http://www.bluetechonline.com

http://www.myspace.com/iambluetech

Origine du Groupe :

Style : IDM , Electro Dub , Downtempo

Sortie : 2010

After a steady stream of releases on the Waveform, Aleph Zero, Thoughtless Music and Somnia labels over the last 7 years, the next phase of Bluetech's sonic trajectory plots new and intrepid
coordinates via Canadian imprint Interchill.



In this unique full length release, listeners familiar with the Bluetech sound are presented with an inviting point of departure into the warm, spacious realms of his signature mid and downtempo
electronica. Employing a more dub-wise and organic sound palette than on previous albums, Bluetech brought several collaborators on board in the making of Love Songs To The Source including;
featured vocal contributions from the likes of Dr. Israel, Katrina Blackstone, Mari Boine, Lady K, Tina Malia and Lynx; and musical input from Jamie Janover, KiloWatts and members of The March
Fourth Marching Band's horn section. Rounded out with a distinguished selection of instrumentals, this innovative, genre-bending chapter in the evolving Bluetech chronicles is ripe with emotive
vistas, reflective passages and all the evocative depth that one has come to expect of this highly talented US based producer.



In Evan's words, 'Love Songs To The Source is an audio exploration of the spark of divine light that oscillates in the heart of every being', and with this intent, one finds music that is both
uplifting and devotional as it passes seamlessly through a lush digital expanse of infinite expression. To embark upon this listening experience is to travel down an illuminated path beyond all
stylistic bounds.



by psyshop.com

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Tracklist :

01. Seed To Soil

02. Green Sophia(Gnosis Mix)

03. Change(Featuring Katrina Blackstone)

04. Dread Inna Babylon(featuring Dr. Israel)

05. Two River Sisters

06. Lay Your Sorrows Down(Featuring Katrina Blackstone)

07. Hanuman

08. Waiting For Initiation

09. Counting Out Stones(featuring Dr. Israel)

10. Polychrome Petroglyph(Featuring KiloWatts)

11. Three Worlds

12. Big Medicine(Mari Boine Track Remixed By Bluetech)

13. To Mend(Featuring Lynx & Janover)

http://www.clintonfearon.com

http://www.myspace.com/clintonfearon

Live : Lyon (France)

Origine du Groupe : North America

Style : Reggae

Sortie : 2004

http://basicchannel.com

http://www.lastfm.fr/music/Rhythm%2B%2526%2BSound

Origine du Groupe : Germany , U.K , Jamaica

Style : Minimal , Electro Dub

Sortie : 2003

Like writer Thomas Pynchon, Berlin producers Mark Ernestus and Moritz von Oswald notoriously maintain an invisible media profile by refusing to allow photos of themselves and direct quotations to
be published. This self-effacing stance is, however, indirectly proportional to the degree of influence they’ve wielded over the past ten years, as their work has single-handedly transformed the
electronic dub landscape since the early 90s. In addition to their landmark series Basic Channel, the other label projects with which they’ve been involved include M (Maurizio), Main Street,
Chain Reaction, Rhythm and Sound, and Burial Mix. To therefore state that Ernestus and von Oswald have had a profound impact upon the evolution of electronic music styles and production methods
over the past decade would be an absurd understatement. Basic Channel and Chain Reaction releases fashioned magnificent takes on Detroit-influenced Berlin techno heavily inflected with 70s reggae
and dub elements that must now be considered seminal.



In recent years, Ernestus and von Oswald have shifted their focus to a purer invocation of reggae dub, one that overtly resuscitates a 1970s style but reanimates it by infusing it with modern
electronic production techniques. In terms of CD releases, the 1998 Burial Mix album Showcase featured Tikiman’s (Paul St. Hilaire) vocals, and was followed by 2001’s Rhythm & Sound, a
sublime collection of ten tracks highlighted by a single vocal cut, ‘Smile,’ featuring Savage. Fans of those releases will be overjoyed by the joint release of Rhythm & Sound w/ the artists
and Rhythm & Sound the versions, with each offering eight stunning tracks of electronic reggae-dub. The hook here is that the first recording deploys the talents of seven different singers
(Lloyd Barnes adopting The Chosen Brothers guise appears twice) while the second presents the same set of songs as dubbier instrumentals with only ghostly echoes of the vocals retained. As in the
past, Rhythm & Sound w/ the artists compiles tracks released on vinyl over the past three years and recorded in New York, Berlin, and Jamaica. It features Paul St. Hilaire again, but now
joined by reggae legends like Cornel Campbell, Shalom, The Chosen Brothers, Love Joy, Jennifer Lara, and Jah Batta.



Typically, huge textural waves of hiss envelop and surge amongst the tracks’ elongated, supple grooves. Classic echo and dub treatments infuse the songs alongside submersively deep bass, snare
hits, basic hi-hat patterns, and offbeat keyboard accents. Ernestus and von Oswald restrainedly use minimalistic arrangements which thereby make the subtlest enhancements (like Paul St. Hilaire’s
guitar on ‘Jah Rule’ and the saxophones on ‘Mash Down Babylon’) assume greater significance. ‘King In My Empire’ begins things on a stunningly high note with Cornel Campbell’s gorgeous, often
multi-tracked vocals paired with a majestic backing track. ‘Queen In My Empire’ follows, essentially a variation of the first song with its faster arrangement offset by Jennifer Lara’s laconic
delivery. At times, the vocals resonate through waves of echo and delay; the ominous ‘We Been,’ for example, features Shalom’s vocal lines not merely doubled but tripled, even quadrupled, while
the multiple layers of Love Joy’s sublime vocals form a veritable chorus on ‘Best Friend.’ Certainly the seven singers possess different styles and timbres yet the unifying instrumental
conception, so consistently maintained throughout, tends to underemphasize those differences.



The two Rhythm & Sound recordings fascinatingly testify to a stunning convergence of Berlin electronica and Jamaican reggae which comes off sounding completely natural. The lyrical content
covers familiar reggae territory (with repeated mentions of Jah, suffering, prophecy, and Babylon) and consequently firmly anchors the sound, distracting the listener’s attention away from the
seductively subtle instrumental touches. While the compelling presence of its vocalists makes Rhythm & Sound w/ the artists understandably register as the more distinctive of the two
releases, Rhythm & Sound the versions is strong too. Naturally the focus shifts to the production and engenders a greater appreciation thereof. With the vocals removed, the literal connection
to reggae recedes and the Berlin electronic dimension moves to the forefront, tension thereby generated by the tracks subsisting in a suspended interzone between the two. One’s attention fixates
more clearly upon the blurred, aquatic density of the sound and its rippling, atmospheric depths, and suddenly the distance separating Rhythm & Sound the versions from Chain Reaction releases
like Porter Ricks’ Biokinetics and Fluxion’s Vibrant Forms II begins to seem small indeed. How strange and wonderful it is that in 2003 two Berlin producers should prove so adept at breathing
such incredible new life into a decades-old style whose roots are so deeply embedded in Jamaican culture.

by: Ron Schepper

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Tracklist :

01. King In My Empire - w/ Cornel Campbell

02. Queen In My Empire- w/ Jennifer Lara

03. Jah Rule - w/ Paul St. Hilaire

04. We Been Troddin - w/ Shalom

05. Mash Down Babylon - w/ The Chosen Brothers

06. Music Hit You - w/ Jah Batta

07. Best Friend - w/ Love Joy

08. Making History - w/ The Chosen Brothers

http://www.robertrandolph.net

http://www.myspace.com/robertrandolph

Origine du Groupe : North America

Style : Blues Soul , Alternative Rock , Funk

Sortie : 2010

Hot, young guitarists spring have sprung forth every few years for more decades than I can be bothered to count. Each generation spawns a new crop and while many are momentarily interesting,
“guitar god” is a cannibalistic business and very few have much shelf life. There are exceptions and Robert Randolph has taken a bold step forward, daring to join the few and the proud.



Randolph is a unique talent as anyone who has listened to the work of his first three albums with his Family Band or his collaboration with John Medeski and the Dickinson boys of North
Mississippi Allstar fame can attest. There is more to Randolph than a dazzling command of the steel guitar, or Sacred Steel as it is referred to in the Church Of God where he first learned the
instrument.



There are a host of things that set Randolph apart and one of them becomes obvious in the liner notes he wrote for We Walk This Road. After completing the tour for the Colorblind album, he went
in search of a producer with special ears and knowledge; someone who understood the connections of his rock and gospel roots and who would, as Randolph puts it, “help us put those things in their
most compelling context.” He found that producer in T Bone Burnett.



I’ve heard people described as having “old souls.” It’s an expression I’ve never much liked but it is an effective bit of shorthand for Randolph. He is still a very young man but his musical
upbringing is quite old, having learned his instrument through the traditions of his church. The crafty, versatile Burnett was able to speak Randolph’s language, having studied an impossibly vast
scope of American and world musics. When artist and producer got on the same page, they brewed something special blending blues, roots, gospel, soul, and spirit into a potent, magical
cocktail.



“If I Had My Way” incorporates a portion of Blind Willie Johnson’s “If I Had My Way” into an original composition Randolph co-wrote with Burnett and an assist from, Ben Harper and it is a
magnificent, soaring piece of music fusing gospel and blues with folk. Randolph uses Johnson’s original as a jumping off point and actually “samples” a piece of that original and uses it to segue
in and out of his own composition. The segue concept is one used throughout the record with the idea being to tie the music Randolph is making in the present with its roots. There are times these
segues are effective bridges between songs but there are times when they do more to distract than connect.



Randolph’s re-imagining of Bob Dylan’s "Shot of Love" hits with the weight and force of a heavyweight’s fist. Dylan is so easy and obvious to cover that nearly everyone does it but so few capture
the essence and power of his songs, settling to merely sing them "better” or “prettier.” This version takes the power of the Dylan original and amplifies and magnifies.



The beautiful “I Still Belong To Jesus” opens with more than a passing feeling of Fleetwood Mac’s “Dreams.” The airy, ethereal intro gives way to a more substantive, anthemic song that not only
proclaims Randolph’s devotion but also delivers a unifying message of social justice. This is another of Randolph’s achievements in the material on this record, both the songs he wrote and those
he’s chosen to interpret on the record. There is a theme and a message on this record but it’s one that uplifts rather than preaches. Even John Lennon’s “I Don’t Wanna Be A Soldier,” which can be
delivered as scathing, anti-war screed, is a plea for peace and understanding rather than heated rhetoric in Randolph’s hands.



We Walk This Road is soul music in nearly every connotation of the word and its title is instructive. This is the kind of deep, rich, authentic music the world needs and the music contained
therein should be experienced as a journey from beginning to end; he wanted his music to have context and We Walk This Road exquisitely provides that. With this album Randolph has made a record
worthy of his immense gift and that is cause for celebration and repeated listens.



by Josh Hathaway

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Tracklist :

01.Segue 1 (0:25)

02.Traveling Shoes (3:48)

03.Segue 2 (0:10)

04.Back To The Wall (3:31)

05. Shot Of Love (5:36)

06.I Still Belong To Jesus (6:02)

07.Segue 3 (0:27)

08.If I Had My Way (5:35)

09.Segue 4 (0:22)

10.Don't Change (4:47)

11.I Don't Wanna Be A Soldier Mama (5:50)

12.Walk Don't Walk (4:06)

13.Segue 5 (0:20)

14.Dry Bones (3:42)

15.Segue 6 (0:17)

16.I'm Not Listening (5:03)

17.Salvation (5:59)

http://www.myspace.com/alifarkatoureofficial

http://www.toumani-diabate.com

http://www.myspace.com/toumanidiabate

http://www.worldcircuit.co.uk

Origine du Groupe : Mali

Style : Africa Blues , World  Music , Folk

Sortie : 2010

Après avoir enregistré un premier album en duo (In the heart of the Moon), Toumani Diabaté et Ali Farka Touré étaient retournés en studio quelques mois après, pour une nouvelle session
d'enregistrement à Londres. Une intimité artistique entre les deux hommes, rendue vivante grâce à l'album qui sort ces jours-ci, Ali & Toumani.



eux prénoms, deux sons, deux visions qui racontent une même histoire : les grandes épopées du Mali que ces deux musiciens, Ali Farka Touré et Toumani Diabaté, ont largement contribué à diffuser
au-delà de la sous-région depuis les années 1980. C’est cela que célébrait In the heart of the moon, un disque né de leur rencontre autour d’un classique, Kaira. Ce ne devait être qu’un duo, ce
deviendra un enregistrement mythique, le symbole de l’entente parfaite entre le guitariste et le joueur de kora, un dialogue instruit, le temps de trois séances improvisées.



Tant et si bien que le producteur Nick Gold les conviera à Londres un an plus tard, en 2005, afin de creuser au plus profond ce sillon. "Je crois que cet album est plus fort, plus sage et
meilleur…", analyse après-coup Toumani, unique survivant de cette session de trois après-midis londoniens où était également convié le contrebassiste cubain Cachaito Lopez, décédé l’an passé.



Du coup, on ne peut s’empêcher d’écouter Ali & Toumani comme un document-testament musical de la première importance. Certes, mais ce serait réduire la portée de ce moment de grâce que de
l’écouter de cette oreille-là, à savoir le circonscrire à une qualité d’hommage posthume.



Car, au-delà de la mort, Ali & Toumani est une vibrante ode à la vie, l’émouvant témoignage pour l’éternité de moments partagés en toute intimité et sérénité acoustiques où les cordes
sensibles de ces trois maîtres de musiques se mêlent pour ne formuler plus qu’un seul message de paix et de sagesse.



par Jacques  Denis

permalink

Tracklist :

1. Ruby

2. Sabu Yerkoy

3. Be Mankan

4. Doudou

5. Warbe

6. Samba Geladio

7. Sina Mory

8. 56

9. Fantasy

10. Machengoidi

11. Kala Djula

http://www.sacreddub.com

Origine du Groupe : V.A World

Style : Electro Dub

Sortie : 2004

Nine years ago, a loose collective of rebel souljahs calling themselves the Crooklyn Dub Consortium launched a new movement in sound with the seminal Certified Dope, Volume 1 (WSCD003), a
compilation which defined a burgeoning style from the underground dubbed "Illbient" by the press. Once again, one-upping the downtempo dummies, the crooked knights--including Spectre, Scotty
Hard, HIM, and Bill Laswell-- return to prove that good music will always outlive the hype. Certified Dope, Volume 4 (WSCD048) stands as a testament to the awesome power of the Sound. Count on
the expanded Crooklyn Dub Outernational to define these crucial times with this latest slate of dubwise illtronica. Babylon's Burning, ya heard? Or do the powers that be want you to party and
bullshit till oblivion? Crooklyn Dub has the sonic cure to get you through the commercial blues. And as always, all styles and flavors represented here ripple with originality. French dub powers
Brain Damage and Lab lead the charge with the haunting collabo, "Ph neutre," sounds from the Other Side. From the deviant dub-hop of Philosophy Major's "The Soundless Hum of Prayer" to the
digital roots of Zion Train's "Modimo," the kaleidoscopic mix is seamless yet unpredictable. Twilight Circus suprises us with the world class dub-funk of "Twlight Circus Meets WordSound Inna
Crooklyn 2003 Style," while Bill Laswell takes it back to the old school with Sly & Robbie riding shotgun on "Finite State Machine Dub." Roots Control rides the crushing backbeat of
"Boombastic" to dubwise glory. And Doug Scharin's HIM outfit has grown in leaps and bounds as they display adept musicality on "Disco Lips." Meanwhile, left coast assassin King Fader treats a
Systemwide beat like Adrian Sherwood on "Eyupsultan" as bonny Prince Charming treats us to his delightful dub rendition of "A Touch of Romance." For the hard stuff, look no further than Scotty
Hard, who's coughing up chunks of suspicious dub matter on "Smoke Damage." Teledubgnosis, too, lends some earth-shaking dub-rock to the set with "Ladies &Gentlemen.... Always." World famous
DJ/Rupture represents with the tweaked out madness of "Pleasure Ruin Dub," and bass terrorist Spectre never disappoints with the all out low-end assault of "Al Quaida." Always light years ahead
of the pack, the genre-bending, boundary-breaking WordSound proves, once again, that Crooklyn keeps on making it HOT. Much more than music, this is a sonic tonic for survival as Babylon
burns.



by http://www.wordsound.com

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Tracklist :

01      Ph Neutre

Brain Damage and Lab°     4:31

02     The Soundless Hum Of Prayer (Remix)

Philosophy Major     4:04

03     Finite State Machine Dub

Bill Laswell     4:49

04     Modimo

Zion Train     5:08

05     Eyupsultan (The King Fader Mix)

Systemwide     6:55

06     Disco Lips

HIM     5:32

07     Twilight Circus Meets WordSound Inna Crooklyn 2003 Style

Twilight Circus     4:02

08     Boombastic

Roots Control     4:25

09     A Touch Of Romance

Prince Charming     3:28

10     Smoke Damage

Scotty Hard     7:52

11     Ladies and Gentlemen… Always

Teledubgnosis     4:01

12     Al Qaida (The Bass)

Spectre     4:51

13     Pleasure Ruin Dub

DJ /rupture     3:24 

http://subheim.com

http://www.myspace.com/subheimmusic

Origine du Groupe : U.K

Style : Electro Deep , IDM , Ambient

Sortie : 2008

Cette grande famille que l'on désigne communément sous le nom d'IDM a vu ces dernières années bourgeonner quelques pouces mettant à l'honneur le piano. Suivant la voie tracée par Aphex Twin avec
son génialissime Drukqs, c'est tout un pan du courant qui a su utiliser à bon escient cet instrument, lui faisant assumer la ligne mélodique tout en reléguant aux synthés le rôle d'ambianceurs
d'arrière plan : Port Blue, Boy Is Fiction, The Flashbulb ou encore Kattoo.



Derrière Subheim se cache Kotas K, fondateur, avec Katja, du collectif grec SpectraLiquid. Katja est la chanteuse qui pose sa délicieuse voix sur Howl ou Voces Perdidas. Ce premier essai de
Subheim est d'une grande poésie. D'ailleurs, Kotas K lui-même ne tarit pas de métaphores lorsqu'il s'agit de présenter son album : sentiments intérieurs et leurs cris de désespoir, villes, ciels,
âmes solitaires sur les toits, la laideur urbaine qui a bloqué notre regard vers l'infini, et j'en passe... Pour son petit cocktail de mélancolie, Subheim propose une formule mélangeant donc ce
fameux piano, les plages d'un synthétiseur, les violons, et les rythmiques glitchées comme le veut la coutume. L'apport de Katja est tout à fait appréciable dans le sens où les collaborations
avec une chanteuse se font plutôt rares – inexistantes ? – pour cette branche de l'IDM. Il participe, avec les violons et le piano, de cette acoustique devenue une qualité au sein de cette scène.
En fait, c'est comme si "l'Intelligent Dance Music" avait trop longtemps usé et abusé des possibilités offertes par l'électronique, et qu'elle se rendait aujourd'hui compte de la valeur que
peuvent prendre de véritables instruments lorsqu'ils sont adroitement soulignés par la synthèse expérimentale. Un nouveau souffle puisant son inspiration dans une sorte de retour aux sources.



Au delà de la marque de bon goût, Subheim sait pondre ces petites mélodies qui nous touchent en bien peu de choses. Les violons s'accordent en symbiose avec les cœurs de synthé. On peut aussi
sentir un travail notable dans les réverbérations et la façon dont les sons se déploient dans le champ stéréophonique. La musique de Subheim est d'une somptuosité remarquable. Sa sauce se déverse
onctueusement dans nos oreilles et on peut difficilement rester insensible à l'émotion dégagée de chaque pièce. Kotas K est un homme de talent, et sa galette est pour un premier essai une
parfaite réussite. La conjoncture actuelle n'étant pas particulièrement favorable à l'IDM – qui pleure encore la mort du projet Kattoo il y a quelques mois, ou celle presque annoncée par le boss
du label Alphabasic pour la sortie du dernier The Flashbulb – espérons à Kotas K que son projet Subheim, et plus généralement son collectif SpectraLiquid, arrive à faire son bonhomme de chemin.
L'IDM grec est entre de bonnes mains.



par Tehanor

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Tracklist :

01/ Hush

02/ Ybe 76

03/ One Step Before The Exit

04/ Howl (feat. Katja)

05/ Away

06/ Hollow

07/ Stranded

08/ Intact

09/ Voces Perdidas (feat. Katja)

10/ Mobthrow-Hollow (Remix)

11/ Flaque-One Step Before The Exit (Remix)

http://www.myspace.com/djmuggs

http://www.myspace.com/illbill

Origine du Groupe : North America

Style : Hip Hop , Rap Fusion

Sortie : 2010

June 10th, 2010 -  DJ Muggs is one of the industries most talented and best known producers.  Since Cypress Hill's formation in 1991, the pioneering rap-rock quartet has come a long way
from the streets of South Central L.A. Over the course of its 19-year history, Cypress Hill has sold more than 17 million albums worldwide, including more than 11 million records in the U.S.
alone. The group has garnered 15 multi-platinum, platinum and gold certifications from the RIAA; headlined Lollapalooza, Woodstock and the group's own Smokin' Grooves tour, appeared on "Saturday
Night Live," made the late-night talk show circuit---all the while breaking down the musical and cultural barriers between hip-hop, alternative, metal, rock, reggae, ska and Latin music. In 2008,
DJ Muggs, along with Cypress Hill received a VH1 Hip Hop Honors, to celebrate the vision and innovation that the group continues to bring to Hip Hop, strengthening its force around the
world. 



Yet, that only touches on what Muggs has done as a member of Cypress Hill, as his highly-influential solo-projects (Soul Assassin Series, Grandmaster's with Wu-Tang Clan's GZA) and not to mention
producing hits for House of Pain "Jump Around" and Ice Cube "Check Yo Self" among many others.  Ill Bill was obviously honored to be working with Muggs, as he affirms "I've always been a
huge Muggs fan and his Vs. series is one of the last places to hear the vibe that made albums by Cypress Hill & Gang Starr so dope. Not too many producers can craft an entire album on their
own, let alone an album that's a classic. Muggs has done it many times over the past 20 years. It's an honor to be part of that legacy."



For the vast majority of his career, whether solo or in a group capacity, Muggs has established a precedent for working hand in hand with artists and creating cohesive bodies of work, rather then
spreading around beats from project to project and that rings true once again on Kill Devil Hills "I prefer getting in the lab and actually creating projects with people instead of just sending
out beat CDs. I'm a producer in the fullest extent, where I like to not only produce an album; but craft an album. Being able to start a record from the beginning and following through with it,
making sure that all the songs compliment each other. I've always come from making albums and producing my records---I'm still into that" relays DJ Muggs.



Ill Bill was a founding member of Non Phixion who released their seminal debut, The Future Is Now, in 2002 and has also released two influential solo LP's.  Bill has also released an LP as a
member of the bi-coastal conglomerate La Coka Nostra (which also includes Everlast, Danny Boy and DJ Lethal of House Of Pain and newcomer Slaine).  Ill Bill's The Hour Of Reprisal (2008)
showed flashes of what the future would hold, as Bill & Muggs collaborated on two tracks ("This Is Who I Am" & "Only Time Will Tell") for Bill's most recent solo-LP.



Kill Devil Hills is entirely produced by DJ Muggs and features appearances by B-Real, Raekwon, Sean Price, Everlast, Slaine, Chace Infinite, O.C. Q-Unique, Vinnie Paz and others, but by going
where instinct took them, Ill Bill & DJ Mugg's collaborative union manifested into a sonically cohesive album; seemingly very organically as Ill Bill asserts ""Production & conceptually,
this record plays out like a movie. All the songs connect. It moves like a concept record the way the beats blend with the words even though we didn't plan it like that. It's basically it's own
sound, the Muggs vs. Bill sound" and Muggs adds "the chemistry between us was very natural. Any decisions we had to make, it was easy, like we'd worked together for years.  When we sat back
& heard the final product, man, we were both blown away."



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Tracklist :

01. Cult Assassin

02. Trouble Shooters ft. Sean Price, O.C. & Sick Jacken

03. Paul Stanley

04. Illuminati 666

05. Amputated Saint ft. B-Real

06. Skull & Guns ft. Everlast & Slaine Of La Coka Nostra

07. Giants Stadium ft. Q-Unique

08. The Owl

09. Millenniums Of Murder

10. Chase Manhattan ft. Raekwon

11. Luciferian Imperium

12. Ill Bill TV

13. Secrets Worth Dying For ft. Chace Infinite

14. 2013

15. Kill Devil Hills ft. B-Real & Vinnie Paz

16. Narco Corridos ft. Sick Jacken & Uncle Howie

http://avantroots.com

http://www.myspace.com/pulshar

http://pablobolivar.wordpress.com/pulshar

Origine du Groupe : Spain

Style : Electro Dub , Deep Dub

Sortie : 2007

 
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Hypnotic And Deep Soundscapes, A Bass-Line Full Of Soul And Sensuality, Contemporary Ambient-Dub… Highly Addictive Music From The Very First Listen. Pulshar Is Influenced By Hip-Hop And Blues,
Dub Reggae And Psychedelic Rock, Showing Exquisite Taste Playing With Loops And Samplers, And Great Skill In Creating Distinctive Catchy Melodic Rhythms. The Music And Voice Of Pulshar Are
Unique. Layers Of Evolving Sounds And Rich Ancestral Textures That Take Us On A Journey Where Space And Time Become Intertwined And Confused. Are Pulshar A Divine Revelation? The Foundations Of A
New Era Where Soul And Electronic Music Stay Together Thanks To This Solid And Advanced Musical Performance.



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Tracklist :

1. Mr Money Man

2. Ashmatic

3. No Meditation

4. KMS (Pablo Bolivar Space Edit Remix)

5. KMS

6. Dub By The River