http://rubyvelleandthesoulphonics.com
https://www.myspace.com/soulphonics

Origine du Groupe : North America
Style : R&B , Funk , Soul
Sortie : 2012





From http://rubyvelleandthesoulphonics.com
“It’s About Time,” the full-length debut album from Atlanta’s Ruby Velle & The Soulphonics, has quickly made waves around the globe since its recent September 2012 release.

In the US, the lead off single “My Dear” was featured as iTunes’ “single of the week”, sparking a digital soul-grab of 200,000 single downloads, and 1200 full album download sales, landing the album at #4 on the iTunes R&B charts. The same week, Jim Farber of The New York Daily News named the album in his much  sought-after top ten. Inaddition, Google Play is offering“MyDear” as a free track for the month of October for all its smartphone users.

In Europe, bloggers have posted a number of ecstatic reviews–finally having a Soulphonics full-length on their decks after the band’s former EU teaser-singles, most notably a 2010 inclusion of the single “Heartlite” on a compilation album by the UK’s Acid Jazz Records. Respond- ing to this rising buzz across the pond, a spring Europe tour is in the works, with the band’s avails there centering in April.

Ruby Velle & The Soulphonics roots are embedded in the rich sound and history of Georgia soul, beginning with the early 50’s and 60’s R&B that became so well known around the world. Having performed countless gigs since 2005, and with a slew of 45rpm singles already under their belts, the band has already contributed heavily to the steadily increasing awareness of genuine rhythm and blues music that exists today. They pack clubs and festivals with their original brand of soul, all of which is written and recorded in Atlanta. Ruby Velle & The Soulphonics are taking it world wide in 2012, with the release of “It’s About Time.”


Tracklist :
01. My Dear
02. Medicine Spoon
03. The Man Says
04. The Agenda
05. Looking for a Better Thing
06. Soul of the Earth
07. Coming Home to You
08. Mr. Wrong
09. Longview
10. It's About Time

 
https://www.facebook.com


Origine du Groupe : France
Style : Abstract Hip Hop
Sortie : 2012






By Tonio59  from http://www.trip-hop.net

Et voilà, les deux Beat Digger français - Mister Modo & Ugly Mac Beer - sont de retour ! Nombreux sont ceux qui avaient découvert le duo en 2009 avec le tube Not afraid qui annonçait à l'époque la sortie de leur premier opus Modonut, qui ravit encore aujourd'hui de nombreux amateurs de hip-hop/breakbeat/downtempo. Ils reviennent donc avec Modonut 2 : un véritable concentré de leur savoir-faire... Un savoir-faire qu'ils n'ont pas perdu, entretemps, au fond d'une vielle caisse de vinyles où ils passent pourtant de longues heures pour dénicher les samples qui feront leur bonheur... Et donc le nôtre !
Dès la fin 2011, ils avaient annoncé la couleur avec la sortie de l'EP Modonut 2 (en quelque sorte un avant-gout du LP du même nom) et son titre phare Diggin in the Crates : un beat hip-hop entêtant et terriblement efficace sur lequel ils avaient invité F. Stokes au flow du même calibre. Tout ça pour nous mettre l'eau à la bouche... C'est réussi !
Il aura donc fallu attendre jusqu'en avril pour découvrir l'intégralité des 20 titres qui composent l'album, et ça valait le coup ! Le LP s'inscrit dans la continuité de Modonut mais avec une palette de sons qui s'est élargie et diversifiée : un hip-hop soul auquel on accroche rapidement pour mieux y revenir encore et encore !
Ce qui me plaît tout particulièrement dans ce disque c'est l'alternance (et la bonne mesure) entre les pistes plutôt instrumentales et celles chantées. Les featurings sont nombreux et de qualité. On retrouve, tout d'abord, et à plusieurs reprises, la diva soul-jazz Jessica Fitoussi, qui est désormais clairement associée au projet Modonut ; comme par exemple sur le morceau Sweat heart ; une ballade aux sonorités tahitiennes. Mais aussi la danoise Astrid Engberg (dont on a déjà parlé sur le premier album de Berry Weight) qui donne clairement une autre dimension à Safe in sound, dans un style plus trip-hop.
Côté MCs nous ne sommes pas en reste avec F. Stokes, donc, mais aussi Psycho Les (des Beatnuts pour les connaisseurs de hip-hop) ou encore Craig G, Junclassic, Monsta X et Mike Ladd. Des invités de marque qui répondent parfaitement aux mélodies et aux productions précises et groovy concoctées par les deux compères parisiens.
Enfin, les morceaux instrumentaux, tels des respirations ou repères temporels, viennent quant à eux ponctuer ou annoncer les allées et venues des invités : Honey Nuts, Globe Digger, The sun, We dig it...
Et finalement, tout le monde y trouve son compte. C'est donc bien l'album de la confirmation du talent et du savoir-faire des deux beatmakers, pas de doute !

A noter, pour les fans de galettes (je sais qu'il y en a) : une version vinyle avec cover et lunettes 3D permet de voir Mister Modo & Ugly Mac Beer lâcher une pluie de Donuts sur la ville de Paris...


Tracklist :
1. M-Team intro
2. Diggin in the crates feat. F.Stokes
3. Smile with Jessica Fitoussi
4. Sweet Revenge
5. Let it slide with Jessica Fitoussi
6. Honey Nuts
7. Globe digger
8. Who is this ? feat. Psycho Les (of The Beatnuts)
9. Clappin
10. Sweet heart with Jessica Fitoussi
11. The sun
12. Loop provider feat. Craig G
13. This is Paris
14. Genius feat. Junclassic and Monsta X (of Monsta Island Czars)
15. Safe in sound with Astrid Engberg
16. Nirvana
17. Life at the 9th feat. Mike Ladd
18. How I feel
19. Rise with Jessica Fitoussi
20. We dig it

http://www.roots-archives.com
Origine du Groupe : Jamaica
Style : Reggae , Dub
Sortie : 1972-1978
Tracklist :
01 - The Upsetters - Perry's Mood
02 - Jah T - Hot Pipes
03 - The Upsetters - Trinity Of Life
04 - Deborah Keese - Travelling
05 - Jackie Bernard - Economic Crisis
06 - Lee Perry - Free Up The Prisoners
07 - The Upsetters - Drum Rock
08 - The Upsetters - Dub Organizer
09 - The Upsetters - Jungle Fever
Producer : Lee Perry

http://muse.mu

Origine du Groupe : U.K
Style : Alternative Rock , Electro Rock , Indie
Sortie : 2012





Tracklist :
01 – Supremacy
02 – Madness
03 – Panic Station
04 – Prelude
05 – Survival
06 – Follow Me
07 – Animals
08 – Explorers
09 – Big Freeze
10 – Save Me
11 – Liquid State
12 – The 2nd Law Unsustainable
13 – The 2nd Law Isolated System

By Alexis Petridis  From http://www.guardian.co.uk
Last year, Muse frontman Matt Bellamy announced the band's sixth album would be a "Christian gangsta-rap jazz odyssey, with some ambient rebellious dubstep and face-melting metal flamenco cowboy psychedelia". It tells you something about Muse that it was hard to work out exactly how far his tongue was lodged in his cheek. For one thing, it's almost always difficult to work out how far Bellamy's tongue is lodged in his cheek, as when he told NME he believed in the theories of Zecharia Sitchin, whose big idea was that the human race had been genetically engineered by aliens from the planet Nibiru, or cancelled a series of US interviews on the grounds that he'd heard an asteroid was about to hit America. For another, if any currently extant major band were to be engaged in creating a Christian gangsta-rap jazz odyssey, with some ambient rebellious dubstep and face-melting metal flamenco cowboy psychedelia, it would probably be Muse. Comparisons are regularly made between their oeuvre and that of Queen, Rush and Radiohead: there's an argument that Muse are to pre-Kid A Radiohead what Meat Loaf circa Bat Out of Hell was to Bruce Springsteen. But none of them really capture the sheer level of trenchant preposterousness at which Muse operate. The most apposite comparison might be to say Muse have actually achieved what the Darkness set out to do: conquer the world with music that's clearly meant to be funny, but isn't supposed to be a joke.

Indeed, it could be suggested that the only real giveaways to Bellamy's comic intent were that his bandmates were talking up their forthcoming album as a major sonic reboot – "It's time to move on and do something radically different," suggested bassist Chris Wolstenholme – and that his description didn't actually sound that far removed from what Muse had done previously: they'd already achieved something best described as "metal flamenco" on 2006's Black Holes and Revelations. That said, anyone listening to Supremacy, the opening track of The 2nd Law, might wonder precisely how radical a reinvention Muse have undergone.

The understated single Madness suggested a new stripped-back approach: there's not much to it beyond an electronic bassline, a decent pop song and Bellamy's vocal, which declines to unexpectedly burst into an ear-splitting falsetto (or scream), or proclaim the imminent arrival of the apocalypse, or indeed do any of the things he usually does within seconds of getting near a microphone. But clearly any discussions about toning it down a bit were shortlived. Supremacy's musical DNA is equal parts Led Zeppelin's Kashmir and Wings' Live and Let Die: its idea of restraint is to leave it a minute and a half before bringing the choir in. It should be noted that, Madness aside, The 2nd Law's lowest-key track is Animals, which concludes with what sounds like a recording of a riot in full swing.

In fact, the most obvious sign of change on The 2nd Law is its incorporation of the kind of dubstep produced by Skrillex and dismissed by its detractors as "brostep". It actually meshes with Muse's existing style remarkably well, perhaps because Muse and your average brostep producer are cut from the same cloth in at least one sense: neither of them has much interest in subtlety. Unsubtle or not, the concluding two-part title track – the most obviously brostep-indebted thing here – is thunderously exciting stuff, a boiling mass of fidgety strings, electronic voices and sub-bass wobble.

This is obviously all great rollicking fun, but there are problems with The 2nd Law. You can see why the organisers thought Muse would be the right band to provide the official song of London 2012, but Survival didn't work – partly because it seems to have no tune whatsoever, but mostly because it didn't fit the event. The Olympics turned out to be as much about tiny human stories – from Chad le Clos's dad to Kirani James and Oscar Pistorius swapping nametags – as epic spectacle. With their choirs, string-laden intro, hysterical vocals and lyrics you might characterise as a bit Ayn Randy – "I chose to survive whatever it takes … vengeance is mine … Fight! Win!" – Muse got the scale but missed the humanity. Six albums in, this is a recurring problem: amusing and enjoyable as the aural histrionics are, you do start to wonder what, if anything, they're trying to express, or if it's just bombast for bombast's sake.

Occasionally, you get the sense the band's sound is actually antithetical to genuine emotional impact. Follow Me is a song about Bellamy's baby son: "I will keep you safe, I will protect you, I won't let them harm you," he sings. He obviously means it, but delivered as it is, in a portentous voice that leaves teeth-marks on the scenery, to a backdrop of distorted dive-bombing bass (courtesy of co-producers Nero) and florid synthesiser arpeggios, it sounds like he doesn't. Similarly, it's hard to tell whether there's actual political conviction behind the title track's equation of the second law of thermodynamics with global economic collapse, or if it's just showy grandiloquence, a lyrical counterpart to one of Bellamy's more baroque guitar solos.

None of this stops The 2nd Law from being a hugely entertaining album. Nor will it stop it being a vast success. After all, no one goes to see a blockbuster for its profundity and deep characterisation. They go for the stunts and the special effects, both of which The 2nd Law delivers.

http://fr.wikipedia.org/wiki/Bim_Sherman
Origine du Groupe : U.K , Jamaica
Style : Reggae Roots
Sortie : 1999





http://fr.wikipedia.org/wiki/Bim_Sherman

Bim Sherman, de son vrai nom Jarrett Tomlison, est né en 1950 à Westmoreland et mort le 17 novembre 2000 à Londres. À la fois chanteur, auteur et producteur jamaïcain, il sera crédité sous divers noms (Jarrett Tomlinson, Jarrett Vincent, Lloyd Vincent, J.L. Vincent, Bob West, Bim Shieman et Lloyd Tomlinson). Avant de se lancer dans une carrière musicale, il sera successivement pêcheur et électricien. Ses débuts voient l'enregistrement de One hundred years in Babylon au studio Federal sous la houlette de Sid Bucknor. Il a alors 18 ans. Mais Bim Sherman a soif d'indépendance. Il économise donc pour autoproduire ses disques, allant par la suite jusqu'à les vendre lui-même dans la rue. Il utilisera fréquemment le même riddim pour faire deux chansons différentes par souci d'économies. Il faudra attendre fin 1976 et début 1977 pour voir les titres Mighty Ruler et Ever Firm, sortir sur ses labels Scorpio et Red Sea. En 1978, dix de ses singles sont compilés sur le LP Love Forever sorti en Angleterre. Il connaît un succès local et Randy’s ou Joe Gibbs cherchent à l’enregistrer sans succès. En 1979 suit l'album Lovers Leap Showcase. C'est aussi l'année où il décide de tenter sa chance au Royaume-Uni. Il y rencontre Adrian Sherwood qui possède le label On-U-Sound. Ce dernier apprécie beaucoup le travail de Sherman et décide de travailler avec lui. S'en suit une longue collaboration. En 1982 sortent Across The Red Sea et War Of Words.

http://www.zenzile.com
http://www.myspace.com/zenzile


Origine du Groupe : France
Style : Electro Dub
Sortie : 2012






Pour http://www.zikeo.com

Le nouvel album de Zenzile, baptisé "Electric Soul", est un hommage à un certain passé qui s'inscrit dans un présent relatif et qui regarde effrontément vers l'avenir.

zenzile-album-electric-soul.jpgLe groupe s'est toujours arrangé pour apparaître où on ne l'attendait pas : précurseur du dub au milieu des 90's quand le genre était parfaitement inconnu en France, sobre et aérien quand les pairs avaient tendance à empiler les couches, soudainement électronique quand leurs fans ne juraient plus que par leur son très organique, et récemment de retour au dub originel quand on les croyait définitivement basculés dans le rock.

Bien entendu, vous devinez que ce n'est pas parce que leur huitième album s'appelle "Electric Soul" qu'il faut y chercher un quelconque hommage à Aretha Franklin ou Al Green. Ça serait beaucoup trop simple !

Non seulement ce disque n'est pas particulièrement soul, mais il n'est même pas le plus électrique de leur carrière. En revanche, il a indéniablement une âme, qui irradie les neuf morceaux du tracklisting. Cette âme, c'est un son.


Tracklist :
01 - Stay
02 - Roosters at War
03 - Double Trouble
04 - Dirty Old Cut
05 - Wild Wild Dub
06 - Asylum
07 - Different Wak Dub
08 - Chewin' Mi Mic
09 - No Idol
10 - Scars
11 - Yuri's Porthole
12 - Magic Number feat. Winston McAnuff
13 - Over Time
14 - Man Made Machine

Bonus Track*

15 - Sleepless Night*
16 - Airports Lights* 

http://blackdownsoundboy.blogspot.com


Origine du Groupe : U.K
Style : Electronic , Dubstep
Sortie : 2011






By Greg Salter  From http://musosguide.com

The return of Dusk + Blackdown, otherwise known as Dan Frampton and Martin Clark, is both a pleasant surprise and a bit of a big deal. Their first album together, Margins Music, released in 2008 and bringing together elements of dubstep, grime, field recordings and Indian music, was always supposed to be a one-off, and serves now as something of a snapshot of London’s musical landscape of five years ago, with dubstep just beginning to fragment and mutate. The duo haven’t exactly retreated in this period – Clark’s continued to write on music, and the pair’s monthly Rinse FM show showcases some of the more forward-thinking sounds that has risen out of the frameworks of genres like dubstep, funky and grime. In fact, they credit their constant contact with all this new music as the inspiration for returning to writing and recording, and new album Dasaflex certainly sounds like it’s been influenced by the bewildering array of genres and sounds currently bubbling away within electronic music in the UK.

In fact, just as you could see Margins Music as an attempt at encapsulating London in 2008, you could also listen to its follow-up as reflecting the sheer depth of variety of electronic music in London in 2012, and the strengths and weaknesses of such a situation. Dusk + Blackdown’s Dasaflex comes from a similar, cluttered sonic space as recent albums by the likes of Actress, Cooly G, Dean Blunt and Inga Copeland, LV, Four Tet, and Jam City, but it makes the most of this variety by turning to several, focused collaborations where musicians and producers come together and overlap.

The album opens with two of these collaborations. On the muted ‘Lonely Moon (Android Heartbreak)’, Farrah’s vocals weave in and out of a throbbing, shifting rhythmic backdrop, using the space of its seven minute plus runtime to expand and modulate, in a manner not unlike that of Cooly G’s longer instrumentals on her Playin Me album. Meanwhile, the second track is attributed to Dusk + Blackdown +, with that missing name after the second + widely assumed to be Burial. It certainly has all the hallmarks of a Burial collaboration, with the occasional snippet of female vocals and those now-familiar 2-step beats. Again, it’s another track that grows as it plays out, testament to the producers’ skill and patience (particularly when you consider there’s three of them involved).

The collaborative nature of much of the music on Dasaflex mean Dusk + Blackdown can focus on different moods or genres on particular tracks – this works particularly well on the ominous, syncopated techno of ‘We Ain’t Beggin’’ or the joyous, clipped vocals of the title track, which fall somewhere between house, UKG, even dancehall. These shifts can be a little disorientating at first – take the fact that ‘Dasaflex’ then falls into the Shantie-fronted grime of ‘Next Generation’, which is itself followed by the wobble of Blackdown’s own ‘R In Zero G’ – but repeated listens reveal this to be anything but eclecticism for eclecticism’s sake.

Instead, the majority of the tracks here stand up as great tracks in their own right, surprising and exciting because of the unique ways Dusk + Blackdown bring disparate elements together (take the stupidly fun acid/grime combination on ‘Hypergrime’ for example). In the end, you find yourself drawing lines between these different genres as you listen, and Dasaflex becomes less about divisions, boundaries or genres, and more about the possibilities and happy results of tracing a path through everything all at once.


Tracklist :
01 Lonely Moon (Android Heartbreak)
02 High Road
03 We Ain't Beggin'
04 Apoptosis
05 Wicked Vibez
06 Dasaflex
07 Next Generation
08 R In Zero G
09 Hypergrime
10 Don't Stop (Give It To Me)
11 DeFocused
12 Fractio