http://teekomusic.com

http://www.reverbnation.com/teeko





Origine du Groupe : North America

Style : Abstract Hip Hop

Sortie : 2011





From http://melloworange.bandcamp.com



Five years after his debut album “My Sound Station” ranked number one on several College Music Journal’s Top 10 lists, Bay Area Turntablist, producer, musician, and composer Teeko, resurfaces to
define the realm of futuristic funk. His full-length album, Light Up the Darkness, is set to be released on CD digipak album, in addition to the limited edition 12” vinyl ep, through Mellow
Orange on July 1, 2011.



The album embarks on a revolutionary journey through a soul sonic universe where deep West Coast Funk, steady Hip Hop beats, seductive synth lines and live jazz instrumentation are perfectly
orchestrated to created a cosmic balance, truly showcasing Teeko’s encompassing musical capabilities as a soloist, creative force and collaborator.



“Teeko is one of the most talented musicians within the new wave of Funk today. He’s groundbreaking & his production style is on point.”

-Dam-­Funk



"The most insane & creative turntablist I have ever worked with."

- Mark Ronson



"Teeko is the funkiest, most soulful turntabilist I have ever seen..."

- DJ Jazzy Jeff



"Light Up The Darkness delivers a jazzy, funky, and soulful album featuring some of music's finest."

- Freddie Joachim





Tracklist :    

1.Bridge To Truth [snippet] 00:50    

2.Easy Going (It All Seemed) [snippet] 00:49    

3.How We Do (Yall Know) [snippet] 00:50

4.Light Up The Darkness [snippet] 00:50

5.Magical Light (It's Magical Like) [snippet] 00:49

6.Move Bust, Must Go OFF [snippet] 00:50

7.One Hot Round [snippet] 00:50

8.Light Is Getting Brighter [snippet] 00:50

9.Love Will Be [snippet] 00:50

10.Neva Find Anotha (All My Love) [snippet] 00:50

11.Sun Also Rises [snippet] 00:50

12.Smile Pains (Rise Above) [snippet] 00:50

13.Wet Knowledge [snippet] 00:50    

14.SuperFuturisticFunkalatapus [snippet] 00:50 

http://www.nto.nu

http://www.myspace.com/newtango





Origine du Groupe : Sweden

Style : Neo Tango , Minimalism

Sortie : 2005





From Official Myspace :



Some wonderful and beautiful ice cold days in February, we went together with a chef, to the small town Forsvik in the middle of Sweden, close to Göta Kanal's floodgates in Vättern. An old house
from 1904, in shape of a public house in miniature, was re-built into a temporary recording studio; the parquet was filled with carpets and sound-damping blankets was hanged up on the walls. The
short walk on the creaking snow back and forth from there to the hostel at the factory in Forsvik, were the only movements we made during this week. That's how Vesper was made, hidden from the
world in a sort of bubble of concentration, which occured out there in the woods.



Short info about nto: Minimalism, New tango, baroque, jazz, romantique and passion are the main ingredients. We've toured all over the world, done performances on rock venues in Moscow, tango
venues in Buenos Aires, jazz clubs in Istanbul and concert halls in Beijing among others; released five albums: "The New Tango Orquesta" 1998, "Part II" 2000, the Swed Grammy-nominated
"Bestiario" 2005, the live-recording "The Kiev Concert" and recently the fifth album "Vesper". We've also made music for film, theatre and different performances.



So, we hope you enjoy the music...





Tracklist :   

1. No Stop City (5:18)

2. Mute (4:25)

3. Push (5:04)

4. Elegy (3:07)

5. Berlin (9:18)

6. Cinnamon (4:17)

7. Bestiario (5:02)

8. Nemo (6:22)

http://www.last.fm/DJPhixion

http://djphixion.bandcamp.com





Origine du Groupe : Netherlands

Style : Abstract Hip Hop

Sortie : 2011





From http://soundcloud.com/djphixion



Born in Bosnia-Herzegovina.

Grew up in The Bay Area, California.

Resides in The Netherlands.

Works mostly with samples.

Open to collaboration.





- All tracks produced, mixed & arranged by DJ Phixion (Z. Hodzic)

- All cuts and scratches by DJ Phixion

- Track 3 guitar recorded by Matt Garnese

- Track 10 arranged with Matt Garnese

- Cover photo by Daniel Hoherd (flickr.com/photos/warzauwynn/)





Tracklist :    

1.First Stop 02:27

2.A Land Afar 03:46

3.Techniques 05:01

4.Hideout 03:04    

5.On The South Cyp 03:40

6.Vanish 04:09    

7.With Me 02:44

8.Jazzy Interlude 01:41

9.Seduce Your Brain 04:02

10.Fresh Pair of Kicks 03:51    

11.680 North at 2 AM 04:19

12.Enlightenment of Conscious Mind 09:19    

13.After Midnight 03:26

14.Until Next Time 02:55

FREE DOWNLOAD

http://www.yat-kha.ru

http://www.myspace.com/albertkuvezinandyatkha





Origine du Groupe : Russia

Style : Alternative , World Electronic

Sortie : 2010





From http://www.amazon.co.uk



In September 2009, Yat-Kha's Albert Kuvezin embarked on a journey. It was to take him from Kyzyl in Tuva to the remote Scottish island of Jura, an island of 200 people best known perhaps for its
whisky and as the home of George Orwell when he wrote 1984.



From a city that is one the furthest points from the sea anywhere on Earth, Albert voyaged to a makeshift recording studio, installed in an old stone one room school perched above a lonely bay
and a stretch of sea that is aptly called The Sound Of Jura. This studio is the workplace of producer and multi instrumentalist Giles Perring, and together the pair spent a month working on the
12 tracks that have become the new, and purely acoustic album 'Poets And Lighthouses'.



To accompany Albert's vocals and acoustic guitar playing on this solo project, a new band assembled alongside Perring's contributions of percussion, vocals and various other instruments to create
an unexpected but perfect sound for the project. It comprises bass specialist Simon Edwards [Fairground Attraction, Talk Talk, Beth Gibbons, Billy Bragg, Alain Bashung], string and fret maverick
Lu Edmonds [The Mekons, PiL, The Damned, and Yat Kha], classical and folk clarinetist Sarah Homer [Sarum Orchestra, Royal Shakespeare Company] and vocalist extraordinaire Melanie Pappenheim
[whose recorded work with Jocelyn Pook and Murray Gold is featured in major film and TV scores such as 'Eyes Wide Shut', 'Gangs Of New York' and 'Doctor Who']. The album also features a duet with
guest Neil Cameron, a local master piper and whisky distiller.



The album includes songs in Tuvan and Russian and a number of English translations of Japanese poetry by Amano, Kamimura and Yamamoto, in whose work Albert immersed himself during his time on
Jura. While the new album has emerged as a completely acoustic project, don't imagine for a second that this approach has in any way watered down Kuvezin's passion and power. The album will
completely redefine and revise your notions of that remarkable beast that has been Albert Kuvezin's take on rock energy for the last 15 years. The band is blistering, sensual, atmospheric and
funky, while Albert mutters, soars, intones and enchants like the true shamanic soul that he is.





Tracklist :   

1. Arga Eezi-bile Chugaa (Talking To The Spirit Of The Forest) I

2. Poets and Lighthouses

3. Kara Deer Ugtug Kham (I'm From Black Heaven)

4. The Philosopher

5. Baiyrlyg (Goodbye)

6. The Cry

7. Arga Eezi-bile Chugaa (Talking To The Spirit Of The Forest) II

8. Are You Scared Of Death

9. The Way My Poetry Should Go

10. Daglar Eezi-bile Chugaa (Talking To The Spirit Of The Mountains)

11. Sad Morning Song

12. Soluuru (Metamorphosis)

http://www.pentatones.de





Origine du Groupe : Germany

Style : Trip Hop , Electronic , IDM , Future Jazz

Sortie : 2012





From http://www.residentadvisor.net



A solitary shed by a lake. Surrounded by woods coated in ice. It’s the deepest winter and the Pentatones quartet finds itself in the deserted nature of the Mecklenburg-Vorpommern County. They are
searching for sounds pulsating beyond instruments and machines. Inaudible Music this is, made sound by them only. By night the four move over the frosted lake, play the clarinet and put
themselves in a chilly trance. Months later they will remember dimly these moments in the woods and cast them atmospherically into their album debut “The Devil’s Hand” with icy romance. Highly
attentive to details, they have worked on it for 3 years. Since 2006 the Pentatones tinker with their tessellate electroacoustic sound, in whose center the voice of singer Delhia de France is
floating. To friends of club music she might be known from her collabs with techno producers such as Marlow, Douglas Greed or Robag Whrume. With the Pentatones she combines her emotional timbre
in various forms with the raw basslines by Hannes Waldschütz and the analog and electronic beats and samples by Julian Hetztel a.k.a. Le Schnigg. Albrecht Ziepert creates melodic moods on the
keys, whose appeal one can hardly elude. Their kaleidoscopic arrangements dance between susceptibility and experi¬ment. Enticing pop structures melt with crackling analog electronics - a mixture
laid out to make dance at times, at times to chill. The ambiance of her compositions is gloomy, yet light-flooded in a certain way. It is most notably Delhias voice, which outshines everything,
never standing still, meandering and spinning, opening up a new emotional space with every bre¬ath. The computer with its infinite production possibilities is used in its function as another
instrument. Together with the sampler it forms the center of action, processing everything, from voice to keys, which needs an artistic distancing effect. A contrabass is setting the pace at
times, then again the brass accelerates the tracks highly emotively. In stylistic regards their compositions are never predictable. A touch of organic jazz here, a subtle hip-hop allusion there,
accompanied by a moving club rhythm structure and Delhias captivating voice, which sings, then talks, and whispers in the next moment.

It’s not only the infinite world of sound, which inspires them to their adventurously twisted compositions. For all members being equally active in the visual field, art plays an impor¬tant role
in the act of creating and in the overall concept of the Pentatones. This is being reflected in their life shows, acknowledged with much applause on festivals like “Sonne, Mond und Sterne”, the
“Fusion Festival” or “Ars Electronica”. When they sample themselves during their concerts, modify their sound in real time and vividly interpret their songs, Delhia dances audaciously in
extravagant, self-designed costumes in haughty reserve and effuses eccentric pop magic. Sometimes she takes the megaphone and by hereby altering her voice, she infuses her music with another
exotic tone. With their self-produced videos the Leipzig residents by choice create an artistic universe, which stages the dramatic lyrics of the lead singer in a sublime way. After all they see
themselves as an artificial band, operating beyond the conventional patterns of presentation, bypassing intuitively and creatively common pop stereotypes. Twisted-Pop which gets straight under
your skin, without ever grooving stream¬lined. You can dance to it, lose yourself in it or step into new worlds. There is only one thing difficult to deal with after you enjoyed “The Devil’s
Hand” and that’s to release yourself from its overwhelming emotional impact.





Tracklist :   

01. The Devil's Hand 6:44

02. Determiner 5:14

03. Still Waters 5:54

04. I.A.M. (Fasermarker Pt.2) 6:38

05. Out Of The Woods 1:49

06. On Our Own 6:43

07. Bonfire 6:12

08. Sleeping Bones 6:42

09. Supervisor 5:17

10. This Is An Ocean 5:33

http://www.myspace.com/xihilisk

http://xihilisk.bandcamp.com





Origine du Groupe : U.K

Style : Electronic , IDM , Ambient , Experimental

Sortie : 2010





By Will  from
http://wefuckinglovemusic.blogspot.com



This is a sort-of 'best of Xihislisk' album. I wasn't familiar with his work before listening to it, but it definitely convinced me to explore more.

A compilation // best-of album is particuarly succesful when an artist has such a broad range of work that a single album makes for an insufficient introduction. This is definitely the case, as
Xihilisk works his range of black metal, experimental electronics, noise, post-rock, and ambient soundscapes. Where they most impress me is that even within such a broad spectrum of styles and
sounds, there is always a consistent expressive voice. Xihilisk definitely has a cohesive sound, even if traditional genre boundaries are incapable of expressing // confining it.



My favorite track on this probably "Chysalis March", which gradually builds and builds until it soars in a crescendo reminiscnet of fire alarms, a symphony orchestra, whales singing, and
norse-god Heimdallr staring into the future.



The cherry on top: he's got a very progressive attitude towards music distribution (i.e., his album Fuck the RIAA). Here's a link to his whole discography he put on his blog.





Tracklist :   

1.Theme For Something 03:40

2.Sleep Patterns 03:30

3.The Movement of Dogs 03:42

4.Chrysalis March 07:41   

5.Autonomous Seashield 03:29

6.Amanda 04:08   

7.Argonaut 03:06

8.Hurry 03:11

9.Tunnel Physics 02:21

10.4 Ebows on 4 Acoustic Guitars 03:14

11.Unwrite These 02:40

12.Gregor! The Blacksmith 03:46

13.Inslider 03:13

14.Angle Smoother 03:06   

15.The Scene Where The Wayward Teenage Son Experiments With Opiates 02:48

16.Cocodamol 05:46

17.Massive in Flux 03:22

18.IDM is Dead 03:05   

19.Three Machines 03:27   

20.Comedown 03:52   

21.The Scene Where Everybody Dies 03:46

22.My Cat Got Fat 02:56

23.Nein, die Katze 03:43

24.Offshore Magnetism 02:33   

25.PLUSS 12:08

http://www.slightlystoopid.com

http://www.myspace.com/stoopid





Origine du Groupe : North America

Style : Indie , Alternative Fusion , Reggae , Funk , Rock

Sortie : 2008





From Wikipedia :



Slightly Not Stoned Enough To Eat Breakfast Yet Stoopid is an album by California band Slightly Stoopid, which was released July 22, 2008. It contains all 7 tracks from the EP of the same name,
"as well as other outtakes, rarities, and brand new studio joints."



While many of this album's tracks are originals, there are some tracks that are either covers or re-recordings. The track "Tom and Jerry" originally appeared as a hidden track in the group's
previous album, Closer To The Sun. "Sensemillia" first appeared as a live track from their acoustic album, Acoustic Roots: Live & Direct. "Digital" first appeared on the group's Chronchitis.
"I Know You Rider" is a traditional blues song, also covered by other artists such as The Grateful Dead. "I Would Do For You" is a cover of UB40. The album includes one hidden track: an alternate
version of the title track from Closer To The Sun.





Tracklist :

1.Thinkin Bout Cops

2.Circle House Blues

3.Supernatural

4.Chaunch

5.I Would Do For You

6.The Fruits (Legalize Them)

7.Ain't No Reason To Go

8.Sinsemilla

9.No Cocaine

10.London Dub

11.Shoobe

12.On and On

13.Train 1

14.Train 2

15.Know Your Rider

16.False Rhythms

17.I Metal

18.She Bang

19.Digital

20.Foreign Land

21.Tom & Jerry

http://uhoh.bandcamp.com





Origine du Groupe : North America

Style : Abstract Hip Hop , Beatmaker

Sortie : 2012





From http://uhoh.bandcamp.com



Back after a two year hiatus, this is some of my newest work with a couple older beats not yet released through bandcamp. Just a quick solid project to kick off the new year in 2012.





Tracklist :

1.Smooth tunes 01:59

2.Lost in my Own Mind 01:31

3.Troubles in the World 02:46

4.Can’t help Myself 03:10

5.Interludin 00:34

6.Blame the Ganja 01:08

7.Gettin to it 01:06

8.Keep It Goin 02:00

9.Restraint 01:22

10.Yea, Yea 01:44

11.Old Fly Shit 02:01

12.High Daimyo 02:12

13.Back in the day 01:58

14.Orchestral 00:54

15.Gone 01:05   

FREE DOWNLOAD

 Some rights reserved

http://www.beastsound.net

http://www.myspace.com/beastsound





Origine du Groupe : Canada

Style : Electro , Trip Hop

Sortie : 2008





From https://zarecords.wordpress.com



I’ve been searching for a good album to write about which would make a break from the more atmospheric music I’ve been talking about, for the sake of diversity, so I was thrilled when a good
friend of mine recommended this band yesterday. I had only heard one of their songs previously, and I guess it didn’t make much of an impression at the time, because they slipped my mind
completely. However, yesterday, being in a more exploring mood, I managed to compile and listen to their entire album on YouTube, and I decided it’s an excellent opportunity to take a step into
some dangerous territory.



That’s my impression regarding this album, the one word I would use to sum it up – dangerous. The feeling of urgency and alertness it creates, the ominous pulse of the bass lines and the
down-and-dirty distorted guitars make for a truly bad-ass release that chases you, corners you, nips at your heels with pearly-white fangs and has a way of keeping on its mean side which is
positively delightful. Not to mention Betty Bonifassi’s machine-gun rapping, marred by an anger and sorrow which I honestly never thought could be expressed so powerfully through this particular
method of delivery. It’s not that I have a distrust towards rap in general, it’s just that I have a hard time focusing on the lyrics of any given song, so for me a very lyric-heavy act will
probably provide a real empathic challenge. However, Betty Bonifassi manages to take it to a level where the voice doesn’t feel like it’s just providing texture and dives headlong into a realm
where rhythm and raw energy explode on the musical canvas with a vengeance of a sort I’ve never really experienced before.



Beast is the creative partnership between two French artists working in Montreal. Betty Bonifassi had already worked as a musician for twenty years before creating Beast, and Jean-Phi Goncalves
is a pretty well-known composer and producer, having worked with Lauryn Hill, among others. They ran into each-other while working on a video game soundtrack and, realizing their track for the
game was much more aggressive than they had anticipated, and also much more personally cathartic, they decided to spawn Beast, a band born with the same urgency their songs convey. They had
recorded the first track on the album after one session – that’s the kind of creative click which shows on each and every song, it defines the sound and propels the music.



The influences are diverse and spectacular, ranging from accents of 40s swing music to Rage Against The Machine, from Massive Attack to Nina Simone. Betty Bonifassi has a way of navigating
through the immense possibilities of her vocal range and power which allow her to explore these wide ranges and styles. The result is a sound they named “trip-rock” (which doesn’t feel quite
right to me, but hey, whatever floats their boat). Unfortunately, the band is on an indefinite hiatus at the moment. Given the personal nature of the music, the frustration and anger it stems
from, and the fact that this particular brand of sound had not been the usual thing for either of the artists involved, it makes sense that one album would act as a powerful means of exorcising
some of those demons and that they would be left quieter and more centered afterwards. The music incites a similar cathartic reaction in the listener, so why shouldn’t it act the same way for the
creators? However, that means that the Beast will remain caged for, probably, years to come, at least according to a 2011 Betty Bonifassi interview.



I leave you with two of the most ferocious tracks on this album. Hopefully they’ll incite the same electrifying excitement in you as they did in me.





Credits:

Cello - Mélanie Auclair (tracks: 2, 6, 10)

Mastered By - Adam Ayan

Mixed By - Pierre Girard

Performer [All Instuments, Electronics], Vocals [Additional], Producer, Recorded By - Jean-Phi Goncalves*

Recorded By [Additional] - Cristobal Tapia De Veer* , Samuel Girardin

Violin - Guido del Fabbro (tracks: 2, 6, 10)

Vocals - Betty Bonifassi*





Tracklist :

01. Devil

02. Finger Prints        

03. Microcyte        

04. Interlude 1        

05. Mr. Hurricane        

06. Out Of Control        

07. Ashtray        

08. Dark Eyes        

09. City        

10. Arrow        

11. Interlude 2        

12. Satan

http://www.myspace.com/maxfsnmusic





Origine du Groupe : France

Style : Alternative Fusion

Sortie : 2012





From http://www.rushhour.nl



Blundetto double LP with new collaborations, digging deeper into his sound.

With his second album, Blundetto digs further his own sound, a soulful reggae with strong latin and hip hop vibes. Once again, he invited many artists to collaborate with him : the singer Hugh
Coltman for the cover of soul classic “Hercules”, ethio jazz band Akale Wube for strong cinematic instrumentals, legendary skater Tommy Guerrero for folky guitars, the golden voice of Jamaican
Courntey Love, the rapper Aqueel on 2 songs, Jahdan Blakkamoore on the “Walk away now”.



People who discovered the first album will be delighted by this new one.

As usual a nice packaging for the LP lovers.



Apart from a few radio presenters, no one has ever seen him. At the moment Blundetto exists only on record. For good reason: when his first album ‘Bad Bad Things’ came out in June 2012, Blundetto
was not entirely comfortable with the idea of being an artist. The surprising thing was that in real life Max Guiget had been a programmer at Radio Nova since 1998. A disciple of Jean-François
Bizot, the radio’s founder, he learnt the ropes by watching Gilles Peterson, Laurent Garbier, DJ Gilb-R and Lord Zelko, but he never dreamed that he might one day be a star on the decks or in a
studio. In his own words, ‘It was some friends who urged me to do the first album. They’d heard the forty or so demos I’d made at home and encouraged me to finalise fifteen or so of them. But the
idea of playing live sent me into a cold sweat. I didn’t feel at all like going out on stage on my own.’

No touring, then and he turned down some great opportunities to perform his tracks on TV for the same reason. Almost in spite of himself, his album received a really good critical welcome. A
single with General Elektriks got him onto the France Inter playlist, another with Hindi Zahra earned him regular airtime on Gilles Peterson’s decks, and there was even an article about him in
Closer magazine in midsummer. He still chuckles at the whole thing. In fact, the buzz caught Blundetto off-guard. Gradually he got used to the whole interview game, agreed to remix other artists
and finally decided to serve us up some more on his second album ‘Warm My Soul’.

Although his unique style of instrumental canvas provides some obvious continuity, none of the guest vocalists from the first album features on the second. ‘I didn’t break off with anyone. It’s
just I didn’t want to get in a rut. I don’t have any particular method. I only invite people I admire, and so my policy is a bit wait-and-see with some people to see where they go with my track,
like the rastaman Courtney John, for example. We met out in Jamaica and later I sent him some demos without giving him any particular instructions. He didn’t let me down. But I love it when a few
of us work on a track together. For example, Aqeel was round at my house for a day and we came up with “It’s All About”.’

Other musicians join the kitchen crew to cook us up a treat: the New Yorker Jahdan Blakkamoore at the microphone, Shawn Lee helping out on drums, Tommy Guerrero on guitar, and Guillaume Metenier
giving it some swing on keyboards. All these folks are used to a melting pot of latin-soul, reggae-dancehall and jazz-funk with an additional, very cinematic feel to it. Whereas most songwriters
try and pump up the sound a bit to get over the hurdle of the second album, Blundetto’s approach has been the opposite, towards a pared-down, less madcap sound. The second album is a bad boy’s
who’s tidied up his room a bit. Or his home studio, to be more precise – a room in his small flat between Barbès and the Gare du Nord packed with vinyl records, vintage machines, exotic
percussion instruments and overflowing ashtrays. ‘It’s homely,’ says the owner, ‘in spite of the mess. I record everything here; I hardly ever go into a real studio. My record involves working
with people on the other side of the world and also proves that Paris is like a village. For example, I was hell-bent on covering Aaron Neville’s ‘Hercules’ and I was looking for a soul vocalist
over in the States to sing it. And then I stumbled upon covers of Bill Wither by some greenhorn on YouTube beforefinding out that his name was Hugh Coltman and he lived three doors down from me.
It’s the same with the Parisian band Akalé Wubé who play ethio-jazz – we live almost next-door to each other.’

With the album due for release, its creator feels a little more comfortable about being an artist. Max Guiget has gone down to four days a week at Radio Nova to allow Blundetto to give it a real
go. Anything might happen – he’s even thinking about forming a trio to perform live. ‘I’ve promised my record company that if a TV programme rings me up, then I’ll go this time. Well, I might.
Because I don’t think the showbiz and dancefloor stuff is really where it’s at. My tracks aren’t that well suited to it, which is logical because I make them at home in a pretty enclosed
atmosphere. I always listen to and record music at a sensible volume, and I like sounds that caress the front of the brain bulb gently. I try to produce an emotional response because that’s what
I appreciate in other people’s music. I prefer my instrumentals to conjure up passion, melancholia or love rather than get everyone on the dancefloor.’





Tracklist :

1. Rocroy (with Akale Horns) (3:15)

2. Hercules (with Hugh Coltman & Shawn Lee) (5:04)

3. It's All About (with Aqeel) (5:26)

4. Crowded Places (with Akale Horns) (5:11)

5. Warm My Soul (with Courtney John) (4:03)

6. I'll Be Home Later (with Akale Horns) (4:17)

7. Final Good Bye (with Tommy Guerrero) (3:50)

8. Treat Me Like That (with Courtney John) (3:05)

9. Walk Away Now (with Jahdan Blakkamoore) (4:10)

10. Since You've Been Gone (4:56)

11. Hercules Dub (5:38)