https://www.myspace.com/blackelk





Origine du Groupe : North America , Canada , U.K , Japan

Style : Electro Ambient

Sortie : 2012

From http://www.normanrecords.com

A veritible supergroup of the great and good of that thing they call electro acoustic pastoral driftiness. This features Ian Hawgood, Clem Leek, Danny Norbury and Tim Martin (Maps and Diagrams) in collaboration and the group effort is certainly worthwhile as what is produced has a richness of production that is sometimes lacking with the solo bedroom entertainers. There are beds of electronic flutterings, bell like, chimings and skittery crackles aplenty but the real magic happens when the ‘real’ instruments of piano and cello are brought into play. The muted piano on ‘The Blackest Sky’ recalls William Basinski, ‘Notes from Hunters Point’ has strands of mournful cello amongst heavily reverbed piano truly stuns and recalls early Murcof or the most recent Library Tapes material. What is interesting about this album is that the tracks are relatively brief, many similarly minded artists opt for two or three 15 odd minute things but plenty of these weigh in at way under 5 minutes which keeps the album interesting, particularly coupled with the fact that there is quite a lot of variation. Yet, it flows beautifully so there’s no need to fret about that!


Tracklist :
01. Intro (1:38)
02. Sparks (4:16)
03. As Wraith (5:09)
04. Jökull (7:40)
05. Lost Hearts (2:16)
06. The Blackest Sky (6:06)
07. Notes from Hunters Point (4:32)
08. Håp (6:12)
09. Aphotic Widow (4:34)
10. Outro (3:40)

http://archiveofficial.com

https://www.myspace.com/archiveuk





Origine du Groupe : U.K

Style : Indie , Electronic , Trip Hop

Sortie : 2012

By Steve Lampiris  from http://www.thelineofbestfit.com

Archive have done pretty much whatever the hell they wanted their whole career. Take trip-hop and add a string section to cheese it up, only to have it work perfectly? Sure. Add prog rock elements to trip-hop, because what’s cooler than that? Yep. Make a trip-hop album (in its own way – perhaps we should call it “rave-hop”) in 2012 when the genre is all but comatose? Of course.

It’s that last one that really matters here because it’s exactly what Archive have done with their new record, With Us Until You’re Dead. Yes, Archive have crafted what may be the best trip-hop album of the year. Which, certainly, isn’t saying much considering it isn’t the late ‘90s anymore. Yet it all makes sense because, hey, the London collective have always done things their own way.

Despite that, Archive have come close to mainstream composition before. ‘The Empty Bottle’, for example, contained “big” chords and a chorus ripe for a 20,000-person singalong. This time around, it’s done on ‘Conflict.’ The difference is that this time, the arena-ready anthem is built around skittering drums, pulsing sonics and a staccato vocal hook. Perhaps ‘Conflict’ is better suited to a rave, but who says a rave can’t be held at O2?

They’ve also done grimy club rock before, as in ‘Men Like You’. With Us’s closest parallel here is single ‘Violently’. It’s certainly grimier than anything they’ve done with a rock-tinge, and grimier than anything they’ve done ever. The soundscape is built around the kind of chords usually reserved for the score for a historical film epic, but since this is Archive and not John Williams, it’s laid over buzzing synths and held together with a stomping beat. You can practically see the Gladiators fight under hazy strobe lights.

“Constantly in motion”, then, appears to be the lyrical theme of the album. And it’s a cynical perpetual motion at that – as in, being hurt and moving on. ‘Hatchet’ is the most literal example of this, with a collection of hypotheticals centered on the narrator giving a (former) lover various weapons only to be betrayed: “If I had a pistol, it’d be yours to have/You can shoot me in the head, blow a hole in my back”. Then there’s ‘Twisting’, an attempt to reconcile reality during the push/pull of a broken heart. But best of all is the aforementioned ‘Violently’, which has both one of the best matter-of-fact lines in recent memory (“I’m mentally fucked”), and perhaps the best concluding lyric of the year (“When I close my eyes/I think of how you died/Died in me/So violently/Quietly”).

So, With Us Until You’re Dead is just Archive being Archive. Yes, the record’s a tad pretentious. Yes, it not easy to swallow or trendy. Yes, this album is a bit sad. But, here’s the trade-off: you won’t find Dr Luke or Max Martin or Shellback anywhere in the liners. If nothing else, we can be thankful for that.


Tracklist :
1. Wiped Out 6:20
2. Interlace 4:42
3. Stick Me In My Heart 3:57
4. Conflict 5:01
5. Violently 6:24
6. Calm Now 3:53
7. Silent 5:39
8. Twisting 4:01
9. Things Going Down 1:51
10. Hatchet 4:15
11. Damage 6:49
12. Rise 2:49

http://goodman.theheavy.co.uk

https://www.myspace.com/theheavy





Origine du Groupe : U.K

Style : Alternative

Sortie : 2012

By Paul Clarke  from http://www.bbc.co.uk

The Heavy’s capacity for rabble-rousing is a potent strength.

Few British bands since Give Out But Don’t Give Up-era Primal Scream have imitated Southern US rock as slavishly as The Heavy – and even the Glaswegians slapping a Confederate flag on the cover couldn’t sell Lynyrd Skynyrd riffs and Stax horns back to the land they borrowed them from.

But these boys from Bath have seen their How You Like Me Now? single, from 2009’s The House That Dirt Built album go gold stateside and appear on TV shows like Entourage. They had David Letterman calling for an encore when they performed on his show. The single also won them some less-welcome fans: Republican presidential hopeful Newt Gingrich used it at a campaign rally, earning him a cease-and-desist order and the band’s damning derision.

The Tea Party darling might have been attracted by the fact The Heavy’s standard ingredients of swampy rock, humid soul and sweaty funk are all pretty traditional, but the way they combine them on their third album is far from conservative.

Just My Luck begins as thrashing MC5-style scuzz before erupting into mariachi horns, whilst Blood Dirt Don’t Stop could serve as a slow dance at a 1950s high school prom until it’s gatecrashed by sozzled guitars. The Lonesome Road, meanwhile, makes a decent stab at Tom Waits’ ramshackle blues, with singer Kelvin Swaby’s soulful tonsils replacing Waits’ guttural muttering.

They do have, however, a politician’s talent for giving people - specifically, American people - exactly what they want to hear. Though The House That Dirt Built’s occasional ska influences betrayed The Heavy’s British roots, here the country-tinged Curse Me Good sounds tailor-made for Midwestern radio.

And the call-and-response chorus and swaggering riffs of first single What Makes a Good Man? are already soundtracking a beer commercial there; tracks like Same Ol’ and Don’t Say Nothing follow the same formula, evoking scenes of clinking bottles in some trucker’s bar.

They sometimes feel as second-hand as The Black Crowes, but The Heavy’s capacity for rabble-rousing is a potent strength, which in music – if not always politics – isn’t necessarily a bad thing.


Tracklist :
01. Can’t Play Dead (4:20)
02. Curse Me Good (4:56)
03. What Makes A Good Man? (3:46)
04. The Big Bad Wolf (3:20)
05. Be Mine (4:13)
06. Same Ol’ (3:59)
07. Just My Luck (3:00)
08. The Lonesome Road (3:56)
09. Don’t Say Nothing (3:36)
10. Blood Dirt Love Stop (3:56)

http://www.bethurum.net

http://soundcloud.com/bethurum





Origine du Groupe : North America

Style : Electronic , Trip Hop

Sortie : 2012

From https://www.cdbaby.com

Dancing With Your Ghost embraces Bethurum's cinematic influences and chisels them into a granite slab of dense beats.
Bethurum meticulously materializes vast seas of sound for various female sirens. Dancing With Your Ghost features a variety of seasoned vocalists who sing to the tune of tarnished strings (Nouela, Alicia Romero, and Michele Khazak). The album’s initial inspiration was a portrait of Autumn and the concept of exquisite decay.


Tracklist :
1. Intro
2. Autumn (Feat. Michele Khazak) 2.50
3. Standing Still (feat. Michele Khazak) 3.16
4. Nobody (Feat. Nouela) 3.23
5. Dancing With Your Ghost (feat. Nouela) 3.23
6. Watch It Burn (Feat. Nouela) 3.10
7. Venezia (feat. Alicia Romero) 3.37
8. Like Minds (Feat. Alicia Romero) 2.51
9. Yarrow 3.22
10.Prospect Park (feat. Didi) 2.23
11.Click Light Fuse 2.52
12.Patina 6.00
13.Dancing With Your Ghost Remixed (feat. Nouela) 3.31

http://www.theheavypets.com

https://www.myspace.com/theheavypets





Origine du Groupe : North America

Style : Blues , Rock , Funk Jazz , Reggae , Alternative Fusion

Sortie : 2007

Wikipedia

The Heavy Pets (THP) are an American jam band based in Fort Lauderdale, Florida who perform rhythm and blues, jazz-funk and reggae fusion with rock and roll. Officially formed in 2005, they appear regularly at music festivals such as Bonnaroo, Langerado, the New Orleans Backbeat Jazzfest, Wakarusa Music and Camping Festival, and their namesake PetZoo. Currently the group is composed of guitarists Jeff Lloyd and Mike Garulli, keyboardist Jim Wuest, bassist Justin Carney, and drummer Jamie Newitt, with Lloyd and Garulli chiefly sharing vocal duties. In 2010 they released their second studio LP The Heavy Pets. The album was dubbed a “Top 10 Album of 2010” by The Huffington Post.


Tracklist :
1. Iceberg Blues
2. So Thank You Music
3. Do It Right
4. Rise
5. Chevrolet
6. Sopresatta
7. Operation of Flight
8. Earthchaser
9. John Galt
10. Sleep
11. A Taste of Wind
12. Pleasure Tank
13. Mountain Song
14. Song For John
15. A Doy And His Bog
16. Girl You Make Me Stupid
17. On The Waves
18. Precious Mind
19. Cleetus
20. Dimitry’s Fire

http://ondatropica.com





Origine du Groupe : Colombia

Style : Alternative , World Music

Sortie : 2012

By Nick MacWilliam  from http://www.soundsandcolours.com

Ondatropica have delivered an album of startling quality and animation that crosses the musical spectrum in a relentless blend of Latin grooves, global beats and universal flourishes. Whether taking to the dancefloor or just sitting back to enjoy the ride, there is no denying that this is a modern masterpiece.

As everyone knows, the one thing you really shouldn’t do with music is categorise it. Why bracket something of limitless possibility and permutation as if it were just a sterile supermarket brand? Why restrict it within the worded guff of some corporate twonk obsessed with marketing and sales performance? Music should be free, man! But sadly the reality is that categorisation is necessary when it comes to talking or writing about music (try explaining a sound without referring to any style), while also being pretty important in matters of self-identity and individual expression. You may not like it but that’s the way it is.

So, it’s always nice to remember that there are those out there who remain unrestricted by an imposed tag or so-called ‘market appeal’. The sensational Ondatropica project is one such example, featuring the talents of UK musician and producer Will Holland, better known as Quantic, alongside Colombian cumbia-experimentalist Mario Galeano of Frente Cumbiero. Supported by some of the finest musicians to currently grace the South American music scene, it’s no surprise that Ondatropica has been making big waves recently.

According to the Ondatropica website, the project ‘exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with the cool sound of London’. As typically happens with labelling, this description simplifies things (any idea what the ‘cool sound of London’ is?) and does little justice to the enthrallingly wide range of influences that characterise the group’s debut album. The word ‘fusion’ is often pretty liberally applied but in the case of the Ondatropica sound, which laces Colombian cumbia and traditional coastal sounds with salsa, bossa nova, jazz, funk, hip-hop, afrobeat, electro and dub, to name a few, it seems a fair term with which to describe the music.

For Holland and Galeano, the two leaders of the group, this is a natural progression from previous work. Quantic’s shift into Latin music began after Holland moved to the Colombian city of Cali in 2007 and launched Flowering Inferno, a blend of native roots music over dubby beats and bass-lines, followed by the afro-latino sounds of Combo Bárbero. Both took influence from the music of Colombia’s coasts, featuring local musicians and songs based in the rhythms and vocals that characterise the region. Galeano’s involvement in Ondatropica comes off the back of Frente Cumbiero’s alliance with Mad Professor which resulted in 2010’s excellent Meets album. Also on board are the likes of singer Markkitos Micolta, owner of one of the most distinctive voices in Pacific folklore, trumpeter Jorge Gaviria who has played and recorded with pretty much everyone in the world, and pianist and composer Alfredito Linares, a legend of tropical South American music who is behind some of its best-known tunes.

With such an impressive line-up (singer Nidia Góngora of Grupo Canalon de Timbiquí and renowned musician and ‘Recochan Boy’ Wilson Viveros are just two more), it’s no surprise that Ondatropica is one of the most hotly anticipated releases of the year but does that mean it’s any good? As soon as the opening tune “Tiene Sabor, Tiene Sazòn” opens up, the answer slams into you like a train into a school bus. This is an absolutely sizzling tropical sound that sparks off in all kinds of whirling directions, but one that, with its modern brew of influences, carries an urban undercoating that transplants itself nicely to the rain-sodden and grime-strewn streets of, oh I don’t know, London for instance. Although best listened to under a palm, in a hammock and sucking on a piña colada, this also sounds pretty sweet while wading through the quagmire of daily graft.

There are some exquisite tunes, those that reflect the coastal harmony of the Caribbean and others that stir the hipster gene with their crafty cultural references and inner-city beats. The cumbia comes thick and fast in the likes of “Punkero Sonido”, “Gaita Trópica” and “Locomotora Borracha”, songs whose pulsating rhythms blend in fresh innovations and inject the classic cumbia sound with numerous external styles, making the album a scintillating joyride through all manner of vivid musical landscape. Other tunes like “El Caimán y El Gallinazo” and “Curro Fuentes” are a throwback to the fifties tropical scene that sent electric volts throughout the Latin music world.

In other places the album excels in its diversity. One of the numerous standout tunes is “Suena”, featuring Chilean rapper Ana Tijoux, a delicious blend of hip hop and tropical vibes in celebration of Latin American solidarity. There’s plenty of vigour in “Ska Fuentes”, which dashes in with the hard-paced grooves that the song title suggests. Things get trippy with the vocal beats and dub echoes of “3 Reyes de La Terapía”, another personal favourite. The excellent “Libya” sounds like two rival tribes of geese getting feisty before slipping into a beautiful melodic courtship of angry bird unity. Stretched over a whopping twenty-six songs, there are one or two moments that fall a little short of the remarkably high standard on show but they are minor. The scale of ambition is impressive enough but the execution is mind-blowing on the vast majority of the album.

With its stellar cast of musicians, I’ve heard the term ‘super-group’ used in reference to Ondatropica but this conjures up, in my mind at least, images of fading and forgotten old rockers cashing in on their dwindling fame one final time, so I’d prefer to paraphrase that expression with ‘brilliant band’. Ondatropica have delivered an album of startling quality and animation that crosses the musical spectrum in a relentless blend of Latin grooves, global beats and universal flourishes. Whether taking to the dancefloor, such a vital aspect of tropical music, or just sitting back to enjoy the ride, there is no denying that this is a modern masterpiece.


Tracklist :
01 - Tiene Sabor, Tiene Sazón
02 - Punkero Sonidero
03 - I Ron Man
04 - Suena
05 - Locomotora Borracha
06 - Remando
07 - Linda Mañana
08 - Ska Fuentes
09 - 3 Reyes De La Terapia
10 - Bomba Trópica
11 - Descarga Trópica
12 - Libya
13 - Gaita Trópica
14 - Curro Fuentes
15 - Rap-Maya
16 - Dos Lucecitas
17 - Cumbia Espacial
18 - Donde Suena El Bombo
19 - Swing De Gillian

http://www.deadsara.com

https://www.myspace.com/deadsara





Origine du Groupe : North America

Style : Alternative Rock

Sortie : 2012

By Steve Baltin   from http://www.rollingstone.com

It's a Monday night at L.A,'s Viper Room, but people are packed into the club tighter than fat Elvis in leather pants. There is barely room to sweat, thanks to the draw of Dead Sara, an L.A. quartet poised to breakout nationally.

The band, fronted by Emily Armstrong with Siouxsie Medley on guitar, Chris Null on bass and Sean Friday on drums, is riding high on the hit single "Weatherman." They're about to go on tour supporting Chevelle, and they've been named as one of the featured acts on this summer's Warped tour.

This kind of frenzied show is a great warmup for Armstrong, who has never done a national tour and asked her management to find her a trek, hence the Chevelle package, to prepare for Warped. But if this show is any indication, Dead Sara will be fine with the bigger audiences.

The more packed it gets in the club, the more insane Armstrong, who wails onstage like the love child of Patti Smith and Layne Stayley, becomes. "It was all hot, I fucking love that," Armstrong tells Rolling Stone a few days later in the backyard of her San Fernando Valley home. "I love it, the small, intimate, fucking packed, I love that, I just fucking feed off it. I wanted to jump in it."

She's going to fit in fine on Warped. This is a graduate of the Warped audience, one who recalls stage diving as a member of the crowd years ago.  "When I was 15 at Warped tour, seeing Andrew W.K. or the Used or whatever I was listening to at the time, I would jump all the time," she says. "I would get thrown in the crowd and that was the funnest thing, the funnest thing."

Now Armstrong can't wait to bring that passion to the stage as a performer. "It's like the power of rock and roll, it just frees me," she says. "It's this release, it's unexplainable, when you're up there it's like you're in a different world and that's when I feel most like myself. It's so fucking free and it's amazing."

Her rock and roll abandon has already earned her the approval of both Grace Slick, who name-checked Armstrong in the Wall Street Journal, and Courtney Love, who invited Armstrong to sing backup on Nobody's Daughter. Armstrong has had the chance to hang with both. "Grace Slick had a few pointers, met her and then she came out to a show, it was really cool. It made me have to be better cause she was there," Armstrong says. And what did she get from her time with Love? "She brought me out to New York, where she was recording , I screamed and stuff on her record. It was insane cause this is somebody I've listened to, like Celebrity Skin and one of my favorites, Pretty On The Inside. I couldn't sleep for like a week before and then I got out there and she's an interesting fucking lady. She was so entertaining and I had a fucking blast."

Now Armstrong gets to put the lessons she's learned from others to practice on the band's debut album Dead Sara, produced by Noah Shain (Atreyu, Skrillex). Blending blues, hard rock and punk into a whirling energy, the album is a vehicle for both the band and Armstrong's diverse tastes, which range from Refused to Fleetwood Mac. And in Medley, Null and Friday she found the right musicians to help her deliver her sound after years of searching.

"It was this sound I kept hearing and I couldn't get anybody else to hear it so I had to be a singer," she says. And what made the current lineup of Dead Sara the right band for what she was searching for? "We wrote 'Weatherman' in the first jam. Siouxsie had the riff, we just went there and it worked," she recalls. "It hit them too and hit us, we were like, 'Let's do a record.' That's exactly the way we wanted it, more real. We wanted our friends, and they're married into this now. I want more of the raw rock and roll, its fucking feeling. That's what I strive for."


Tracklist :
01. Whispers and Ashes
02. We Are What You Say
03. Weatherman
04. Dear Love
05. Monumental Holiday
06. I Said You Were Lucky
07. Face To Face
08. Test My Patience
09. Timed Blues
10. Lemon Scent
11. Sorry For It All

http://bbpiratesradio.over-blog.com

Origine du Groupe : V.A , France

Style : DJ , Compilation

Sortie : 2012

Power by DJ DemonAngel

Tracklist :
01 - Aesop Rock - Cycles To Gehenna
02 - Orelha Negra - Espelho
03 - Batlik - De la même façon
04 - Grupo Cimarron de Cuba - El Gavilán [The Sparrow Hawk]
05 - Mayd Hubb meets Joe Pilgrim - Mellowmoon
06 - Mr. Moods and Vicky Flint - You got the feeling
07 - Hacienda - Pilot in the Sky
08 - R;Zatz - Meadows Of The Soul
09 - Utah Jazz - Invisible Cities feat Collette Warren
10 - Akalé Wubé - Mata
11 - Bibi Tanga and The Selenites - Banda a Gui Koua
12 - Mounira Mitchala - Haguina
13 - Marconi Union - First Light
14 - Zenzile - No Idol
15 - Vincent Cheirezy - Ca ne fait rien
16 - Amon Tobin - The Third Hand
17 - Tha Blue Herb - Tha North Face
18 - Metastaz - Supah (Ft. Yarah Bravo & Mc Miscellaneous)
19 - Lunatic Calm - It Evolves On Its Own
20 - The Heavy - What Makes A Good Man

http://princefatty.com



http://mrbongo.com





Origine du Groupe : U.K

Style : Dub , Reggae Instrumental

Sortie : 2011

By Nicolas Ragonneau  from http://www.parisdjs.com

In the end, we had to wait until November for 2011's funniest record. 'Return Of Gringo' is a faux soundtrack in which dub, ska and surf meet spaghetti western in the tradition of maestro Ennio Morricone. Dub and spaghetti have always been good bedmates - just lend an ear to Swiss duo Trance Hill and Dub Spencer to understand why. But here we're not dealing with some low-rent Trinita series but a bigger budget altogether. The result? A genuine blockbuster with first-class actors Starring famed Brighton producer and retro-futurist dub wizard Mike 'Prince Fatty' Pelanconi (Hollie Cook, The Pharcyde, Lilly Allen) and his pal Nick 'Mutant Hifi' Coplowe (multi-instrumentalist and producer for Asian Dub Foundation, Little Axe, Adrian Sherwood et al.), Return of Gringo is catchy from track 1 to 12. It's short enough to make a killer party album but long enough to mesmerize the audience. Nick Coplowe plays guitar (adding tons of spring reverb), glockenspiel, bass, keyboards and melodica. Prince Fatty runs the mix and the special effects, loading fun and frenzied sounds such as a mule braying itself to death, horses neighing, gunshots and, of course, echo throughout. There's also a classy backing band with a rich horn section that captures the Arabic and Mexican sounds to a T (for the full line-up, read below). The accomplices are joined by a guest star, the legendary Alessandro Alessandroni. And it's a brilliant idea. For newbies and dummies, Alessandroni is the unforgettable whistler from the Sergio Leone/ Ennio Morricone westerns (Fistful of Dollars, Once Upon a Time in the West, etc.) as well as being a highly respected multi instrumentalist and composer. Adding Alessandroni's mellow whistling to the project not only gives Return of Gringo an unexpected touch of beauty and a melancholic tinge; it also shows Prince Fatty's and Mutant Hifi's respect and love and respect for their predecessors. That's why it's a major achievement, one the best-ever parodies yet sincerest tributes to Leone/Morricone - along with Australian act The Western Spaghetti Orchestra.
The last word goes to cheeky Nick 'Mutant Hifi' Coplowe, who styles himself as a 'musical pervert'. He was a bit slow to write, so I threatened to send both Lee Van Cleef and Henry Fonda over to pay him a visit.

So Nick says:
"Hi Paris DJs! Prince Fatty and I are old friends, former flatmates. We've talked about a surf/ska collaboration for years, laughed about it, plotted, planned, come up with concepts - some of which may yet see the light of day in future releases. A mutual love of spaghetti, and westerns led us to Return Of Gringo!, marrying the arab/hispanic/sephardic influences on our favourite surf instrumental music to our love of Jamaican ska. Being an instrumental project, a theme is very important in order not to disappear up our own creeks and give guidance. Return of Gringo! came about after a long session of watching the original Italian versions of the great Sergio Leone movies (originally the album was to be Dub for Victory - themed after the various boys' WWII comics popular from the 50s-70s). The influences (and titles) came thick and fast, and tied in with our new found love of cumbia music (we watched Butch Cassidy) and so we went with the cowboy theme. Although the album took nearly 2 years from conception to release, being inspired, we worked fast, and spent most of that time making other records. Both of us have long experience of working with people who take forever agonising over their records, killing the vibes and boring everyone stupid and blowing budgets, and we didn't want to do that for ourselves. Return of Gringo! is an album made strictly our way, with no compromises - even the deal wasn't sought until the album was near completion to avoid the kind of unconstructive interference experienced on other projects. Above all, it was a labour not only of love, but of fun, which I think comes out in the general irreverence of the end result, and is the only way to make music for yourself. No donkeys were harmed in the making of the album, even while performing tricks..."


Tracklist :
01. Transistor Cowboy
02. Balck Powder
03. Plague of Locusts
04. Wear The Black Hat (If The Black Hat Fits)
05. Way Back to Town
06. Across The Border
07. Up The Creek
08. Moscow Mule
09. Son of a Thousand Fathers
10. The Good, The Vlad and The Ugly
11. Blondes have more Guns
12. Hava Nagila

http://www.jamendo.com

http://promodj.com/santah





Origine du Groupe : Russia

Style : Dub , Acid Jazz, Chillout , Alternative Fusion

Sortie : 2009

From http://www.jamendo.com We represent to your attention an album of Russian chillout project "Santah". It is a new masterly mix of the most actual chillout sound, densely seasoned with perfect east spices. Special Spices are the fresh, sharp compositions which have absorbed the hot sun of India and spirituality of vedic culture. It is a set of special impressions for musical gourmets! All tracks are original compositions. If you have an offer, concerning the edition of this material, Tracklist :01. Krishna (6:13) 02. Special spice (5:01) 03. Summer sunshine (5:06) 04. Way to the Highland (5:00) 05. Yuga Dharma (feat. Gaurangi DD) (5:33) 06. Sudama song (6:00) 07. Premadhavani Dub (5:43)