http://soundcloud.com/silverstreaks

https://www.facebook.com/pages/SilverStreaks





Origine du Groupe : U.K

Style : Trip Hop

Sortie : 2012

From https://www.facebook.com

About
We are Silverstreaks. We are dark bass, heavy beats, layered with soft and dreamy vocals and surreal key changes to add a fairy tale like athmosphere.


Description
So we are silverstreaks, an electronic band from East London.

We are dark bass, heavy beats, often outside the 4/4 dimensions... layered with soft and dreamy vocals, surreal key changes to add an other-worldlyness and fairytale like ambience to our songs. You might even say Tim Burton is in there somewhere.

Influence wise, we can not deny the love for trip hop/indi bands and artists such as Blonde Readhead, Portishead, Beth Gibbons, Massive Attack, Björk, Ladytron, Robots in Disguise, Sneaker Pimps, Fisherspooner etc.... Jack White, Radiohead, Kasabian and other rock/indi-electro groups have found their way into our songs, especially in the later ones. And yes, if you listen very carefully you might just hear some traces.

We are hard to pigeonhole. So we've been told by quite a few producers and whatnots. I have to say, I'm pretty proud of this.


Tracklist :
01. Black Sheep
02. Dream Noir
03. City Sirens
04. Vexed & Things
05. Sepia
06. Folkz
07. The Black Light
08. Ashtray
09. A Secret
10. Shadow Puppets - Pi Ying Xi
11. Like City

http://holliecook.com





Origine du Groupe : U.K

Style : Reggae

Sortie : 2012

Durée 01:01:34

Par http://liveweb.arte.tv



Quoiqu’elle ait chanté les chœurs dans les Slits, Hollie Cook n’a rien d’une « typical girl ». A l’âge où ses semblables écoutent des comptines sur un lecteur Fischer Price, la petite Hollie
assiste aux répétitions de Culture Club, le groupe de sa mère, tandis que papa Paul Cook – batteur des – l’initie au rock. A l’adolescence, au lieu d’user ses pantalons sur les bancs de l’école
d’art, la Londonienne part en tournée aux côtés d’Ari Up, la regréttée égérie punk aux longues dreads-locks, qui lui fait découvrir le chant.



Mais marcher dans les pas de son père en jouant sur des guitares crasseuses serait trop facile, aussi Hollie Cook va chercher d’autres racines musicales du côté du rocksteady, du ska et du dub.
Sur son premier album paru en 2011, elle remet au goût du jour le reggae old-school – dont elle invite les figures de proue George Dekker (The Pioneers) et Dennis Bovell – en mêlant aux orgues et
au skank des éléments plus pop (piano, chant éthéré), le tout étant relevé par la production très contemporaine de Prince Fatty. Un mélange qu’elle qualifie elle-même de « tropical pop » –
adjectif qui devrait convaincre les festivaliers en manque de soleil.

https://www.myspace.com/suhovbeat

https://www.facebook.com/suhovbeat





Origine du Groupe : Hungary

Style : Beatmaker , Abstract Hip Hop

Sortie : 2012

FREE DOWNLOAD

  some rights reserved

From http://suhov.bandcamp.com



A full-length beat lp from the collaboration of two Hungarian dj/producers, Mil and Suhov offers a personal view of the country's musical heritage.The genre is somewhere around instrumental
hip-hop and features unique 70's and 80's samples. The creators raked up a dozen forgotten vinyls, including soundtracks, freaky Hungarian beat, jazz, disco and funky records. Howewer officially
blocked, the Western music found its way to the Eastern Blocks' youth via the Luxemburg Radio, and created an underground club scene and some really hard-to-find singles. Mil and Suhov infused
these items with dusty grooves and stricts rhythms so at last they can return to the dancefloor.





Tracklist :

01.Ördög (Devil) 02:50    

02.Meccs (Match) 01:44

03.Út (Road) 01:28

04.Soha (Never) 02:39

05.Zene nélkül (Without music) 02:43

06.Rejtett zug (Secret Place) 02:01

07.Fütyülök rá (I don't care a damn) 02:00

08.Szivárvány (Rainbow) 02:14

09.Kiáltozás (The Scream) 02:28    

10.Zöld Wartburg (Green Wartburg) 03:06

11.Fénysugár (Ray) 02:34

12.Levél (Leaf) 03:00    

13.Pénz Bábel (Money Babel) 02:47

14.Az utcán (On the street) 03:01    

15.Estefelé (At Night) 03:13    

16.Jóbarát (Good Friend) 01:47    

17.Színes éjszakák (Colorful Nights) 02:33    

18.Szerenád (Serenaide) 01:31    

19.Kígyó (Snake) 01:56

20.Nathalie Ütem (Nathalie Beat) 02:02    

21.Svihák (Wide boy) 00:51    

22.Várok (Waiting) 02:10

23.Röpke percek (Ephemeral minute) 02:55

24.Könnyű (Easy) 01:49

25.Próbáld ki (Try it) 01:46

26.Bázis (Base) 01:42    

27.Ki vagy (Who are you) 02:51    

28.Modern idők (Modern Era) 02:44

http://www.abrulepourpoint.com





Origine du Groupe : France

Style : French Touch , Indie

Sortie : 2012

Par Laura Aupiais pour http://www.radioneo.org

Quand on évoque Batlik, ici à Néo, on a l'impression de parler d'un vieil ami qu'on n'a jamais perdu de vue. Il revient nous voir tous les ans. Et d'autres diraient qu'il fait partie des meubles. Une chose à savoir, peu importe le nombre de journées ou de mois que vous passez à Néo en tant que stagiaire ou bénévole, vous entendrez toujours un mot sur lui comme la source même du « Libérateur de talent ».

C'était en octobre, en 2004, la première fois qu'on l'a rencontré et il nous a dit « Regarde mes images ». A l'époque, il se faisait appeler Gaspard Batlik. Après huit ans d'amitié chaleureuse, aujourd'hui, il nous montre son 7e album studio, « Le poids du superflu » toujours sous son propre label abrulepourpoint.

Batlik fait partie de ces artistes qui arrivent à dépoussiérer la chanson française. Beaucoup n'y croient plus, mais il peut faire changer d'avis. Il suffit juste d'écouter le poids de ses mots. Sa première scène, il l'a faite en première partie de Karpatt à l'EMB de Sannois. On raconte qu'une fille au premier rang s'est évanouie au moment de son entrée sur scène. Nul ne sait si se fut à cause de la chaleur ou du charisme de l'artiste.

Puis, bien sûr, y'en a eu toute une tripotée après, en Belgique, Québec et un peu partout en France. Il y a cette fois-là, en Belgique, où son chien a vomit sur scène, ou encore à Montréal où il a joué devant 15 personnes dans une salle de 1500 places.

    « Une indépendance musicale, et son refus des majors lui offre une liberté d'expression artistique totale ». Muriel

Faîtes-nous plaisir, allez le voir sur scène en compagnie de ses charmants acolytes James Sindatry et Benjamin Vairon et Nicolas Bruche. Notez bien, c'est le 3 mai à la Dynamo à Toulouse, et le 11 et 12 mai au Café de la Danse à Paris.

Voir Batlik sur scène, c'est comme revoir un vieil ami. Il nous rappelle les bons et les mauvais souvenirs qu'on a passé ensemble. A la fin, on se quitte le sourire accroché aux lèvres et les yeux pétillants. Pas besoin de formuler une phrase. On sait pertinemment qu'on se reverra. Sans doute, l'année prochaine.


Tracklist :
01. Enfumée (3:25)
02. Le poids du superflu (4:14)
03. La mer d’Aral (3:34)
04. De la même façon (4:33)
05. Hospitalité (3:57)
06. Encore (3:37)
07. Subtils subterfuges (3:51)
08. Carnaval (3:53)
09. Comédie (3:15)
10. Les transitoires (3:38)
11. Les grandes plaines (3:23)
12. Tentatives ratées (3:42)

http://www.marconiunion.com

https://www.myspace.com/marconiunion





Origine du Groupe : U.K

Style : Electronic , Ambient

Sortie : 2012

By Gareth O'Malley    from http://www.musicomh.com

Marconi Union don't want to sound pushy, but the title of their new album is obviously hinting that a change has taken place within the band. They're six albums in, which is an impressive enough feat in itself, but they had to make it clear they were moving on. More of the same from the band would have been good, sure - their discography is full of strong albums that still hold up very well - but not good enough. One gets the feeling that they knew that, too. Having worked as a duo up until 2010, Richard Talbot and Jamie Crossley decided to bring Duncan Meadows (who had helped to flesh out their live sound) into the fold permanently as their pianist, and Meadows' influence can be felt quite clearly on the new record, most notably on the penultimate track On Reflection.

At times it's hard to believe that just three people are behind the lush soundscapes created on Different Colours. Across its seven tracks, there is a minimalistic approach applied (most notably on Almost Numb, which gets an incredible amount of mileage out of a simple melodic motif and little else), but it often sounds like much more than the sum of its parts, as said parts are allowed to breathe and develop at their own pace. This is an album on which the slightest addition to the mix can have a huge effect. The best example of this is on the measured album opener First Light, which progresses at an unhurried pace for its first half, up until the point that everything falls away and only dreamy keyboard chords remain - that is, until the xylophone is introduced. In an instant, the atmosphere of the track is transformed. Different Colours is full of moments like that.

It's an album that works on multiple levels; it can be either a pleasant background listen, or something to be closely scrutinised. Its ambient style is quiet, reflective and sometimes otherworldly; in fact, should the listener want to be temporarily transported to another world, then it would be a good idea for them to dive in and take as much notice of everything as they possibly can. While it can sometimes come off as a little too contemplative for its own good, there are some unexpectedly euphoric moments scattered here and there, such as when the soft patter of a bass drum enters midway through Flying (Through Crimson Skies) and a gorgeous melody makes its presence felt.

Added to this, there is the gradual unfolding of the stately closer Broken Colours, which is downbeat, but builds to a relatively intense climax, featuring a wall of sound, or at least, the closest the trio have come to it. It is moments like these that reward perseverance, though those who are looking for a more immediate fix will need to look no further than Time Lapse, the album highlight. It's a great place to start, as it is the most direct offering on the album, as well as being the track on which the album's creators show that they are most aware of the constraints of the genre in which they operate, whilst simultaneously defying convention by letting their playful side out. Yes, there's no denying that, with this album, they have changed, but their horizons have also been broadened in its creation. Different Colours is a more diverse album than one might expect, and shows that the state of the Union is very healthy indeed.


Tracklist :
01 – First Light
02 – Alone Together
03 – Flying (in crimson skies)
04 – Always Numb
05 – Time Lapse
06 – On Reflection
07 – Broken Colours

https://en.wikipedia.org/wiki/Michael_Prophet

http://www.roots-archives.com





Origine du Groupe : Jamaica

Style : Reggae

Sortie : 1983

Producer : Junjo

Engineer : Anthony Hamilton & Scientist

Vocals : Michael Prophet
Backing Band : The Roots Radics & The High Times Band
Backing Vocals : The Tamlins
Horns : Dean Frazer & Nambo Robinson

Studios :
Recording : Channel One (Kingston, JA)
Mixing : Channel One (Kingston, JA)


Tracklist :
1 2000 Years
2 Evil Doers
3 Certify
4 Jah Love
5 World Of Confusion
6 Give I A Try
7 It's A Time
8 Back Off
9 Jah Jah Rain A Fall

http://www.utahjazz.co.uk

https://www.myspace.com/utahjazz





Origine du Groupe : U.K

Style : Electro , Drum n' Bass

Sortie : 2012

From http://www.skiddle.com

From the man responsible for some of the finest liquid-funk in drum & bass history, comes a brand new album of original dancefloor gold

Back in the groove in his own inimitable style, the original liquid-funkster Utah Jazz returns with yet another dose of soulful medicine that is set to hypnotise dancefloors worldwide. After the runaway successes of debut LP 'It's a Jazz Thing" and 2010's follow-up "Vintage", the Jazz Man is back with "Groove Therapy" - his third and most ambitious album to date.

Hailed by critics, music lovers and dancefloor ravers from Thailand to Tennessee, Utah Jazz remains one of the UK's finest exports, amassing a global army of admirers for his hand-crafted, heart-and-soul drum & bass flavours. From sunshine-drenched vocal sweetness, to funk-strutting party numbers and dancefloor-destroying grooves, The Jazz is all about the music. And it's never sounded so good...

WARNING: this is rare, refined and remarkable dance music.
It may cause your friends to envy your good taste
Utah Jazz Presents Groove Therapy LP - Vintage Recordings


"Truely unique. Utah Jazz's burgeoning success is nothing short of remarkable. It's been two long years since the debut LP of the finest liquid funkster in the galaxy - and what a way to return..." (iDJ)

..."Could Utah Jazz be the most underrated D&B producer out there? This unbelievable album certainly suggests so..."(DJ Mag)

.. "The most eagerly-anticipated album in years... Utah Jazz has got a rhythm, soul & vision, all his own and the entire Drum & Bass world will soon be stepping to his beat..." (Knowledge)


Tracklist :
01. My Own Way Intro
02. Circa 96
03. Loops For Days
04. Everything Is Everything feat Alex Reece
05. The Fountain
06. Conrad Funk
07. Do My Thing
08. Invisible Cities feat Collette Warren
09. Crossing Frontiers
10. The Warning feat David Boomah
11. Fair Play
12. Broken Home
13. Slice Of Nature
14. Infinity 155 Wax Tribute

https://www.myspace.com/djoil13





Origine du Groupe : France

Style : DJ , Trip Hop , Alternative

Sortie : 2012

Pour http://alternativesound.musicblog.fr

Lorsque les Troublemakers sont arrivés en 2001 avec "doubts & convictions", ils ont fait un bien fou à la scène électro française, alors dominée par l'insupportable "french touch". Le disque n'était pas parfait, mais leur électro cinématographique contenait des grands moments, comme le fameux "get misunderstood" et son speach de Jean Pierre Léaud. Trois ans plus tard, ils enfoncent le clou avec "express way", conçu comme une bande originale de film (le disque était d'ailleurs accompagné d'un dvd contenant un moyen métrage méttant en image la partie audio) et mêlait avec brio électro, jazz, soul, funk et hip hop. Après cette réussite incontestable, plus de nouvelles du duo marseillais.

C'est donc avec une grande curiosité que je me suis lancé dans l'écoute du premier album solo de la moitié du groupe, Dj Oil. "Black Notes" reprend les choses là où le groupe s'était arrêté 8 ans plus tôt. Ce disque est en effet la suite logique de "express way"; les influences sont clairement les mêmes et on retrouve une partie des invités qui  l'illuminait (Gift Of Gab des Blackalicious et la flûte de Magic Malik). Autre point commun, "black notes" s'écoute également comme une bande originale. Le savoir faire du marseillais est encore une fois plus qu'évidente, qu'il s'aventure du côté du hip hop ("black notes"), de la house ("buddy"), de l'électro downtempo ("ingrid tapes"), du spoken words à la Gil Scott-Heron des débuts (it's a teenage thang") ou  de l'afro électro ("mind your step", P.O. box"). Bref, un beau retour en force de cet ex Troublemakers avec un disque totalement maîtrisé !


Tracklist :
01. Black Notes (feat. Gift Of Gab)
02. Your Heart
03. Rock Hit (feat. Gift Of Gab)
04. It's a Teenage Thang (feat. Reggie Gibson)
05. Give Me Luv (feat. Magic Malik)
06. Mind Your Step (feat. Sam Karpienia)
07. P.O. Box
08. Buddy
09. Charlie C (feat. Magic Malik)
10. Ingrid Tapes
11. Alix In Ornette Land

http://www.clintonfearon.com





Origine du Groupe : Jamaica

Style : Reggae

Sortie : 2012

By Valentin Zill   from http://www.reggaeville.com

In life, some people get hyped for work they have not done, others laid foundations through hard work but never really got the respect they deserve. Of the latter is Clinton Fearon. With his latest album Heart And Soul, French roots experts of Chapter Two Records present yet another opportunity to catch up with this foundation legend‘s solo works (In France, by the way, Fearon gets much more recognition than in most other places).

The album contains twelve acoustic tracks Fearon had written for the Gladiators, which he joined in 1969. He spent 18 years with the trio before he moved on to other projects, with different bands and solo. Thus, roots reggae lovers are likely to already know all of the tunes on Heart And Soul: Chatty Chatty Mouth, Follow The Rainbow, Rich Man Poor Man, I‘m Not Crying... What is new is the acoustic interpretation of them.

Up front I need to clarify that I have never been too much of a fan of acoustic reggae albums. These tend to be a bit too simplistic for me musically - thus reggae‘s stunning, hypnotic catchiness gets attenuated a bit. In this case though, it leaves precious space for Clinton Fearon‘s singular, soulful voice to shine and make up for it. With bass, guitars and percussion, ranging from glasses of water to cowbells to congas and even a tama (the West African talking drum), instrumentation is varying enough to keep the riddims interesting.

Heart And Soul is a vibrant gem that just does not get boring. Make sure you check out the CD version: if you would opt for digital download, you would miss out on the booklet with Clinton Fearon‘s insightful remarks on the original versions of the tunes featured. Like this one, talking about Ernest Ranglin: “When he started on Let Jah Be Praised I was so excited I thought I was gonna pee in my pants!”


Tracklist :
01. One Love
02. Let Jah Be Praised
03. Chatty Chatty Mouth
04. Follow The Rainbow
05. Marvel Not
06. Untrue Girl
07. On The Other Side
08. Stop Before You Go
09. Richman Poorman
10. Streets Of Freedom
11. Jah Almighty
12. I’m Not Crying