http://www.aligningminds.com

https://www.myspace.com/aligningminds





Origine du Groupe : North America

Style : Electro

Sortie : 2011





From http://igloomag.com



Aligning Minds capture a wide audience on Universal Automation; blending high-energy fractals of multi-genre formations (somehow haunting and exuberant) next to slow-moving parts and pieces that
defy categorization



Ricocheting beats, tempered bass lines, gritty rhythm constructs and dosages of sublime syncopation has Aligning Minds’ Universal Automation flowing in a manner that doesn’t pigeonhole itself
into one particular genre.



Bending melodic scribbles against ambient flurries, brushed vocals meander off-and-on, atmospheres twist and crumpled views of nostalgia introduces breakbeat-dub, emotion and swells of moving
bytes from mind to foot. Daniel Merill and Michael Folk’s concoction of aligning minds is on track as they build platforms of exploratory psychedelic electronics that is equal parts focused as it
is fuzzy. As downtempo captures Universal Automation‘s exterior dynamic, elements of early The Future Sound of London and Legion of Green Men appear from the undergrowth of organic layers and
attractive sonic beauty. Bubbling implosions frolic among rolling snips’n snaps creating an intricate balance between crystalline production and randomized musical arrangements. Classical sheets
of instrumentation shed their creative juices throughout and are counterbalanced by dance-floor ready rhythms bursting at the seams.



As a debut, Aligning Minds capture a wide audience on Universal Automation; blending high-energy fractals of multi-genre formations (somehow haunting and exuberant) next to slow-moving extracts
that defy categorization.





Tracklist :   

1. Malavek's Movement

2. Fortune and Solitude

3. Conversant Dilemma

4. You'll Wade through It

5. A World of Progress

6. Myan Dreams

7. Happy Hollow

8. Vaida Unison

9. A Secret Society

10. My Blue June

11. Just A Glimpse

http://www.earthsync.com

https://www.myspace.com/kartickandgotam





Origine du Groupe : Israel , India

Style : Electro World Music , Alternative

Sortie : 2009





From http://www.cdbaby.com



Nowhere near home, Kartick & Gotam were traveling from South India to a remote village in Aceh, Indonesia, in a journey through Asia recording indigenous music forms. An overbooked flight and
unexpected luck landed them in business class luxury. In transit in Singapore, they applied for the visa to Indonesia, and the Special Permit to travel to Aceh. It was to take 3 hours. 6 hours
later, the flight left without them. 3 days later, they were still waiting, neither at home nor destination, stuck somewhere in between. They waited indefinitely at the airport - Business Class
Refugees without passports, identity, and stateless - sipping free champagne in the airline lounge or aimlessly roaming Singapore Airport’s duty free arcades and coffee shops... sometimes
homesick, sometimes worried, but mostly, making music on their laptops.



Business Class Refugees is now a global, collaborative project by music producer Kartick (Patrick Sebag) and sound designer Gotam (Yotam Agam), who mix local music from around the world with
electronica… electro - folk without borders, global flavours, and a cross-cultural mixture of emotions, realities, styles, languages - and irresistible grooves.



The project has no end. Taking their base tracks around the world, Kartick & Gotam collaborate with local musicians to overlay local artistic interpretation and signatures. This album is
where Kartick & Gotam’s journey began: India.



Patrick Sebag and Yotam Agam have collaborated on many successful albums, films and shows, most notably Laya Project, EarthSync’s award-winning audio-visual documentary celebrating the music and
cultural traditions of 6 countries affected by the 2004 Asian Tsunami. They also worked together on the recent EarthSync releases Voice Over The Bridge and Nagore Sessions, which Rolling Stone
magazine called “fantastic world music”.



Business Class Refugees features distinguished artists from around Asia and the Middle East such as Mahesh Vinayakram, Erez Lev Ari, Navin Iyer, Yoav Bunzel, Anuradha Viswanathan, Murad Ali &
Mishko M’Ba.



Some Press Voices



"This is not only heavenly, it's beautiful" (DJ Pathaan, BBC Radio, June 2009)



“Kartick and Gotam cleverly graft their sound to the countless collaborations they encounter along their journeys to make a truly global musical tapestry. Propelling a listener around the world
from the comfort of a pair of headphones, Business Class Refugees strikes out on a musical journey that is utterly captivating. Business Class Refugees is astonishingly good, but then we'd expect
nothing less from EarthSync” (WorldMusicCentral, June 2009)



“A fresh and different sound” (The Hindu, May 2009)



“Classy, enchanting music; a mélange of Indian and Western styles of music” (The Times of India, June 2009)



“Israeli duo with unchecked enthusiasm for Indian sounds” (The New Indian Express, June 2009)



“Global in form and spirit, the album boasts of indomitable energy, its core is Indian but with an unmistakable electro-funk influence, there’s an earnestness and ebullience that is admirable”
(Economic Times, May 2009)





Tracklist :

1     Bonjour

2     Tamil Bossa

3     Boye Boye

4     Heer

5     Shiva Sheva

6     Door Open Door

7     Vellai Thaamarai

8     Supreme Chaos

9     Rututu

10     Hear Comes The Funk

http://www.azamalimusic.com

http://www.myspace.com/azamali





Origine du Groupe : Iran , Canada

Style : Alternative Fusion World Music , Electro , Experimental

Sortie : 2006





By Christina Roden from http://www.amazon.com

For this, her second solo album, Azam Ali, lead vocalist of Vas and Niyaz, takes her patented polycultural blend of ancient and contemporary influences even farther beyond the stratosphere. That
she is now a veteran of numerous film scores, including Children of Dune, Earthsea, and Matrix Revolutions, perhaps explains her present more cinematic direction. Born in Iran, reared in India
and the US, and gifted with a voice of improbable tonal breadth, flexibility, and beauty, she is backed by collaborators like Trey Gunn (King Crimson), Chris Venna (Nine Inch Nails), Turkish
DJ/composer Mercan Dede, the Japanese ensemble Kodo, and Grateful Dead drummer/world percussion enthusiast Mickey Hart. One of the more interesting conundrums inherent in Ali's work is that no
matter how much electronic technology she employs, her immersion in her heritage unfailingly comes across loud and clear. Whether she is singing in English, which predominates on these sessions,
Farsi, or another language, a prayerful sensuality informs every note. It's as though a sexy Tanagra temple figurine or silk-clad court lady from an antique parchment were to suddenly turn her
lovely head and step daintily into the modern world, unfurling precisely the kind of voice one expected but never could have imagined.





Product Description :



"Elysium For The Brave", Azam's second solo album, signals a new turn in her musical evolution. The album, her most ambitious work to date, brings together musicians from varied musical
backgrounds performing in diverse permutations. The result is a highly coherent body of work that seamlessly weaves together all of Azam's cultural and musical influences into a haunting tapestry
of atmospheric rock, electronic, and global sounds. Singing predominantly in English for the first time, the songs are based on lyrics written by Azam herself and reveal a poetic lyricism heard
only in glimpses in her previous work.





Tracklist :   

1 Endless Reverie 5:47

2 Spring Arrives 5:17

3 In Other Worlds 6:07

4 Abode 5:59

5 Forty One Ways 6:09

6 The Tryst 6:04

7 From Heaven to Dust 4:19

8 I Am a Stranger in This World 7:24

9 In This Divide 5:18

http://www.myspace.com/mrkuba

http://soundcloud.com/kuba-laurence-harvey





Origine du Groupe : U.K

Style : Electro , Ambient , PsyChill , Electro Dub

Sortie : 2012





From http://www.psyshop.com



Random Precision' is an awesome collection of more than a dozen superb Kuba chillout tracks in various styles and tempos. Brilliant colourful Kuba worldmusic, atmospheric tracks and even deep
progressive tunes in a modern and fresh style!



A magnificent selection of thirteen fresh high-class chillout and progressive tracks!





Tracklist :   

1. Never Trustafarian (vocals by Jimi Learmonth)

2. Out of the box

3. Hole in my sitar

4. Dub Mythology

5. Sunset Smile

6. On the spot

7. Is this stuff real

8. Parc Guell

9. Little Mountain

10. Evaluation (rmx)

11. Dontmakemedance

12. Return of the grasshopper

13. Build a fire

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://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.myspace.com/timogarcia





Origine du Groupe : U.K

Style : Electro , Ambient , Downtempo

Sortie : 2011





From http://www.residentadvisor.net



Anyone tapped into the pulse or keeping score of modern electronic music has probably heard of Timo Garcia. Straddling the fine line between underground darling and big room, big tune dance floor
arsonist, his numerous releases on the circuit's biggest and best labels has been well documented as he kicks off 2012 ranked number 235 DJ in the world by the weekly Muso global top 1000 DJ poll
(2nd January, 12)



In a world when DJs and producers are ten-a-penny and the hype machines peddle mediocrity as if it were something special, it can be difficult to separate the wheat from the chaff. As such, the
currency de jour is consistency & recommendations…



His consistency in the studio has culminated in ‘Wonderlust Bug’; his acclaimed debut artist album with some of the world’s biggest names queuing up to recommend it…

[Sasha] “The Hang Drum track is amazing - as is Release, Wonderlust and Lady Luck and the mixed album flows wonderfully too, keep it up mate”. [Laurent Garnier] “Great work…Great for big room
business.” [Timo Maas] “Great album...v trippy and great variety!”. [M.A.N.D.Y.] “Solid collection of tracks. Well done!”



But talk is cheap, action stands out, and Timo comes up trumps again! His recent release on Sharam’s Yoshitoshi imprint recently graced the Beatport top 10 Tech charts for well over five months
with many world class DJs citing it in their personal top 10’s and Defected featuring it on their In The House Brazil ’11 compilation.



2010 also saw the release of a double CD, littered with remixes from his album tracks by production heavyweights that include DJ Pierre, Onionz, Eric Kupper and James Harcourt. It is a testament
to Timo’s calibre that such big names are ready to remix his work and is a pleasant shift from him doing the remixing – his deft touch can be heard on remixes of such luminaries as Leftfield,
Justice, DJ Pierre, Louis Vega, Robert Owens, Coldcut, Danny Howells and Ian Brown and he is constantly on the lookout for ways to add his inimitable sound to wide-ranging projects including a 14
track ambient album under his new ‘T_Mo’ guise.



His infamy has spread among the label bosses who set the trends and create the future-heroes of our worlds. Yoshitoshi, OFF, Compost, Skint, Southern Fried, 303 Lovers, Nervous, Audio Therapy,
Dieb Audio, Cr2 & Toolroom are just some of the world-famous imprints who have clamoured to get a piece of Timo’s brilliance. And his recent collaborations with X-Press 2, Jerome Sydenham and
DJ Pierre all saw their global release in 2011 too.



It seems incredible that he still has time to DJ around the world as well as working behind the scenes engineering and mixing down many other artists’ projects in both his London and Brighton
based studios. Last summer saw him play the main stage at London’s biggest Dance music festival ‘South West Four’ as well as headlining festival stages from Brazil to India; but this is a man who
has both a dedication and a love for his craft and this is something that he exudes, whether behind the decks or in the studio.



Whether you like your music to be played in the comfort of your own home, in grimy underground sweat-holes, or in extravagant and celebrious locales, the sublime and sensual sounds of Timo Garcia
are guaranteed to deliver.





Tracklist :

01. Burning Up

02. Dynamo

03. New Beginnings

04. Mad Hatter

05. Youth

06. World Of Sound

07. Morph

08. Scintillate

09. Thujone

10. Titan

11. Chimes

12. Pyjama

13. Sand Man

14. Wireless

http://afroceltsoundsystem.net

http://www.myspace.com/afrocelts





Origine du Groupe : U.K

Style : Alternative Fusion World Music , Electro

Sortie : 2005



By Chris Moss  from http://www.bbc.co.uk



The many avid fans of Afro Celt Sound System will no doubt applaud this, the band's fifth album, as another daring sonic landscape and a new phase of their ground-breaking ten-year cycle.



But the synth-driven incantatory sound goes back decades and this is essentially Deep Forest, Enya and Jean Michel Jarre mixed with some astute picking of guitars and pounding of exotic drums to
produce a self-consciously globalised ethnic slush. Nothing wrong with that, of course, and with the volume cranked up, this is a powerful, brain-cleansing music for unfocused meditation, or
ironing perhaps.



But Afro Celt Sound System are not strict ambientalists and employ many of the musical tricks advanced by pop-synth whizzos like Moby and the Chemical Brothers (and all those long-lost rave DJs).
Track 3, "Mojave", is typical: we get a slow-building crescendo, dreamy swirling pipes, stadium-rock guitar, and a melting pot of music with Native American and Celtic elements in abundance. The
title track takes you elsewhere, a great beat and pan pipes suggesting the band have one foot on Ben Nevis and the other on Aconcagua. It's a bit fly-by-night, but all good fun.



At other times, as on "Dhol Dogs", they seem to lean closer towards Glass-style minimalism, and it would be interesting to see them pushing further into atonality and abstract compositions.



The band contributed to the soundtrack of Hotel Rwanda and are joined again by singer Dorothee Munyaneza as well as Uzbeki star Sevara Nazarkhan. The range of elements across these nine tracks is
considerable, and there's really not a bland moment. The clear, sometimes strident acoustic trills and samples in fact allow the synths to do what they do best: blast out massive chords and reach
for zeniths of modulation.



Polished, formulaic, politically correct, this is easy listening for those with ethereal inclinations but its full of great tunes, impassioned vocals and little surprises along the way.





Tracklist :

1 When I Still Needed You

2 My Secret Bliss

3 Mojave

4 Sené (Working the Land)

5 Beautiful Rain

6 Anatomic

7 Mother

8 Dhol Dogs

9 Drake

http://www.sufisays.com

http://www.myspace.com/gonjasufi





Origine du Groupe : North America

Style : Electro , Indie , Psychedelic

Sortie : 2012



By Nate Patrin from http://pitchfork.com



Gonjasufi's 2010 release A Sufi and a Killer succeeded largely on the strength of an engagingly odd presence: the simultaneously croaky and sweet voice of Sumach Valentine, which sent initiates
scrambling to identify fellow travelers, from Captain Beefheart to George Clinton to John Fahey. It stood up as a strong example of psychedelic rock rewired for an audience more attuned to
Madvillainy than The Madcap Laughs. But it still scanned a bit more like a shared vision than an individual voice: The album was just as much a revelation for the Gaslamp Killer, who helmed the
bulk of the production and laid down his own mark with a sprawling slate of beats that complemented Valentine's vocalizations.



When the album that introduces a unique vocalist to a newly expanded fanbase also happens to do the same for its equally distinct producer, you wonder how each will fare on his own. If last
year's freebie 9th Inning EP was a catch-up session of self-created, unreleased older tracks meant to remind newer fans of his broader repertoire, MU.ZZ.LE scans like a means to transition from A
Sufi and a Killer's multiple-identity psych into more personal territory. And it does this in a way that reinforces what made that previous album great.



Gonjasufi and fellow San Diegan noise-break purveyor Psychopop have centered their production around a codeine-paced, heavy-headed swoon that still manages to bristle with an undercurrent of
stress. Psychopop handles beats for four of the 10 cuts, and their half-speed wooziness is like the musical equivalent of the slow-motion running you might experience in an unsettling dream. The
headswimming electric piano blues of "White Picket Fence" and the loping, pendulous guitar in "Feedin' Birds" set the pace, ethereal as it is, and get a surprising amount of pull from their
downtempo floatiness. But Gonjasufi's own production is just as steeped in dubbed-out, crumbly atmospherics. The bass in "Venom" glows and throbs, peppered with a jingling percussion timbre
halfway between a tambourine and a handful of change. "Blaksuit" sounds like a vintage funk 45 flipped to 33, its twangy loop pacing back and forth like a half-finished thought. And even when the
snares pop, as they do on "Nikels and Dimes", they do so through a thick coating of resin and ash.



If you think that means MU.ZZ.LE is a passive, inert slog of an album, keep in mind that every trudging, straining step of the way is cut through with Gonjasufi's voice, which is still a hell of
a thing. The unconventional cast of his voice might be Valentine's most immediately recognizable trait, but it's not his deepest. Every last creaking wail, blown-out mutter, and wounded drone is
heavy with reflection, and after a few listens it all starts to sound less like altered-mind eccentricity and more like raw, unfiltered feeling. For all the talk about shroomed-out weirdness and
otherworldly mysticism that's surrounded his music, there's a more crucial sense of a real, laid-bare emotional core here.



All those shaky notes and half-intelligible murmurs disintegrating into decaying echoes might run parallel to an oddball Lee "Scratch" Perry sensibility, but they evoke frustration and dejection
vividly. The words aren't always clear through the fog of reverb, though this might be by design, some statement on how the plain truth of honest words can be sometimes hard to understand. But
the agitated sentiments remain clear, whether castigating against the abuse of privilege in "Nikels and Dimes" or straining to maintain an interpersonal connection on "Rubberband". When Sumach's
wife April has a wraithlike torch-singer turn in the second half of "Feedin' Birds" and distantly doubles up his lead on "Skin", it's to act as a sweetly voiced counterpart to lyrics that allude
to guilt, death, and a search for love. And when the funereal lo-fi new wave of "The Blame" emerges near the end of the 24 1/2-minute running length, it's the late peak of a record that wrings
out a devastated man's crisis of consciousness-- "You say I'm not supposed to kill/ Keep walking with my head high/ But every time I go somewhere/ I feel the dread inside their eyes." MU.ZZ.LE
might be a transitional point on Gonjasufi's path and it shows just one face of an eclectic, multifaceted performer. But it's also that rare album that feels meditative and cathartic all at
once.





Tracklist :

01. White Picket Fence

02. Feedin’ Birds

03. Nikels and Dimes

04. Rubberband

05. Venom

06. Timeout

07. Skin

08. The Blame

09. Blaksuit

10. Sniffin’

http://www.myspace.com/ruedehagelstein





Origine du Groupe : Germany

Style : Alternative , Electro , Indie

Sortie : 2011



From http://www.residentadvisor.net



German DJ and producer Ruede Hagelstein release his first album next month, entitled Soft Pack.



An experienced producer and one of Watergate's resident DJs, Hagelstein has spent most of his career playing catchy tech house, but Soft Pack shows a different side of his palette. Now backed by
a band he calls The Noblettes, he dabbles in folk, ambient and electronic pop, singing over most of the tracks himself. All of the songs are previously unreleased, and "Emergency," probably his
biggest club track to date, appears here in a new downtempo edit. Like several of his past 12-inches, Soft Pack will come out on Tiefschwarz's label, Souvenir Music.





Tracklist :

01. A Priori

02. Leaving The Center

03. No Reality

04. Private

05. Emergency (Album Version)

06. Posteriori

07. Romance

08. Power

09. Berlin

10. Blue Straight

11. Good Night