http://shulman.info





Origine du Groupe : Israel

Style : Electro , Electronica , Psychill, Chillout

Sortie : 2012





From Official Site :



The much awaited new Shulman album, entitled, ALive, is finally here. The album contains live arrangements of known Shulman tracks that were made for the special Shulman live band shows. The
recordings were done with live musicians: a drummer, guitar player, bass player and keyboardist, and wind instruments: saxophone, shehnai, zorna & ney, and of course the Shulman duo working
their electronic magic on computers and synthesizers. It presents unique sound textures combining the usual Shulman incredible compositions with ethnic elements, psychedelic rock, jazz and other
eclectic musical touches. The outcome is an out of this world journey into Shulman’s weird universes, but with more organic and alive feel to it that makes it all seem very real. The album
contains collaborations with Omar Faruk Tekbilek & Steve Shehan, Ishq, Sub6 & Michele Adamson and Lee Triffon (Eatliz).





Tracklist :

01 Shulman – Transmissions in Bloom (ALive mix)

02 Shulman – Mia Nihta Mono Den Ftani (ALive mix)

03 Shulman – Invention (ALive mix)

04 Omar Faruk Tekbilek & Steve Shehan- Ya Bouy (Shulman ALive remix)

05 Sub6 feat. Michele Adamson – Ra He’ya (Shulman ALive remix)

06 Shulman feat. Lee Triffon – I Dive (ALive mix)

07 Ishq & Shulman – Mother Nature (ALive mix)   

http://www.danielmelingo.com

http://www.myspace.com/melingo





Origine du Groupe : Argentina

Style : Tango

Sortie : 2008





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



Argentine performer Daniel Melingo has hit world music gold. He may look wasted at first sight, but he's come up with a fresh spin on the world-weary troubadour routine that keeps Nick Cave and
Paolo Conte in business. With a brilliantly wayward cast of musicians to illuminate Melingo's vignettes - lowlife soap opera, really - Maldito Tango shuffles, twitches, breathes and roars into
life, with twanging guitar, sonorous double bass, passionate violin, birdsong and eruptions of tango-like violence. It's deceptively tender and desperately catchy, yet Maldito croons his sleazy
scenarios without recourse to cliche. Pequeño Paria is "a prayer for a child raised in loneliness", intensified by an urgent arrangement. En Un Bondi Color Humo is about the arrest of a
pickpocket, both sunny and "dark", while Eco Il Mondo is an atmospheric, dignified tone poem about the last hours of a womanising spendthrift





Tracklist :

1. En un bondi color humo (03:36)

2. Julepe en la tierra (04:30)

3. A lo Magdalena (02:36)

4. Se igual (02:03)

5. Fabriquera (01:49)

6. Luisito (02:39)

7. Cha digo! (04:15)

8. Pequeno paria (06:42)

9. Montmartre de hoy (03:25)

10. Cuando la tarde se inclina (03:03)

11. Eco il Mondo (08:45)

http://soundcloud.com

http://8tracks.com

http://dustedwax.org





Origine du Groupe : North America

Style : Abstract Hip Hop

Sortie : 2012





From http://dustedwax.org



After the great success of Jenova 7's first release, here comes Dusted Jazz Volume Two. The layering of phat drums, groovy basslines and addictive jazzy elements is pure genius and brings
delightful reminiscences from the supreme years of the oldschool organic samples-based hip-hop. In case you missed it, be sure to check Dusted Jazz Volume One.





Tracklist :

01 - Concrete Jungle

02 - Sidewalk Flower

03 - Streetlight Noir

04 - Play It, Sam

05 - Introspect (feat. Mr. Moods & Leenox The Turntablist)

06 - La Femme Sur La Plage

07 - Midnight Ride

08 - Morning Theme

09 - Just Chill

10 - Quick Sixteen

11 - Drive

12 - We Still Reminisce

13 - Les Quatre Cents Coups

14 - Heroin (For Dilla)

FREE DOWNLOAD FROM NETLABEL DUSTED
WAX KINGDOM

http://www.ceumusic.com

http://www.myspace.com/ceumusic





Origine du Groupe : Brazil

Style : Alternative Fusion , World Music

Sortie : 2012





From http://wearsthetrousers.com



Brazilian-born Céu has been carving out a celebrated career since the release of her self-titled debut in 2005, which earned the accolade of being the first internationally released album on
Starbucks’ Hear Music series. Her 2007 follow-up, Vagarosa, was equally gorgeous, and now the the Grammy-nominated artist, whose name comes from the Portuguese for ‘sky’ and ‘heaven’ is readying
her third effort, Caravana Sereia Bloom for an April release.



The bossa nova and samba of her earlier releases have morphed into something more electric on this new affair, taking in the “post-psychedelia synthesisers and guitar effects of the typical
sounds of Brazil’s popular music from the Northeast.” A string of UK dates are planned for April (see below), and preceding them comes a grainy video for the electrifying lead single
‘Retrovisor’.





Tracklist :

01 Falta de Ar

02 Amor de Antigos

03 Asfalto e Sal

04 Retrovisor

05 Teju Na Estrada

06 Contravento

07 Palhaço

08 You Won’t Regret It

09 Sereia

10 Baile de Ilusão

11 Fffree

12 Streets Bloom

13 Chegar Em Mim

http://boombip.net

http://www.myspace.com/boombip





Origine du Groupe :

Style : Abstract Hip Hop , Electro , IDM , Ambient

Sortie : 2012

Durée : 00:57:57





Pour http://liveweb.arte.tv



On avait découvert Boom Bip dans la fourmilière grouillante d’activité de l’Abstract hip hop, au tout début des années 2000. On se souvient de Circle, son album avec Doseone, de ses
collaborations avec Busdriver, avec Gruff Rhys de Super Fury Animal (sous le nom de projet Neon Neon)… Il nous revient avec un disque qui fleure bon l’ambient planante et déconstruite de la belle
époque d’Anticon et Ninja Tunes.





Tracklist :

1. clocked

2. reveal

3. automaton

4. manabozh

5. red room

6. from left to right

7. tumtum

8. mascot and the moth

http://www.myspace.com/fluxionofficial





Origine du Groupe : Grece

Style : Electro , Dub Techno

Sortie : 2012





From http://www.experimedia.net



Traces is Fluxion's second album on Echocord. This work is about his travels in music -- the sounds, influences and aesthetics of his actual travels, expectation-journey-destination, alongside
the musical influences deriving from them. Through his prism, those sounds, pictures, travels, emotions, etc., left traces of new directions, of future journeys to take. Fluxion captured the
motion in his travels with a different feeling on each track. "No Man Is An Island" is an unreleased Dennis Brown vocal version -- an influential song with a clear message. "Desert Nights" evokes
desert rock meeting dub in a road movie. "Stations" tells of that special place between destinations -- always a feeling of something promising. "Butiama" is an actual place, where variations and
consistency in rhythm is within people's DNA. "Migration" is a new, promising start. These 11 tracks have been carefully selected, opening the dub spectrum as well as reaching other uncharted
territories. After a decade in the field of dub, techno and ambient, Fluxion expands his horizons with music that will not fall under one specific territory.





Tracklist :

01. Motion 1 6:21

02. No Man Is An Island (feat. Dennis Brown) 7:09

03. Desert Nights 8:10

04. Eruption 8:50

05. Statons 8:39

06. Motion 3 8:32

07. Memba 5:57

08. Burst Mode (Edit) 2:50

09. Butiama 7:02

10. Migration 6:23

11. Motion 2 (Edit) 2:44

http://www.myspace.com/yppah





Origine du Groupe : North America

Style : Electro

Sortie : 2012





From http://ninjatune.net



Landscape and memory have always played a central part in the music of Joe Corrales Jr. aka Yppah (pronounced “yippah”). It’s what gives his tunes both their sense of place, their physicality,
and their ethereal - almost nostalgic - sweetness. His third album for Ninja Tune reflects a change in the landscape around him. Midway through the process of recording the demos for what became
Eighty One, Corrales started making regular trips to Galveston, on the Texas Gulf coast, to surf. So energised was he by his experiences, he left his home in Texas and moved to Long Beach,
California. Unsurprisingly then, he says that the images he had in his head as he made his new music were of the sea and the beach. “I wanted a lot of the songs to feel like a warm wash,” he
explains.



On tracks like “Blue Schwinn” you can feel the pull and push of the ocean, the sun refracting through water. Corales bifurcated belief in the power of both hip hop and My Bloody Valentine is
still evident, but this is the warmest, most uplifting music he has made. This is reinforced by Corrales’ other source of inspiration. The record takes its title from the year Corrales was born
and, perhaps the very act of moving away from childhood locales stirred up “memories from random times in my life. Like I was trying to recreate certain feelings I had at different points in my
life with melodies, if that makes any sense.” And he goes on to ask, “You know how when you’re a child you feel your life has a certain melodic theme that you can’t really put your finger on and
you can almost hear it, but its not anything you’ve ever heard before?” Eighty One is his attempt to capture those melodies.



The last piece in this act of reinvention is the presence on four tracks of Anomie Belle, a singer, producer and classically trained violinist based in Seattle. The pair met when Yppah was
touring with Bonobo in 2010. The pair hit it off and Corrales contributed a remix to Belle’s album, “The Crush.” In return, she offered to listen through to demos of Eighty One



to see if she could find a track which she could add something to. In the words of Yppah, “it was such a natural fit she ended up doing four!”



Beautiful, uplifting and imbued with a natural, unaffected warmth that cuts through the most biting cold, Eighty One is Yppah’s most satisfying work yet.





Tracklist :

01. Blue Schwinn

02. D. Song (feat. Anomie Belle)

03. R. Mullen

04. Film Burn (feat. Anomie Belle)

05. Never Mess With Sunday

06. Happy To See You

07. Soon Enough (feat. Anomie Belle)

08. Paper Knife

09. Golden Braid

10. Three Portraits (feat. Anomie Belle)

11. Some Have Said

12. Phoenix By Midnight

13. Her Star Won't Shine

http://www.susumuyokota.org

http://www.myspace.com/yokotasusumu





Origine du Groupe : Japan

Style : Abstract Electro , Ambient , Experimental

Sortie : 2012





From http://www.piccadillyrecords.com



Musical styles come and go, but Yokota reigns supreme in a universe of his own making. ‘Dreamer’ is instantly familiar and yet full of surprises and like all of Yokota’s best music, it leaves the
listener in a state of wonder.



This is meditative music but miles away from new age wallpaper. Eastern flavours permeate many of the tracks, often mixed with free electronic noise, to create what John Hassell called ‘Fourth
World Music’, capable of transporting the listener to a brand new world. Sounds that in other hands could have a disturbing effect are transformed into tools for opening the mind.



Within ‘popular’ music there are dew that make music with Yokota’s depth and ease. His music never sounds forced, fake or phoney, never trite or tentative, always fully formed and wholesome. So
it comes as no surprise that his fans include Thom Yorke, Brian Eno and Philip Glass and that ‘Dreamer’ is another superb addition to the Yokota.



Will appeal to fans of Yokota’s LEAF period with album like Grinning Cat and Sakura.





Tracklist :

01 - Human Memory

02 - Flitting Ray

03 - Subconscious Globe

04 - Inception

05 - Double Spot Image

06 - Quiet Room

07 - Animiam of the Airy

08 - Renounce the World

09 - Brainwashing and Senses

10 - A Day at the Planet

11 - Legendary Stream

http://www.ilyasounds.com

http://www.myspace.com/ilya





Origine du Groupe : U.K

Style : Alternative Fusion , Jazz Blues Soul

Sortie : 2012





By Bill Stair from http://ilyasounds.blogspot.com



Fathoms Deep is the latest release from Bristol’s Ilya, a duo comprised of vocalist Joanna Swan and guitarist/multi-instrumentalist Nick Pullin. You may only know them from a song-snippet
featured in some perfume adverts, but they’ve spent the last few years assembling a body of work that represents one of the most fascinating discographies this decade has to offer.



Their 2004 debut They Died For Beauty was one of those embarrassments of riches that seemed to have arrived fully-formed from another, saner dimension where inventive, innovative, insane music
was the norm. Of course, it wasn’t really some kind of sui generis miracle; Joanna and Nick had been slogging away in the trenches for years. It wasn’t so much that their music attained
perfection in 2004, more that their sound at that point in time dovetailed with the zeitgeist and the aspirations of a slowly expiring music biz.



The cynical thing to do after that would have been to keep on churning out more of the same; there would probably have been more than a few satisfied customers. But that’s not the way Ilya work.
After the almost overpowering lushness of They Died For Beauty, they followed it up with the sublime Somerset - a record that retained the cinematic swoosh of their John Barry and Ennio Morricone
devotionals, but which introduced harsher, darker elements into the mix. The standout track “Winter in Vienna” began as richly as would be expected, but then slid into territory first staked out
by Holger Czukay’s shortwave dalliances and finally ended up dangerously close to something by This Heat, England’s finest exponents of post-prog, post-punk, quasi-kraut anti-commerciality. And
Ilya managed all this without losing sight of the epic post-rock universality they’d staked out with their first album.



But two albums in a row with some kind of coherent stylistic feel was clearly making things too easy for the punters, so their next step was to release the manicured howl of rage entitled Hootchi
Coochi. Attributed to Jo Swan, it was an Ilya album in all but name and, just to keep everyone off-balance, contained a bona-fide pop/R&B gem called “Play With Me”. The next logical step was
obviously to follow that up with the banjo and bouzouki weirdness of Carving Heads On Cherry Stones - a record so haunting and gossamer-like that it should probably only be available on
prescription. (Although its opening track “Prairie Dogs” is indisputably the best song to be written in cod-Esperanto since the Beatles’ Sun King.)



And so here we are with Fathoms Deep, their fourth (or fifth) album, and which is very much a return to roots - Ilya's Get Back, if you will.



Except Ilya was always a studio project - the brainchild of two people - and there never was a live band as such. But even so, the concept behind Fathoms Deep is still a back-to-basics one. The
idea was very neat: to assemble a core group of excellent musicians in one of Britain’s last remaining high-level studios, present them with the material there and then, and to record the results
immediately. It’s your basic 180 degree volte-face from their earlier, meticulously manicured albums; an escape from the endless tweaking of recording on computers and getting back to the way
people did it in the olden days. So how did it turn out?



Well, it turns out that - amidst recurrent themes of birds, water, seabirds and drowning - Ilya have produced a record that is, of course, entirely different from their previous albums but which
has very clear callbacks to all of them. In fact, when you look at their body of work as a whole, there is a remarkable consistency; dragging all their stuff into a playlist and hitting shuffle
doesn’t make Fathoms and Cherry Stones sound weird so much as it reveals the twisted sensibility at the heart of their seemingly sweet earlier albums. Ilya have always been about darkness and
sugar.



Of course, the one element that consistently holds their obsessive eclecticism together is the almost frighteningly transcendent voice of Joanna Swan; rarely has one person been able to channel
so many sounds and personalities in one set of pipes. Her one consistent attribute is that her voice gets better and better with each release. By now, seasoned Ilya listeners can expect that when
hypnotized by her ethereal angelic register, they will shortly be sucker-punched by a sudden switch to a gargantuan blues howl. But I must confess - the first time I heard the ending of “20
Fathoms Deep”, I felt afraid. Jim Morrison’s “Horse Latitudes” is a playground ditty compared to the kraken she unleashes on the coda.



Perhaps the most intriguing thing about Fathoms Deep is its insistence on using only piano and Hammond organ in the keys department. Ilya’s vast repository of influences combined with the
ubiquity of the Hammond in sixties music means that, for music nerds at least, a single song can be a juddering travelogue through multiple genres and epochs - because the Hammond can mean many
things. But ever since the Crazy World of Arthur Brown released “Fire” in 1968 - at that point, the heaviest record imaginable, and one which was made without recourse to the guitar - the Hammond
in rock has meant one thing above all else: prog.



So if Ilya have released an album that, while not exactly prog, certainly doesn’t shy away from it, does that mean they have gone off the deep-end once and for all? Or does it mean that they’ve
craftily noticed that, in the 21st Century, prog is more popular in Britain than at any time since 1976?



Neither. It simply means that they are, as always, following the dictates of their own muse. This is no more a prog album than it’s a John Barry soundtrack from the sixties; they’re just adding
ever more ingredients to the Ilya gumbo. No longer a mere embarrassment of riches, we are now into a full-fledged supernova of reference points.



For example: the ineffably gorgeous “On Vauxhall Bridge” (which may or may not be about suicide, but which certainly does deal with water and burial) is enough of a Cubano-style toe-tapper to
instantly evoke images of dapper old folks dancing close in the zócalo on a warm summer’s evening. Dan Moore’s piano is quite lovely, while the infectious “Quizás, Quizás, Quizás” rhythms - and
Joanna’s exuberant vocal - more than undercut the desperation of the lyric. And Nick’s closing splice of Marc Ribot and George Harrison works rather nicely as well.



“Lean Down” is another stand-out track, perhaps something of a stripped-down callback to They Died For Beauty. The intro alone is breathtaking, more or less a live performance from the core duo,
with Nick’s arpeggiated guitar backing up Joanna’s heartbreaking whispered vocal. Haunting, yes, but very, very pretty.



So naturally, we also have to have stuff like “Falcondale” in here as well. Right from the start of this one, Nick’s spider-web guitar lets you know you’re back in Cherry Stone territory - even
if he’s not actually playing a bouzouki, you feel like there’s one in there. And, like so many songs on Fathoms Deep, it’s built around circular triplet patterns, like so many hummingbirds
whirring around in your head. Or should that be falcons?



All this and a baritone sax that - dexterously combined with the low-end of the Hammond - shoves the song sharply into the strange world of Albert Marcoeur, until the organ takes over and kicks
us into the page-boy haircutted world of The Nice. But only for a little while, mind. Our next stop is in Stevie Smith/This Heat territory, as it seems that we are decidedly not waving and quite
probably drowning. Until the halfway mark, that is, when Joanna’s storm-petrel vocal comes skipping over the waves, a reverse siren that pulls us out of the endless deep. It seems that Ilya are
neither waving nor drowning but dancing round the maypole. And have somehow managed to condense “A Plague of Lighthouse Keepers” into less than six minutes.



Another standout track is “Little Lamb”, a sweet, frail, blue little thing that evokes the late, great Johnny Ace’s posthumous 1955 hit “Pledging My Love” - as used on the soundtrack of Abel
Ferrara’s midnight-black Bad Lieutenant, naturally. Joanna’s distant, glacial vocal is perfectly offset against Nick’s bizarro Ron Grainer guitar and a chord progression that occasionally shines
on like some kind of diamond. It may be the way that, for some reason, this song is now inextricably linked in my mind with Abel Ferrera but - given Ilya’s longstanding obsession with John Barry
- the only conclusion I can draw from this song is that James Bond is now a toothless Appalachian smackhead.



But that would be too easy wouldn’t it? The coda lurches abruptly to Jimmy Smith/Djangoworld, Joanna switches to her megafaunic voice, and the go-go girls start it up in their white plastic
boots. Bonkers, in the best possible sense of the word.



“All I Got” is perhaps the album’s most perfect song; it drifts into view amid Harold Buddy piano and backwards guitars, like some unjustly forgotten outtake from Side 2 of Before and After
Science. The lyrics once more deal with bitterness and regret, but the utter beauty of the music and vocal make it the sweetest of bitter pills. Quite perfect, in fact.







Joanna Swan, Vocals. Nick Pullin, Guitars. Dan Moore, Piano and Hammond. Andy Lowe, Basses. Matt Jones, Drums on tracks 1246&7 and Damon Reece on tracks 3,5,9&10. Ruth Hammond, Sax on
track 6.





Tracklist :

01. Port Erin Fair 04:25

02. Lean Down 04:15

03. On Vauxhall Bridge 05:43

04. Little Lamb 06:10

05. Hollow 05:00

06. Falcondale 05:53

07. I Fall 04:24

08. All I Got 05:50

09. In The Spring 05:22

10. 20 fathoms Deep 05:16

http://joeltammik.com

http://www.myspace.com/joeltammik





Origine du Groupe : Estonia

Style : Electro Dub , Dub Techno , Ambient

Sortie : 2012





From Official Site :



This ambient/dubtechno album from Rajaleidja (Joel Tammik), recorded between 2001 and 2011, is a very precious journey into the inner layers of consciousness.



The acoustic and spiritual path starts in the deep and intact Estonian forest on a small trail. As we float by we see mysterious birds, hear trees that are squeaking in the wind and feel rivers
flow on their old and secure waterbeds. When the forest ends, the tranquility of nature is brusquely interrupted by a metallic object in the field. Rays of light blind the eyes but still the body
feels irrevocably attracted to machine that emits some hypnotic noises. We enter. The door closes. Ground control lost.



A space odyssey? A trip to the moon? The open space allows no topography. We count the planets. …2…3…4…5…landing on the sixth. Our body mass is floating out of the space ship. Wind. Fast wind.
1800km/h wind blowing over our body like a caress. Warmth. The sun looks closer than ever. The solar system feels like a miniature. The earth looks like a dot in the empty space.



Space. Endless air. But, the oxygen is running out. Blinking machine. Nothing lasts in space. The point of return gets bigger. We enter the ship. Ship ahoy. Endless fall. …6….5….4…3…2…1. A big
splash. Back on the earth but where is the ground. Sinking in the sea. Fishes, corals, swaying plants. The life aquatic.



On the screen four letters appear. Blink. H. Blink. O. Blink. M. Blink. E. Our smiles fill the vessel. A voice comes from the speakers: “You are welcome back any time!





Tracklist :

01. Vine (07:25)

02. Minek (05:30)

03. Nimetu (05:45)

04. Salus (06:19)

05. Oos (05:46)

06. Uni (06:55)

07. Orgaanilises (06:58)

08. Heli (07:14)

09. Oled (04:56)

10. Ootama (08:43)