Origine du Groupe : North America

Style : Soul , Funk

Sortie : 1975



From http://www.funkmysoul.gr



I always was looking for this vinyl and finally I got my hands on it.



A modern soul classic — and a darn hard record to find! The Reflections were an obscure male quartet with a sound that mixed deep soul vocals and smooth modern production, and as far as we know,
they only ever cut this one LP for Capitol. Melba Moore gave the group their start, and the album features arrangements by the likes of Paul Griffin, Bert DeCoteaux, and JJ Jackson. Includes the
wonderful spacey soul cut "She's My Summer Breeze", plus "Are You Ready", "One Into One", "Now That You've Taken Your Love", and "Love On Delivery". Great stuff — and one of those gems that keeps
us diggin through rare vinyl!





Tracklist :

A1 Day After Day (Night After Night) 4.35

A2 Love On Delivery (L.O.V.) 5.30

A3 Now You've Taken Your Love 5.40

A4 Are You Ready (Here I Am) 3.49

A5 She's My Summer Breeze 4.23

B1 All Day, All Night (Runnin' Around) 3.31

B2 One Into One 4.15

B3 Telephone Lover 4.03

B4 How Could We Let The Love Get Away 4.12

B5 Three Steps From True Love 3.43

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.sissytheband.com

http://www.myspace.com/sissytheband





Origine du Groupe : Canada

Style : Trip Hop , Electronic

Sortie : 2012



By Ben Rayner from http://www.toronto.com



Sissy hails from Toronto and already has one superb album under its belt that received international release on a high-profile U.K. electronic label, yet the mysterious downtempo duo is virtually
unknown in its hometown.



To be fair, of course, Sissy is hardly a household name anywhere — which seems a touch unfair, since All Under, its 2006 debut for Global Underground Recordings, was an out-of-the-blue stunner
that not nearly enough people got to hear. The stars might be finally be poised to align in David Trusz and Johanne Williams's favour, however, since their excruciatingly long-in-the-making
second LP is even stronger. If this one gets out to the right audiencesAll Under, it's going to be very tough to ignore.



Fair warning, though: March of the Humans is even grimmer than its predecessor. Coal-black. Mirthless. All Under wallowed elegantly in loneliness and disenchantment while copping a few choice
moves from '90s “trip-hop” but M.O.T.H. is colder, more industrial and far more pessimistic. “It's all a waste/ It's always a waste/ It's all gonna be a waste,” Williams intones in a clenched
monotone on “All a Waste.” “Show me something that you've done right now that's worth believing in,” goes the bridge to “Long Distance,” one of two tracks that perversely enlist a children's
choir for a breathtakingly bleak chorus. Sissy makes it quite clear where it thinks this march is going.



Between Williams's forlornly beautiful voice and Trusz's arresting production, mind you, a spiral into oblivion has rarely sounded this spectacular. Sissy demonstrated on All Under that it could
do dubbed-out wee-hours crooning as well as any of the crews from Bristol whose influences it proudly wore. M.O.T.H., however, brings a harder electro edge and more rousing tempos to the table —
“Imminent Rampage” even proffers a mid-album eruption of driving tech-step drum-‘n'-bass — and is a less draining listen because of it. It appears that dancing at the end of the world comes as
naturally to Sissy as long, dark nights of the soul. Here, Toronto, is your first great album of 2012.





Tracklist :

1 Home

2 Long Distance

3 Acid Cake

4 Fool Around

5 On My Own

6 All a Waste

7 Imminent Rampage

8 Other Ways

9 All of Me

10 Expiry Date

11 Stay

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

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





Origine du Groupe : North America

Style : Blues , Country

Sortie : 2011



By Amanda Petrusich from http://pitchfork.com

In September 1959, Fred McDowell-- an overalls-wearing, stoop-shouldered, Panola County cotton farmer-- picked up an old acoustic guitar and wandered over to his neighbor Lonnie Young's house.
Word had spread that the folklorist Alan Lomax (traveling with the English singer Shirley Collins and a 26-pound, two-track reel-to-reel tape machine) was hunting local artists to record for
Atlantic Records. McDowell, who was born around 1904 in Rossville, Tennessee, had grown up imitating the still-nascent sound of the Delta blues, using an old pocketknife (and then a whittled-down
bovine rib bone, and finally the squat neck of a Gibson's gin bottle) as a rudimentary slide. By the time McDowell, then 55, cornered Lomax on Young's porch, his scope (and his skill) had
broadened, and the sound he made-- a mesmerizing, groove-based blues that both nodded to and defied his Delta predecessors-- instantly captivated Lomax, and eventually the world.



Fred McDowell: The Alan Lomax Recordings (available as a download through Global Jukebox, the Alan Lomax Archive's digital imprint, and on LP via Mississippi Records) opens with Bukka White's
"Shake 'Em on Down", a song that McDowell appears to enjoy playing more than he enjoys breathing or eating or maybe doing anything else at all.  Following Lomax's prompt-- "1, 2, 3, go," he
commands in his high, nasal voice-- McDowell locks into a heavy, propulsive groove, while his sister, Fanny Davis, blows into a homemade kazoo that Lomax, in The Land Where the Blues Began,
described as "a fine-toothed comb wrapped in toilet paper" (it sure is loud). "Shake 'Em on Down" is a bracing introduction to the cadence of North Mississippi Hill Country blues: McDowell's
guitar is disorienting and relentless, so rhythmic and mind-bending that if you were to, say, listen to it while driving down a dark road in the rain, you'd likely veer off into a ditch (and then
feel relieved). Davis' kazooing-- itself vaguely lawless-- provides a welcome counterpoint (it's like staring at a fixed point on the horizon while trying not to vomit over the side of a boat),
while Miles Pratcher (of the excellent local square dance band the Pratcher Brothers) assaults a second guitar. The result is mystifying and spectacular.



McDowell's rendition of "Good Morning Little Schoolgirl" (a deeply fucked-up-- if not particularly uncommon-- ode to little girls, made famous, first, by Sonny Boy Williamson, and then again by
the Grateful Dead) is more of a showcase for his nimble guitar work than any rogue sexual proclivities. McDowell's muted delivery of the lyrics ("Good mornin' 'lil school girl/ Can I go home, can
I go home with you?/ Tell your mama and your papa/ Lord, I'm a little school boy, too") is merciful; he's politely disinterested, if not fully disengaged. McDowell reserves his howls of longing
for slightly less uncouth fare, like "Worried Mind Blues", an unrequited love song he imbues with legitimate anguish ("You make me weak and you make me moan," he groans, sounding broken). Mostly,
though, the rhythm is the thing: With his twangy, piercing strums, McDowell establishes himself as a singular player, infinitely more interested in the transcendental than the germane. Somehow,
he manages to make the acoustic guitar-- that purveyor of sweet lullabies!-- sound menacing, not familiar.



After McDowell was featured on one of Lomax's Sounds of the South compilations, he enjoyed considerable acclaim outside of north Mississippi (the timing was right with the folk revival of the
1960s gathering steam) and more than a dozen solo LPs, although none approaches the looseness of his first session for Lomax. In 1971, the Rolling Stones covered McDowell's "You Got to Move" for
Sticky Fingers; it's a sluggish and deliberate rendition, and Jagger's approximation of McDowell's worn, scratchy voice feels both flat and affected. A year later, McDowell died of stomach
cancer; his body, swaddled in a silver lamé suit (a gift from the Stones), is buried at the Hammond Hill Baptist Church, near Como, Miss. Supposedly, Bonnie Raitt-- a guitar student of
McDowell's-- paid for a new headstone after the original misspelled his name.



It's awfully easy to approach archival releases-- and field recordings, especially-- with a detached reverence, at least in part because they were rendered spontaneously on front porches and in
backyards, miles from the formal, self-conscious fussing of the recording studio. Consequently, any and all fidelity issues tend to be heard as sepia-toned, "atmospheric" snafus (oh, crickets!);
judgment is clouded by access, and we feel lucky-- embarrassed, even-- to be privy to these odd little moments at all. Accordingly, what's most remarkable about The Alan Lomax Recordings is its
spectacular re-mastering job (per the Portland-based engineer Timothy Stollenwerk); now, it's possible to divorce these songs from their contexts long enough to be properly flabbergasted by
McDowell's hypnotic, eager performance (although, should you get curious, the collection is also beautifully annotated by Arhoolie Records' Adam Machado and the Lomax Archive's Nathan Salsburg).
None of these tracks was previously unreleased (all have appeared, in one form or another, on various compilations, many long out of print), but The Alan Lomax Recordings still feels revelatory--
and for his part, McDowell still sounds spectacularly alive.





Tracklist :

01. Shake 'em On Down (2:45)

02. Good Morning Little Schoolgirl (2:58)

03. Keep Your Lamps Trimmed And Burning (3:11)

04. Fred McDowell's Blues (4:14)

05. Woke Up This Morning With My Mind On Jesus (3:18)

06. Drop Down Mama (2:53)

07. Going Down To The River (5:04)

08. Wished I Was In Heaven Sitting Down (2:11)

09. When The Train Comes Along (2:52)

10. When You Get Home Please Write Me A Few Of Your Lines (3:25)

11. Worried Mind Blues (3:36)

12. Keep Your Lamps Trimmed And Burning (Instrumental Reprise) (0:34)

http://www.myspace.com/thesecretwhistle





Origine du Groupe : North AMerica

Style : Electronic , Downtempo , Abstract Hip Hop

Sortie : 2011



From http://www.electronicsoundscapes.com



The Secret Whistle are an instrumental electronica duo based in Oregon U.S.A.



With over 40 recordings under their belt in a few short years, Dan Friedman and Forest Gallien combine subtle elements of hip-hop, lo-fi retro, dub, ambient, and electronica into a unique
synthesis of experimental organic sounds and textures, using various recording methods unique to their genre such as recording and looping live drum samples, layering multiple live bass tracks
over each other, and manipulating samples from old vinyl records.



Backstroke Into The Next Galaxy is the opening tune for Capturing Something. Atmospherically enriched vinyl scratchy bass lines and retro soundscapes, support the ideal introduction to the
album’s direction.



Escalating vinyl sweetness and masterfully crafted piano verses unfurl in Candy Coated Intelligence, enveloped by enigmatic voices murmuring melodically. More solid beats are about to take
over.



Lying and Creativity bridges the album towards a more emotional and upbeat direction. Retaining the analogue vinyl coating, gradually builds up to an emotional crescendo, counter balanced by the
soft and deep bassline.



Deepening the tempo and steadying the pace, Moon Top Mountains, immerge the senses over a dreamy mountain top panoramic view, taking the listener to deeper Secret Whistle soundscapes.



Keep on riding relaxed emotional sound waves, Particularly Striking introduces yet another direction of the album. Steady and clear electronic trip hybrid beats and thought provoking samples set
the pace.



Still wrapped on vinyl goodness, Capable of Flight open wings and combines all The Secret Whistle elements introduced to the album up to now.



Bent Minds steps down the pace and gears up on emotional content. A deeper dive into the more emotional side of the album. Melancholic electronica meets organic instrumental atmospheres.



Trip hybrid, beat driven Back into Sleep wears a tricky hat as the title contradicts the track . Its hard to go back to sleep with its magnetising bass line and sharply manipulated samples. Yet
another Secret Whistle style variant, setting a more night time but still atmospheric pace.



Keeping on a night time ride, Shadow Act V punches in with smart samples and animated bass lines. Future retro timeless electronica. Watch out for the shadow !



Touching ground Perdido, is a sentimental masterpiece. Melodic strings and misty snares gradually take the listener out of the night time pace of Shadow Act V.



Prison captures the senses. Floating organic strings interlude between the album’s story telling flow and Capturing Something.



Capturing Something is an amalgamation of all The Secret Whistle’s elements and soundscapes introduced in the album. Tranquil and groovy, serene and dynamic, this track rightfully deserves the
album’s title.



Keeping an ace up the sleeve for the last track, The Mind Vacuum kicks off with a long intro and develops to a deep yet minimal masterpiece, encapsulating the album’s essence.



After releasing 2 E.Ps and 1 full length album, “Capturing Something” is the group’s first full length album on Electronic Soundscapes, showcasing the most mature Secret Whistle sound up to
date.



Live triggered electronica and real played music instruments meet vintage vinyl soundscapes and layers of organic bass driven samples.





Tracklist :

01. Backstroke Into The Next Galaxy (2:26)

02. Candy Coated Intelligence (2:59)

03. Lying & Creativity (3:28)

04. Moon Top Mountains (3:31)

05. Particularly Striking (3:24)

06. Capable Of Flight (4:14)

07. Bent Minds (3:24)

08. Back Into Sleep (3:19)

09. Shadow Act V (3:28)

10. Perdido (4:26)

11. Prison (3:31)

12. Capturing Something (4:17)

13. The Mind Vacuum (3:55)

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’

FREE DOWNLOAD FROM NETLABEL

http://www.myspace.com/blazo2ndsight





Origine du Groupe : Poland

Style : Abstract Hip Hop

Sortie : 2012





From http://blazo.bandcamp.com



"Blazo - Reflections". An album which is a continuation of Alone Journey.

Have been inspired by a great man and my master - Nujabes!

I hope you'll all like my thoughts and reflections, as I give you them in this piece of music!

Thank you all for your support!!





credits

    released 20 January 2012

    Produced & Mixed by Blazo

    Recorded & Mixed at Evolution Studio

    Mastered by Blazo

    Scratches by Blazo

    Vocals by 49'ers, Nieve, CL





Tracklist :

01 – New Beginning

02 – The Influence

03 – Heartbeat ft. Nieve

04 – Reality Check

05 – Lucid Dream

06 – Dock Ellis ft. 49ers

07 – Flute Story Two

08 – Reflections

09 – Notes ft. CL

10 – Metamorphosis

11 – Little Piano Two

12 – Cure

13 – Pressure ft. 49ers

14 – Improvise

15 – Rising

http://hazmatmodine.com

http://www.myspace.com/hazmatmodine





Origine du Groupe : North America

Style : Blues , Indie , Jazz Fusion

Sortie : 2011



By Robin Denselow  from
http://www.guardian.co.uk



Hazmat Modine are a maverick New York band who are shifting from Americana to global influences with remarkable results. Founded by singer-songwriter, guitarist and impressive harmonica-player
Wade Shuman, they are distinctive both because of their range and their line-up: two harmonicas are matched against a three-piece brass section, guitar, steel guitar and percussion. The songs
here are often blues-based, but always different; the opening Mocking Bird starts like a slow work-song and builds into rousing, harmonica and brass-backed folk-blues, while Two Forty Seven is a
finger-clicking burst of brassy R&B, and the title track is an exercise in poetry and blues. The cover songs are equally original, and include a cheerful, spoken treatment of Irving Berlin's
Walking Stick and the harmonica-backed 70s soul of I've Been Lonely for So Long. But the collaborations are even better, with Kronos Quartet adding their strings to the cheerfully rhythmic blues
Dead Crow and Benin's Gangbé Brass Band bringing African jazz influences to Cotonou Stomp and the slinky Child of a Blind Man, where Natalie Merchant provides lead vocals. A brave and unexpected
record.





Tracklist :

01. Mocking bird

02. Child of a blind man

03. Two forty seven

04. Cicada

05. Buddy

06. In two years

07. I’ve been lonely for so long

08. The tide

09. Ebb tide

10. Walking stick

11. So glad

12. Cotonou stomp

13. Dead crow