga, exprime une récitation claire et articulée sur une excellente track évolutive. Avec ce véritable travail de collaborations, Brain damage crée la parfaite osmose entre son univers musicale et les travaux des vocalistes. L’effet apporté est, au départ, étrange et dur à assimiler. Puis, après plusieurs écoutes, tout devient clair et Spoken Dub Manifesto apparaît comme la nouvelle perle du parcours des stéphanois, malgré l’absence de titre phare émo-dub digital, comme Cube Dub a pu l’être sur leur deuxième album. Mais cette petite frustration est totalement annihilée par le plaisir que procure la découverte de toutes les subtilités et finesses de la galette. Il est nécessaire pour le groupe de prendre des risques et de s’entourer de personnalités aux horizons et nationalités différentes, toutes ouvertes aux expérimentations et à cette perception diversifiée de la musique. Décontenançant par sa forme et proche d’une production Wordsoundienne, Spoken Dub Manifesto doit marquer le paysage dub français, et s’imposer comme un simple coup de maître. Chapeau bas Messieurs Brain damage !
Chroniqué par Kiteklat
permalink

Note : +

http://www.dnots.com/

http://www.dangermousesite.com
http://www.myspace.com/sparklehorse
http://www.sparklehorse.com/

Sortie : 2009
Style : Alternative , Rock , Folk , Compilation

Tracklist :
01. Revenge (avec Wayne Coyne)
02. Just War (avec Gruff Rhys)
03. Jaykub (avec Jason Lytle)  *
04. Little Girl (avec Julian Casablancas)  *
05. Angel's Harp (avec Frank Black)
06. Pain (avec Iggy Pop)  *
07. Star Eyes (I Can't Catch It) (avec James Mercer)
08. Everytime I'm With You (avec Jason Lytle)  *
09. Insane Lullaby (avec James Mercer de The Shins)  *
10. Daddy's Gone (avec Nina Persson)  *
11. The Man Who Played God (avec Suzanne Vega)
12. Grim Augury (avec Vic Chestnutt)
13. Dark Night Of The Soul (avec David Lynch)


A la base, l'idée d'un tel projet collaboratif a de quoi laisser rêveur. Imaginez : l'un des producteurs les plus en vogue du moment (Danger Mouse) décidant de s'associer avec un groupe indie-folk parmi les plus talentueux de la scène américaine (Sparklehorse) et avec l'un des plus grands réalisateurs de cinéma contemporain (David Lynch), ça semble trop beau pour être vrai. Ajoutez à cela un concept ambitieux à cheval entre rock, septième art et photographie, une interaction voulue la plus poussée possible entre les trois protagonistes (qui se partagent tour à tour textes, instruments et voix) et surtout, surtout, une ribambelle d'invités plus prestigieux les uns que les autres, et vous voilà avec un album qui a toute lattitude pour bénéficier d'un culte avant l'heure. Sur le papier, tout du moins.

Allez, on ne résiste pas au plaisir de vous dérouler le catalogue des invités en question : The Flaming Lips, Gruff Rhys (Super Furry Animals), Jason Lytle (Grandaddy), Julian Casablancas (The Strokes), Frank Black (le Black Francis des Pixies), Iggy Pop, James Mercer (The Shins), Nina Persson (The Cardigans), Suzan Vega et Vic Chesnutt. Pas mal, non ? Même Beck aurait du mal à faire mieux pour son Record Club.

Malheureusement, si une somme de talents pouvait se calculer mathématiquement à tous les coups, ça se saurait. Concrètement, Dark Night Of The Soul s'avère très, très décevant. Ne parvenant jamais à dépasser le simple empilement de chansons sans réussir à transcender les univers de chacun des participants, le disque donne l'impression d'une compilation hétéroclite et mal ajustée. A quoi cela sert-il d'écrire des titres que les intéressés auraient été tout à fait capables d'imaginer eux-mêmes, et souvent en mieux ? De plus, fallait-il vraiment demander à David Lynch de chanter ? Certes, côté caméra, le réalisateur de Blue Velvet et de Mulholland Drive est un sacré cador, mais avec un micro, c'est une autre paire de manches. Ses "Star Eyes (I Can't Catch It)" et "Dark Night of the Soul" sont largement oubliables, pour ne pas dire plus. De la même façon, les contributions des Flaming Lips, de Gruff Rhys et de Jason Lytle s'avèrent bien mornes, et on ne saurait que trop vous conseiller de vous reporter aux albums originaux de ces artistes pour ne pas vous faire une fausse mauvaise idée de leur talent. Même l' "Insane Lullaby" de James Mercer sonne comme du sous-Shins, résultat on ne peut plus inquiétant à l'heure ou l'intéressé et la souris du danger viennent de lancer un projet commun (Broken Bells).

Reste que ce Dark Night Of The Soul demeure encore à ce jour totalement gratuit, puisque qu'EMI a refusé il y a quelques mois à Brian Burton de commercialiser l'album en même temps qu'un livre de photographies signées David Lynch (livre qui a donc été commercialisé avec un CD vierge en son sein). Vous n'avez donc pas grand chose à perdre à aller y jeter une oreille, et vous pourrez notamment vous satisfaire, quand même, de l'excellent "Little Girl" d'un Julian Casablancas qui semble ici bien plus inspiré que sur son futur projet solo. Par ailleurs, vous ne renaclerez probablement pas devant les contributions plutôt convaincantes de Black Francis et d'Iggy Pop. C'est toujours ça de pris, non ?
par Nicolas
permalink

Note : +

http://www.lastfm.fr/music/AM+and+the+UV

Sortie : 2004
Style : Electro , Pop , Vocal

Tracklist :
01 In this kiss
02 Everybody's girlfriend
03 Whisper
04 Mysterin
05 Candy thunder
06 Speak
07 Wonderful, beautiful
08 Lovegood
09 Alone again
10 Spacedust
11 Everywhere we go



Introducing Anne Marie Almedal, the heart-breaker voice and sensual spotlight of norwegian indie heroes Velvet Belly (Boilerhouse/RCA). The girl you’ve been in love with, but never met. Now joined forces with anglo/arctic electronica pioneers Nicholas Sillitoe (Illumination, Chilluminati, Ultraviolet & Café del Mar fame) and Ken Theodorsen (super sonic studio wizard, also recording as Ultraviolet). Together at last…AM and the UV For this long awaited album debut, Anne Marie and her cult collective deliver an elysian bliss of pop cinematics, a sublime selection of addictive chanson - written and performed by a nonchalant artiste ready to make her finest statement yet... AM and the UV first made waves with their space-echo overdose Everybody’s Girlfriend, the opening track on the Way Out North compilation released in conjunction with Jockey Slut. Two stunning EP’s have followed, Tomorrow Is All Like Flowers, and Silently The Birds Fly Through Us - all seductive teasers for the album masterpiece... Candy Thunder. Pop where it really ought to be, in a post-millennial melodic haze of scandinavian electronics, classic acoustics, timeless songs and bitter-sweet attitude. the true new cool of Norway.
permalink

Note :

http://www.myspace.com/terakaft

Sortie : 2008
Style : World , Touareg Music , Blues

Tracklist :
1. Akh issudar
2. Ténéré wer tat zinchegh
3. Djer aman
4. Intidgagen
5. Soubhanallah
6. Legh assistane dagh aïtma
7. Amidinine wa dagh nohar timtar
8. Ewor imdane
9. Haran bardan
10. Amdagh
11. Iswegh atay
12. Arghane manine
13. Islegh teghram
14. Tahra a issasnane



Deuxième album de Terakaft enregistré en France et réalisé par Jean-Paul Romann (Lo'Jo) ce qui donne des chansons nettement plus travaillées et arrangées que le précédent "Bismilla". Le groupe évolue en trio (Kedou, Diara et Sanou), les trois se partageant le chant. On y retrouve quelques grands classisques de Tinariwen ("Ténéré wer tat zinchegh" et "Iswegh atay" de Intiyeden, "Aghrane manine" de Diara, "Islegh teghram" d'Abraybone...), ainsi que quelques nouvelles chansons ("Akh issudar" et "Amdagh" de Kedou, "Amidinine wa dagh nohar timtar" de Sanou).
permalink