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http://www.corey-harris.com
Origine du Groupe : North America
Style : Reggae , Blues
Sortie : 2007
By Robert
R. From http://www.popmatters.com
Corey Harris’ Zion Crossroads is quite simply a highly accomplished musical contribution owing to the continuing artistic, moral, and cultural tradition of the late and revered Bob Marley, among
others. The music’s somewhat gentler and more lyrical than Marley’s: Harris apparently feels more assurance in the message than any need to insist on it. Opening with Michael Wagner’s trombone on
“Ark of the Covenant”, the set begins with a declaration of faith in a spirit of peace and consolation.
If he’s not trying for Marley’s intensity and drive in delivery, he’s not faking. I won’t comment on the cogency of Rastafarian doctrines, but it’s not hard to see that the questions they address
could nowadays be more real to many than they were during Marley’s too-short life. “No Peace for the Wicked” is positively revivalist in its moralizing, featuring a second vocal from Ranking
Joe. “Heathen Rage” has the same spirit and feel as the nearest Gospel gets to Marvin Gaye. The rhythm is reggae, the doctrine Rasta—religious, cultural, humanitarian, and with a belief in
Hell and damnation.
Harris is a very musical performer with as much insight into reggae as he has brought to blues (of which there are echoes in some of the guitar-licks of “Sweatshop”). His depth of scholarship has
the formal testimony of the academic CV, university studies, teaching appointments, and field research on African music mentioned in the notes of this album. On the one hand this connects him
with European jazz performers who came up after 1945 playing 1920s and 1930s music, digging into blues and kindling the serious 1960s interest in that music which certainly underlies some of his
earlier performing work. On the other hand, in a comparative historical regard, he’s not an anomaly within the sort of musical and spiritual traditions of which the music here might be a
part. The songs or hymns here are Harris’s compositions, expressing a body of fairly orthodox Rastafarian teachings. With the exception of one song in French, the language is a Caribbean
patois English, and Harris, with little exception, sings with an authentic Caribbean pronunciation.
The historical scholar of slavery and later political activist, Walter Rodney, murdered in his native Georgetown, Guyana, is remembered in the apocalyptic context these songs attempt to
establish. Harris sings an African intro to “Walter Rodney” accompanied by the African stringed instrument of Cheik Hamala Diabate (ngani), which surfaces again as a refrain and recollection in
the band accompaniment to the main song “Walter Rodney”. In the hymn in French, Africa is remembered: the violated and robbed, father and mother and sister. “Cleanliness” is the next hymn,
and whereas “the last time it was with water”, meaning the Flood, the next deluge will be flaming and final. Noah’s ark won’t do; nothing will suffice short of establishing as “your Habitation…
Hola (holy) Mount Zion”, and taking that as the necessary permanent centre of moral and all orientation.
There is a repeated reference on pressure gathering, and in the song “Plantation Town” it’s building still. The end is apparently nigh, and nigh too are the biblical as well as historical
references in Harris’s allusive and terse texts. There is a strong sub-text to all of them, one of many good reasons to follow his injunction in “Keep Your Culture”: “If you don’t, who gonna do
it for you/ If you don’t stop crying these blues/ If you don’t put up a fight/ If not you, then who… what you gonna do/…/ The lion still a-conquering/ Fighting still.”
Tracklist :
1. Ark of the Covenant
2. No Peace for the Wicked
3. Heathen Rage
4. Sweatshop
5. In the Morning
6. Fire Go Come
7. Walter Rodney Intro
8. Walter Rodney
9. Afrique (Chez Moi)
10. Cleanliness
11. Plantation Town
12. You Never Know
13. Keep Your Culture
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http://www.charliewinston.com
http://www.myspace.com/charliewinston
Origine du Groupe : U.K
Style : Pop Folk , Alternative , Indie
Sortie : 2011
Durée : 01:04:16
Pour http://liveweb.arte.tv
Le petit anglais qui a colonisé les bandes FM en 2009 avec Like A Hobo a tout à fait été adopté par le pays aux 300 fromages : non seulement il vit à Paris, mais c’set un label français qui
publie en 2011 son second album Running Still.
Dans Running Still, Charlie poursuit un ouvrage composite nourri de pop, de folk, de jazz, de hip-hop… en appuyant toutefois un poil plus sur l’aspect électrique que par le passé. Il en résulte
un disque plus rock et plus énergique, qui ne manquera pas de rendre plus excitantes encore ses prestations scéniques.
Crédits
• Artistes : Charlie Winston • Production : ARTE France - Radio France
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http://soundcloud.com/shoraku
http://niazura.bandcamp.com
Origine du Groupe : Belgium
Style : Abstract Hip Hop , Downtempo , Ambient , Instrumental
Sortie : 2011
From http://www.thewordisbond.com
Belgium composer by the name of "Niazura" droppin' some great work, very soothing, very chill tones on this one.. Something you could just hit play and ride out too.. Not much is known bout the
producer but this is a great peace of audible art.. Support WIB AND ARTIST!!
Tracklist :
1.Winter Reflection (Nujabes Tribute) 03:24
2.Moon Flower 03:22
3.I Miss You 04:26
4.Another World 06:40
5.Interlude 01:36
6.Light in the Night 04:00
7.Rose of May 03:45
8.River in the Sky 04:16
9.Before the Storm 02:33
10.A Christmas With You 05:28
Buy Now name your price
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http://www.omaraportuondo.com
http://www.myspace.com/omaraportuondo
Origine du Groupe : Cuba
Style : World Music , Jazz World
Sortie : 2004
By Jack Smith from http://www.bbc.co.uk
Although not quite as memorable as its predecessor, this is still one of the finest...
Omara Portuondo made her solo debut for World Circuit in 2000, three years after her show-stealing cameo with Compay Segundo singing 'Veinte Años' on the block-busting Buena Vista Social Club
album.
Her solo career actually dates back to 1959 and she's done numerous records, but only World Circuit have given The 'Buena Vista sista' the red carpet treatment and lush settings she really
deserves.
Buena Vista Social Club presents Omara Portuondo found her in the very capable hands of musical director Demetrio Muñiz and was a tough act to follow. This time around, World Circuit founder and
producer Nick Gold has chosen to work with Muñiz again as well as Brazilian producer Alê Siquiera, known for his work with Carlinhos Brown and Caetano Veloso. Once more, the songs are mostly
vintage pieces from the Great Cuban Songbook.
The closing 'Casa Calor' is a strangely stirring retro-futurist offering by Brown, which sounds almost like it might have fallen off the track-listing from last year's wonderful joint album by Ry
Cooder and Manuel Galbán. The former Los Zafiros guitarist maintains an uncharacteristically discreet presence on rhythm guitar throughout much of 'Flor de Amor', even though both 'Hermosa
Habana' and 'He venido a decirte' (one of Omara's finest vocals) were originally performed by Los Zafiros.
It's the guitars and their relations that really shine, most notably in the solo by Brazilian player Swami Jr. on the upbeat 'Mueve la cintura mulato'. There's a touch of laoud from Barbaríto
Torres, and plenty of subtle licks from Irakere's electric guitarists Carlos Emilio and Jorge Chicoy.
Lastly, tres player Papi Oviedo, (who's been an entertaining live sidekick for the singer in recent years) backs her alone, and very tastefully, on 'Amorosa Guajira'. It's a sharp contrast with
the sweeping strings and cooing backing vocals that feature in most of the other lush arrangements, along with plenty of demurely noodling clarinet by Javier Zalba.
Though she's capable of Shirley Bassey-style belters, the focus is on the more intimate aspect of Omara's work, with danzones, boleros, and guajiras dominating the fourteen tracks.
Maybe it's the lack of duets, the absence of the late great Rubén González, the material or its sequencing, but somehow, gorgeous as it is, 'Flor de Amor' isn't quite as memorable as its
predecessor. That said, this is still one of the finest Cuban albums you'll hear this year.
Tracklist :
01 La Sitiera
02 He Perdido Contigo
03 Donde Estabas Tu?
04 Mariposita De Primavera
05 Canta Lo Sentimental
06 Ella Y Yo
07 No Me Vayas A Enganar
08 No Me Llores Mas
09 Veinte Anos
10 El Hombre Que Yo Ame
11 Siempre En Mi Corazon
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http://exportlabel.blogspot.com
http://www.myspace.com/lublossom
Origine du Groupe : Poland
Style : Downtempo , Instrumental
Sortie : 2011
From http://exportlabel.blogspot.com
Blossom, who debuted a few months ago with a remix on Cuefx’s single “Whale”, is introducing his first solo album today. “Blue Balloons” is the result of several months of hard work. The final
product is filled with many downtempo guitar motifs, distinctive complex rhythms and a complementing rich base line. All these sounds are wrapped in the unique aura that makes Blossom’s debut
homogenous and balanced.
“Blue Balloons” has been released in the limited number of 140 items. It can be ordered through exportshop.
Tracklist :
01 169
02 Blue balloons
03 Canvas
04 Double K.
05 Nightbeat
06 Eternaldream
07 Noon's bourg
08 Three isles
09 Road of wind
bonus Cuefx - Whale (Blossom rmx)
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http://nin.com
http://www.nullco.com
Origine du Groupe : North America , U.K
Style : O.S.T , Electronic , Electro , Ambient , IDM
Sortie : 2011
By Justin Gerber from http://consequenceofsound.net
Trailers for David Fincher’s adaptation of The Girl with the Dragon Tattoo present the viewer with a collage of dark images flying at them furiously. There are people hiding in corners and in
plain sight and a frail, young punk fighting, crying, and riding her way through life. There’s blood running down faces and, of course, the snow (all that snow). Tattoo is being marketed as “The
Feel Bad Movie of Christmas,” and if the trailer wasn’t enough to convince a suspicious moviegoer of such a claim, Trent Reznor and Atticus Ross’s score will seal the deal.
It’s a wonder Fincher hadn’t worked with Reznor and Ross on soundtracks prior to their Academy Award-winning score to The Social Network. Fincher did feature a remix of Nine Inch Nails’ “Closer”
during the opening credits to Se7en and directed the video for “Only” a few years ago, but after the Tattoo soundtrack, it’s hard to imagine Fincher going to anyone else from here on out. He’s
found the Herrmann to his Hitchcock, the Williams to his Spielberg. The latest collaboration is an exercise in the kind of deep, dark storytelling both Fincher and Reznor have embraced over the
past 20 years.
Without giving too much away, The Girl with the Dragon Tattoo tells a story of secrets coming to the forefront after years of being kept in the dark. The combination of disturbing truths and lost
innocence is orchestrated brilliantly in the score. Reznor and Ross use chimes that sound as though they’re coming at the listener directly from a child’s music box, only to be underscored with
foreboding synthesizers. “While Waiting” and “Millenia” even feature angelic voices, before the menace creeps in during their conclusions. “The Seconds Drag” incorporates a ticking clock
throughout, with that aforementioned chime and light tap layering over it from moment to moment.
The score isn’t solely for fans of slow tempos, though. Oftentimes, the music revs up in a jarring fashion, a tactic Reznor has used to great effect in other works. “A Thousand Details” begins
with piano, before upbeat rhythms and distortion overtake it completely. “Oraculum” is a flurry of electronic drumbeats that builds and builds until dying out in the end. Beeps and bleeps are
accompanied by slashing guitar noise and synths in “Infiltrator”. It isn’t hard to picture the heroes of the picture finding out the truth or taking action to any of these selections, and it is
here Reznor and Ross find much success. The music paints the picture perfectly.
Two cover songs bookend the nearly three hours of instrumentals. The covers aren’t obvious in any way, with the first a reframing of Led Zeppelin’s “Immigrant Song”. Reznor hands lead vocals not
to a Robert Plant soundalike, but to the Yeah Yeah Yeahs’ Karen O., who is more than up to the task. Her band’s last album placed them in a new direction, so she fits in quite comfortably over
the electrified beats and hard-hitting synths. It’s the second cover, however, that’s truly out of left field. How to Destroy Angels’ cover of Bryan Ferry’s “Is Your Love Strong Enough” is a
complete makeover. Mariqueen Maandig, Reznor’s wife, sings delicate lead before Reznor’s voice makes an appearance near song’s end, without a hint of the 1980s to be found. Whoever predicted a
cover song written for Ridley Scott’s Legend would make its way onto a David Fincher soundtrack, you may collect your winnings.
Reznor and Ross don’t seem interested in creating one piece of music for future play in trailers. The main themes from Superman or Star Wars don’t face competition from a single track here, but
that isn’t the point. The Girl with the Dragon Tattoo is all about mood and atmosphere, and the duo have provided more than enough. Fincher’s film will be criticized for its timing (a highly
successful Swedish adaptation was released only two years ago), but the music truly stands on its own.
Tracklist :
01 – Immigrant Song
02 – She Reminds Me Of You
03 – People Lie All The Time
04 – Pinned And Mounted
05 – Perihelion
06 – What If We Could_
07 – With The Flies
08 – Hidden In Snow
09 – A Thousand Details
10 – One Particular Moment
11 – I Can’t Take It Anymore
12 – How Brittle The Bones
13 – Please Take Your Hand Away
14 – Cut Into Pieces
15 – The Splinter
16 – An Itch
17 – Hypomania
18 – Under The Midnight Sun
19 – Aphelion
20 – You’re Here
21 – The Same As The Others
22 – A Pause For Reflection
23 – While Waiting
24 – The Seconds Drag
25 – Later Into The Night
26 – Parallel Timeline With Alternate Outcome
27 – Another Way Of Caring
28 – A Viable Construct
29 – Revealed In The Thaw
30 – Millennia
31 – We Could Wait Forever
32 – Oraculum
33 – Great Bird Of Prey
34 – The Heretics
35 – A Pair Of Doves
36 – Infiltrator
37 – The Sound Of Forgetting
38 – Of Secrets
39 – Is Your Love Strong Enough
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http://tinavie.ru
http://www.myspace.com/tinaviemusic
Origine du Groupe : Russia
Style : Alternative , Trip Hop
Sortie : 2011
From http://www.farfrommoscow.com
Just as with MyHoliday and InWhite, the matter of goal-oriented enterprise rises to the surface. Either because of Moscow's unforgiving music business or because of more universal, philosophical
issues of time's passage and (vain) human enterprise, one needs a certain degree of faith in order to begin any project. Both time and fickle audiences, however, make self-confidence a rare
quality. The odds are stacked heavily against long-term success.
And so, as a result, even the frontwoman of a gifted, "technically flawless" ensemble falls to extreme self-doubt from the outset. Solutions come from the strangest quarters: "My inherent lack of
confidence has actually taught me over time how to handle things. I can get a handle on my bad habits with auto-suggestion: if you're getting ready to do something then don't doubt yourself. Be
brave, step forth with confidence - as if you weren't gripped with fear! That kind of training will make you stronger."
Valentina Manysheva – vocal, piano, violin, songwriting
Dima Zilpert – guitars, vocal
Dima Losev – electric piano, synthesizers, kalimba, singing bowl, toys, electronics, vocal, handclaps
Dima Frolov – drums
Oleg Mariakhin – saxophones, trumpet, vocoder, handclaps
Nikita Filippov – live sound engineer
Kirill Afonin – bass
Dmitriy Fastunov – cello
Ramil Shamsutdinov – handclaps
Sergey Nebolsin – handclaps
Artem Amatuni – vocal (5)
Tracklist :
01. Changing
02. Breathe Out
03. Wrong
04. Silver Moon
05. Kissed By The Sun
06. Sparks
07. 7778
08. Hidden Place
09. Brave
10. Something New
11. Believe
12. Let It Go
13. That's Why My Heart Feels So Shy
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http://www.thinkcommon.com
http://www.myspace.com/common
Origine du Groupe : North America
Style : Hip Hop
Sortie : 2011
By Marcus J. Moore from http://www.bbc.co.uk
The last time Common led a full-length album, the result was 2008’s Universal Mind Control, a recording so woefully inadequate that many of his fans don't even acknowledge its existence. Rather,
when discussing the MC's robust discography, fans often dismiss the project as a glossy aberration on which the Chicago native trifled with electro-pop and skeletal dance music with dismal
results. Nonetheless, the man born Lonnie Rashid Lynn Jr has made sweeping strides since its release: he's a regular in movies, having appeared in Just Wright and Terminator Salvation, among
other pictures. Common's recent biography, One Day It’ll All Make Sense, generated some decent press, and he’s recited poetry for US President Barack Obama at the White House.
So Common is, today, far removed from his days as a humble backpacker with an overwhelming affinity for jazz breaks and atmospheric soul loops. Life is glamorous, and he appreciates the long
ascension to prominence. At least that's the tone of his new album, The Dreamer/The Believer, on which he merges his raw lyrical roots with No I.D.'s voluminous soundtrack, resulting in a decent
album far more celebratory than his previous work. "Now it’s gold records and I’m on silver screens / At the mountaintop, but still got a dream," he rhymes on the album’s opening song. Still, the
music clearly dominates this set, with thumping, sample-heavy beats that outshine Common’s nostalgic delivery in places.
Elsewhere, he is more festive than usual: the word "b****" is heard more often and he speaks freely about international trysts. On Sweet, Common chastises singing in hip hop although he sang on
Jimi Was a Rock Star, a centrepiece cut from 2002’s Electric Circus. To that end, the MC sounds somewhat conflicted at times, toeing the line between his conscious foundations and his new
lifestyle. That’s not to say he shouldn’t embrace his newfound fame, however. Celebrate, backed by choral moans and a piano sample, sounds like 2005 Common until he rhymes about a night on the
town.
In some ways, The Dreamer/The Believer feels like a concept album, moving fluidly from bright-eyed reflection to despondent conviction, giving it a triumphant feel. Overall, the recording
presents its protagonist as a multifaceted artist, capable of navigating Hollywood and the urban block with comfort, confident enough to enjoy his successes while encouraging his listeners to do
the same.
Tracklist :
1. The Dreamer (featuring Maya Angelou)
2. Ghetto Dreams (featuring Nas)
3. Blue Sky
4. So Sweet
5. Gold
6. Lovin' I Lost
7. Raw (How You Like It)"
8. Cloth
9. Celebrate
10.Windows
11.The Believer (featuring John Legend)
12.Pops Belief
DMCA REQUEST LINK REMOVE
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http://www.myspace.com/planetasia
http://stonesthrow.com/madlib
http://www.myspace.com/madlib
Origine du Groupe : North America
Style : Hip Hop
Sortie : 2011
From http://www.rap-n-blues.com
According to Stones Throw’s 15th year anniversary, Planet Asia links up with Madlib to drop this 6 track Free EP. The project was recorded while Planet Asia was out in Germany and includes a
feature by Retrogott from Cologne-City, Germany.
Tracklist :
01. Double Dutch (Intro)
02. Carrying Crates
03. Masonic Vocals
04. Street Clothes
05. Rap Graffiti
06. Madrid
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http://imperialtigerorchestra.official.fm
http://www.myspace.com/imperialtigerorchestra
Origine du Groupe : Switzerland
Style : Alternative Fusion World Music , World Jazz Groove
Sortie : 2011
From http://absinthemusic.com
Follow-up to 2010's acclaimed EP Addis-Abeba, Mercato is the debut album by Swiss band Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the
Golden Age.
Raphaël Anker, trumpet player from Geneva, one day decides to gather musicians for a live performance revisiting the golden age of Ethiopian music. It's 2007, and the experience is so memorable
that the one shot happening becomes a band: Imperial Tiger Orchestra.
Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop) the Orchestra tests the grounds with an EP and a 7" breaking the
boundaries of genres followed by a trip to Addis-Abeba where they perform with local luminaries and learn about the large diversity of Ethiopian music. A life-changing experience which brings
them back to the studio for their debut album: Mercato.
Overseen with flair by Ethiopian music expert Jeoren Visse, Mercato is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s
and filtered through the eclectic influences of the Orchestra. It's a fascinating retro-futuristic piece of music, close yet totally different from the songs that inspired the band. It's
progressive Ethiopian rock!
Whether saluting Mahmoud Ahmed on "Lale Lale", re-interpretating the classic wedding theme "Shinet", or taking Martha Ashagani's "Zoma" to new heights, the Orchestra always does it with its
unique vision while honoring the Ethiopian originals. Thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas, Mercato explores
multiples paths and never loses its warm groove. A winter Mercato sure to bring fire to stages this summer!
For fans of KOKONO N1, MULATU, MAHMOUD AHMED, ETHIOPIQUES SERIES,...
Tracklist :
1. Yedao
2. Lale Lale
3. Zoma
4. Anchi Bale Game
5. Yefikir Woha Timu
6. Bemgnot Alnorem
7. Shinet
8. Demamaye
9. Tirulegn (feat. Bethelem Dagnachew)
10. Djemeregne (Canblaster Tribal mix)