Voir tous les tags-
http://www.myspace.com/terjerypdalodyssey
Origine du Groupe : Norwegia
Style : Jazz , Electric Jazz , Jazz Rock Progressive
Sortie : 1968
Wikipedia :
Terje Rypdal (born 23 August 1947 in Oslo) is a Norwegian guitarist and composer. Most of his music has been released on albums of the German record label ECM. Rypdal has collaborated both as a
guitarist and as a composer with other ECM artists such as Ketil Bjørnstad and David Darling. Over the years, he has been an important member in the Norwegian jazz community.
Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek's group and later George Russell's sextet and orchestra. An
important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany in 1969, where he was part of a band led by Lester Bowie. During his musical
studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and
classical compositions (some of which do not feature Rypdal's guitar).
His compositions "Last Nite" and "Mystery Man" were featured in the Michael Mann film Heat, and included on the soundtrack of the same name.
Tracklist :
1. Dead Man´s Tale (7:03)
2. Wes (4:15)
3. Winter Serenade (6:04)
a) Falling Snow
b) Snow Storm
c) Melting Snow
4. Bleak House (7:05)
5. Sonority (5:21)
6. A Feeling Of Harmony (2:29)
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Bonobo Live, Paléo Festival Nyon 2011 (concert... par paleo
http://www.myspace.com/sibonobo
Origine du Groupe : U.K
Style : Electro , Electroacoustic , DJ , Trip Hop , Downtempo
Sortie : 2011
Durée : 01:07:30
From http://ninjatune.net
Simon Green was born and grew up in rural Hampshire, escaping to Brighton aged eighteen. There he fell into the jazz/hip hop/funk/soul scene centred around Rob Luis and nights like phonic:hoop.
An accomplished musician as a teenager, he began producing his own tracks, pushing at the template established in the sweaty little venues studding the Lanes.
Green’s first release came on Luis’ label, Tru Thoughts, when his track 'Terrapin' was included on the compilation 'When Shapes Join Together' in 1999. His debut album, 'Animal Magic' followed
the next year, completely self-produced and largely self-played, too. Hailed as one of the “new downtempo pioneers”, Green found himself attracting the attention of other labels and eventually
signed to Ninja Tune.
In 2003 he released his first album for the label, 'Dial ‘M’ For Monkey'. This was a time when Green was also focussing heavily on his DJing, playing banging dancefloor sets of hip hop, funk
and drum & bass up and down the country and across Europe, a period which reached its apogee with the release of the mix album 'Solid Steel: It Came From The Sea'.
'Days To Come' followed in 2006, Green opting for a lusher, more live sound than on his earlier records. To tie in with this musical development, he put together and rehearsed a live band that
could bring the music of his records to life. As a result he has moved from selling out the Luminaire to selling out Koko to selling out Kentish Town Forum and the Roundhouse and producing the
live DVD to prove it. 'Days To Come' also scooped the Gilles Peterson listnerer’s poll for Album of The Year. At the award ceremonies he met the talented UK soul singer Andreya Triana. Not only
did the friendship they struck up result in Andreya’s superb contributions to 'Black Sands' but Si has produced the whole of her solo debut, 'Lost Where I Belong'.
Over the last couple of years, Bonobo has become one of the premier artists on the Ninja Tune imprint and certainly one of the most listened to, with over 16 million plays recorded on LastFM.
His combination of superb live shows and studio wizardry means that he is now perfectly placed to push on into a yet bigger league. With 'Black Sands', Bonobo has made the record to achieve it.
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http://www.vanessadamata.com.br
Origine du Groupe : Brazil
Style : Alternative , World Music , Bossa Nova
Sortie : 2010
By Renato from http://www.miolao.com/blog
É sempre uma alegria quando Vanessa da Mata lança um novo disco. A moça, que se tornou uma
das artistas femininas mais influentes de nossa música na última década, pode inserir novas características ao seu som em cada lançamento, mas nunca perde sua essência e a doçura especial que lhe
é peculiar, além do modo adorável de narrar historietas que só ela tem.
Aparentemente, eu havia me esquecido disso quando ouvi “Bicicletas, bolos e outras alegrias”, seu mais recente álbum nas primeiras vezes. Ansiosíssimo, não agüentei e o baixei antes mesmo dele
chegar às lojas: o problema é que essa afobação, aliada a minha falta de tempo para lhe dar a atenção merecida, fez com que eu tirasse conclusões precipitadas. Julguei que o compacto não era tão
bom quanto outros da cantora, incluindo seu antecessor de estúdio, o fantástico “Sim”. Ainda assim, desejei comprar sua versão física – e foi o que fiz no fim de semana passado.
O trabalho de Vanessa não pode ser levado de forma leviana: merece ser sentido, degustado como um prato saboroso. Ela não é uma artista de PC, cujas canções a gente baixa e escuta enquanto navega
na Internet. Não dá pra tirar conclusões sobre elas sem se envolver, se deixar levar pelo calor e a humanidade presente nas faixas.
Uma vez que você se abre, é envolvido por tanto aprumo e frescor. O disco em questão apresenta alguém disposta a fuçar em seu baú de influências, arriscar ainda mais em sua sonoridade e em sua
forma de compor, transitando entre lamúrios, declarações, cantigas de puro humor e reflexões que chamam nossa atenção para pequenas coisas do cotidiano que são tão valiosas, mas geralmente passam
batidas por nós.
Vanessa parece assumir a voz de diversos personagens para expor esse mosaico, como em “Fiu-Fiu” , onde ela reflete sobre o efeito dos anos em seu corpo, cantadas baratas e a competição existente
entre ela e suas amigas. “Bolsa de Grife” é uma gravação empolgante em que relata a experiência de tentar suprir as carências da vida – sem sucesso – comprando o tal objeto do título, pago a
prestações. Com um coro “ingênuo” e engraçadinho ao fundo, é tão curtinha que automaticamente colocamos no repeat. A faixa que dá nome ao álbum, “Bicicletas, Bolos e Outras Alegrias” flerta com o
frevo e prega que “açúcar e afeto”, contradizendo Chico Buarque, curam desilusões.
A cantora disserta também sobre o amor, tema recorrente em seus compactos – esse, bem como os anteriores, também é repleto de canções sobre o sentimento e seus diversos desdobramentos. “O Tal
Casal”, primeiro single, é permeado de paixão e anuncia o retorno de um parceiro amoroso como o fim de todos os males. Longe de ser a melhor do disco, é uma entre várias que se encaixam na
temática dos relacionamentos, como a quase tecnobrega (!) “Vê Se Fica Bem” e a delicada “Vá”: na primeira, Vanessa decide que não irá mais aceitar ser tratada como amiga pelo seu par, que o faz
mesmo vivendo algo mais ao seu lado, enquanto na outra, nutre forças para não voltar atrás após o termino de uma união.
O ápice do romantismo está na quase melosa demais “Te Amo”: piegas, poderia facilmente estourar nas FMs e “banalizar”, virando o tema de diversos casaizinhos país afora por uma temporada. Mas
existe algo de muito belo em ouvir Vanessa cantando a plenos pulmões o insistente “te amo” do refrão e contando sobre sua vontade de chegar a velhice ao lado de seu amado. Soa tão sincero que,
mesmo achando adocicado demais, não dá pra não considerar no mínimo fofo.
Vale destacar ainda o singelo dueto da cantora e Gilberto Gil em “Quando Amanhecer”: a química entre as duas vozes torna a faixa, intimista e cheia de cumplicidade, perfeita para encerrar um
disco excelente, com ar de grande encontro.
A verdade é que eu citei algumas, mas poderia comentar faixa por faixa de “Bicicletas, Bolos e Outras Alegrias”. Vanessa da Mata nos entrega um trabalho que pode causar estranheza a ouvidos
desprevenidos, mas é coerente a mistura de sons e sensações que ela vem apresentando em sua discografia. A cantora compartilha seu imaginário com identidade própria e nos brinda com esse apanhado
de novas faixas, que remete a aventuras de amor, questões íntimas, brincadeiras de criança e cheira a quitutes de vó, tudo ao mesmo tempo. :)
Tracklist :
1. O Tal Casal
2. Fiu Fiu
3. Te Amo
4. Meu Aniversário
5. Vê se Fica Bem
6. Bolsa de Grife
7. As Palavras
8. Bicicletas, Bolos e Outras Alegrias
9. Vá
10. Moro Longe
11. O Masoquista e o Fugitivo
12. Quando Amanhecer
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http://www.myspace.com/tinariwen
Origine du Groupe : Mali
Style : Blues , Mali Blues
Sortie : 2011Par Benjamin MiniMuM pour http://www.mondomix.com
Les parrains de l'effervescente scène de rock touarègue sont de retour. Tassili, le nouvel album de Tinariwen, leur garantit l'avance qu'ils maintiennent sur les autres adeptes du genre qu'ils
ont largement contribué à créer.
Tassili N’Ajjer est un massif montagneux du sud est algérien où le groupe, au début de sa carrière écrivit quelques unes des chansons qui ont forgé sa réputation. Pour renouer avec l’inspiration
originelle et parce que la zone naturelle des musiciens, située dans le Nord Mali, est interdite à tous ressortissants étrangers, pour cause de présence de groupuscules islamistes, Tinariwen a
choisit la région de Tassili pour installer leur studio mobile.
Enregistré, principalement en acoustique, sous la tente ou le ciel étoilé au milieu du désert, ce disque boisé et chaleureux tient autant du retour aux sources que d'un pas vers des musiques
cousines et de nouveaux publics. Chants traditionnels revisités, anciens morceaux sortis des cantines de bivouac et nouvelles compositions ont donc été captés dans leur environnement naturel de
sable et de roche. Ambiance de veillées mais surtout souffle spontané des voix ; principalement celle du charismatique Ibrahim Al Alhabib ; et les résonnance limpide des cordes, plus
qu’aucun de leurs 4 autres disques Tassili, reproduit fidèlement l’âme libre et poétique de leur musique.
Suite à leur notoriété grandissante, d’importantes tournées à travers le monde et le soutien de célébrités, Tinariwen s’est peu à peu fait une place dans le circuit international du rock
indépendant et y ont noués des amitiés. Ils ont donc convié Tunde Adebimpe et Kyp Malone, respectivement chanteur et guitariste du groupe de Brooklyn TV On The Radio, à rejoindre leur campement
pour sentir les vibrations du désert et enrichir de contre chant pop et d’accords inspirés une bonne moitié des morceaux de cet enregistrement. Après coup, Nels Cline, du groupe de Chicago Wilco
a aussi fait sonné sa guitare sur Imidiwan Ma Tenam et la fanfare de la Nouvelle Orléans The Dirty Dozen Brass Band a posé les résonnances fantomatiques de leurs cuivres sur Ya Messinagh.
Respectueux, ces ajouts extérieurs inattendus n’ont en rien dénaturé le propos de Tinariwen, ils soulignent les liens entre le blues d’Afrique et celui d’Amérique et réaffirment l’universalité de
cette musique.
Tracklist :
01 Imidiwan Ma Tennam 04:40
02 Asuf D Alwa 04:11
03 Tenere Taqqim Tossam 04:13
04 Ya Messinagh 05:29
05 Walla Illa 04:53
06 Tameyawt 04:36
07 Imidiwan Win Sahara 03:44
08 Tamiditin Tan Ufrawan 03:03
09 Aden Osamnat 03:25
10 Tenidagh Hegh Djeredjere 04:36
11 Iswegh Attay 05:36
12 Takkest Tamidaret 04:56
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http://www.theblackkeys.com
http://www.myspace.com/theblackkeys
Origine du Groupe : North America
Style : Alternative Rock , Blues Rock , Psychedelic Rock
Sortie : 2011By Jay Mattson from http://obscuresound.com
The Black Keys kind of lost their edge last year with Brothers. While it was a good album, it didn’t reach the highs and lows that 2008’s Attack & Release or even 2006’s Magic Potion could
hit. Instead, it opted to swim around and explore an odd middle ground. It was a good experiment, probably one they created to to see what they could do in that spectrum. This year, The Black
Keys return to form with El Camino. This album presents everything Dan Auerbach and Patrick Carney have built as The Black Keys, just exemplified more; the blues are bluesier, the guitar solos
are more energetic, the minimalism is more precise, and the lyrics are more carefully chosen. El Camino is greater than the sum of its parts.
Just a few weeks ago, the video for “Lonely Boy”, the first single and album opener, went viral. The band’s penchant for creating a world-slightly-warped is obvious, as the video features a
nameless black fellow dancing along with the track as he obviously reads the lyrics from off-camera cue cards. And while the video inspired quite a few laughs, it was truly the music that created
a new momentum not achieved by the band since 2008. With Auerbach’s howling voice and Carney beating his drums senseless, the band finds the energy that radiated off of 2003’s Thickfreakness.
Beyond the first single, Auerbach and Carney showcase a creative explosion that came together as El Camino; it’s an album that feels like the next step in the Black Keys’ growth as a band, while
still paying homage to their already diverse discography. This is most apparent on “Little Black Submarines”, a song nearly as double-sided as the entire album. The first half saunters about with
a simple acoustic/tambourine melody that would be a fantastic song if stretched to a full four minutes. As it were, the two-minute mark sends the band into one of the heaviest, most powerful
riffs I’ve ever heard.
“Dead and Gone” and “Gold on the Ceiling” evokes a Magic Potion-era sound, heavier on the distortion and murky guitar work overlaid with multi-track vocals. The latter could be the spiritual
successor to “Your Touch”, a song that the Keys have lent out to a plethora of worthy other media.
Taking a loftier approach, “Money Maker” is a comeback for the Rubber Factory sound, one that included more than the guitar/drum combo most prevalent on Keys recordings. And while there doesn’t
seem to be even a third instrument, this band has always been able to create a larger-than-life sound with six strings and some drums. Such is not the case on the disappointing “Sister”, a song
that sounds half-baked and skeleton-like. It’s not much in the way of a meaty instrumental or vocal work, sounding as if the group is reaching a little too hard for an accessible hit. The track
does eventually find a satisfactory groove, but it still sounds too hollow and repetitive. This and the generic “Stop Stop”, which sounds too much like a Gnarls Barkley production, are rare
missteps on an otherwise excellent album.
Sort of a “Lonely Boy” 2.0, “Hell of a Season” entertains a similar song structure and melody while taking a much more melancholy approach to the chords. It’s darker, more slippery, and sultrier
than “Lonely Boy”, but trades the former’s infectious energy to attain those characteristics. “Nova Baby” recalls the Keys’ love of Buddy Holly, as evidenced by their cover of “Dearest” for Rave
On Buddy Holly!, with a jaunty melody that’s smoothed over to emulate the feeling of a late-‘50s recording.
The album closes with “Mind Eraser”, a fine track that finds the Keys exploring their soulful side. While soul has always been one of their influences, “Mind Eraser” sounds more akin to a Sharon
Jones track than anything from Brothers or Attack & Release.
The Black Keys are an exceptional band that continually release quality material. Many bands and artists over the past ten years have found it increasingly difficult to adapt and grow without
losing their original appeal. Auerbach and Carney have found a formula (and producer in Danger Mouse) that works for them. The continuous fruits of that formula are evident in each new release.
El Camino is by far the best Black Keys album in the past five years, and possibly their best to date.
Tracklist :
01 – Lonely Boy
02 – Dead And Gone
03 – Gold On The Ceiling
04 – Little Black Submarines
05 – Money Maker
06 – Run Right Back
07 – Sister
08 – Hell Of A Season
09 – Stop Stop
10 – Nova Baby
11 – Mind Eraser
LINK REMOVE DMCA REQUEST
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http://fr.wikipedia.org/wiki/The_Aggrovators
Origine du Groupe : Jamaica
Style : Dub , Reggae
Sortie : 1978Wikipedia :
The Aggrovators were a dub/reggae backing band in the 1970s & 1980s, and one of the main session bands of producer, Bunny Lee. The line-up varied, with Lee using the name for whichever set of
musicians he was using at any time.[1][2] The band's name derived from the record shop that Lee had run in the late 1960s, Agro Sounds.[1] Alumni of the band included many musicians who later
went to make names for themselves in reggae music. Legends such as Jackie Mittoo, Sly and Robbie, Tommy McCook, and Aston Barrett were all involved with the band at one point or another. Other
regular members included Carlton "Santa" Davis, Earl "Chinna" Smith, Ansel Collins, Bernard "Touter" Harvey, Tony Chin, Bobby Ellis, and Vin Gordon.[1] The band recorded Lee's most popular output
from the 1970s, with the instrumental b-sides of Lee's single releases on the Jackpot and Justice labels generally credited to The Aggrovators and mixed by King Tubby.
Tracklist :
01. No bribe 3:44
02. Jammie in the arena 3:25
03. Black trap 3:06
04. The big apple 3:32
05. Rough voyage 4:37
06. Uhro express 4:16
07. King forever 3:30
08. Tiger dub 3:15
09. Mystic feeling 2:19
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http://www.myspace.com/interfacedub
http://soundcloud.com/1terface
Origine du Groupe : France
Style : Electro Dub
Sortie : 2011Official Myspace :
Né en 2009, d'un featuring entre deux dubbers dijonnais ayant décidé de prolonger l'aventure, le projet Interface a pour but de faire partager la vision musicale de ses créateurs, pour vous
emmener dans leurs univers sonores, leurs bidouillages électroniques, leurs ambiances chimériques, leurs délires psychotiques.....
Pour celà, Full Dub et Mozaika Dub Core vous proposent un subtil mélange de sons synthétiques, d'échantillons sonores torturés et d'instruments samplés par leurs soins regroupés au sein de leurs
live-sets hypnotisants.
Tracklist :
01 - Moon Trees
02 - Glowing Toad
03 - Deuterium
04 - Diver-city
05 - Geometrie Spherique
06 - Mayd Face (feat. Mayd Hubb)FREE DOWNLOAD FROM NETLABEL hiqdubCC BY-NC-ND
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http://www.myspace.com/breakscoop
Origine du Groupe : New Zealand
Style : Electro , Electronic
Sortie : 1997Wikipedia :
Breaks Co-op is a New Zealand band, formed in 1997, first through music company FMR and more recently with EMI.
The band members are Andy Lovegrove, Zane Lowe, and Hamish Clark.
Lowe and Clark formed Breaks Co-Op in Auckland, releasing the electronic album Roofers in 1997 before they both left New Zealand to travel and pursue other interests. They ended up in the UK,
where Lowe has become a hugely successful radio DJ and TV presenter.
After several years hiatus, Lowe and Clark eventually started working on new material in 2004, recruiting Andy Lovegrove from artist/producers The Away Team after hearing a vocal demo.
Released in 2005 in New Zealand, The Sound Inside was a double-platinum selling hit, with lead single "The Otherside" the No.1 airplay hit of 2005 and winner of Song Of The Year at the NZ Music
Awards.
The Co-op toured extensively and relocated to the UK, where their album was released by Parlophone.
The live lineup is Lovegrove on lead vocals and guitar; Rodney Fisher on vocals, lead guitar, mandolin and percussion; Rio Hemopo on bass and vocals; Tom Atkinson on drums; and Clark on
turntables, samples, and vocals.
The song "The Otherside" is featured in the Season One Brothers & Sisters episode "Valentine's Day Massacre". The song "Transister" from the album "Roofers" features New Zealand musician
Jordan Reyne as guest vocalist / lyricist.
Tracklist :
01 - Looking Forward
02 - To Faraway Lands featuring DJ Manuel Bundy
03 - Sound Advice
04 - Perpetual Breath
05 - Let Your Hair Down
06 - Solids
07 - Unfettered Mind
08 - Live At The Lister
09 - Charging The Depth featuring Nick Atkinson (piano)
10 - Such The Spot featuring Nick Atkinson (saxophone)
11 - Transister featuring Jordan Reyne
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http://www.myspace.com/susheela.raman
Origine du Groupe : India , U.K
Style : World Music
Sortie : 2001Par Pachouille pour http://www.dmute.net
Nouvelle sur la scène indo-pakistanaise britannique, Susheela Raman nous offre avec Salt Rain douze petites perles originelles. Mélangeant parfaitement la musique traditionnelle indienne et la
musique occidentale, la "Tina Turner indienne" propose un voyage inter-culturel. Passant par des textes écrits en anglais mais aussi en sanscrit, tout y est parfait. Un disque enchanteur.
Tracklist :
1. Ganapati
2. Maya
3. Mamavatu
4. Woman
5. Mahima
6. Trust In Me
7. Bolo Bolo
8. Salt Rain
9. Kamakshi
10. Nagumomo
11. O Rama
12. Song To The Siren
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http://www.myspace.com/kingtubbydub
http://en.wikipedia.org/wiki/King_Tubby
http://en.wikipedia.org/wiki/The_Aggrovators
Origine du Groupe : Jamaica
Style : Dub , Reggae
Sortie : 1975
Wikipedia :
Osbourne Ruddock, alias King Tubby, est un ingénieur du son et producteur jamaïcain originaire de Kingston. Né le 28 janvier 1941 il est assassiné le 6 février 1989 par un tueur anonyme, dont
l'unique motivation semblait se limiter au vol de son argent, de son revolver et de sa chaîne en or, dans son studio à Kingston.
On dit souvent que Tubby est à l'origine du Dub, car c'est lui le premier à avoir compris le potentiel du jeu avec les différentes pistes d'un enregistrement. Il est à l'origine de la plupart des
techniques de production du dub que sont les effets qui caractérisent le style. On peut ainsi dire qu'il est l'inventeur du remix, avec cette manière de re-travailler la matière brute, de la
re-composer, ce qui a ouvert la voie à une multitude de genre de musique électronique.
Recording Engineer : Sid Bucknor & Sylvan Morris
Mixing Engineer : King Tubby & Prince Jammy & Professor
Producer : Bunny Lee
Backing Band : The Aggrovators
Drums : Sly Dunbar
Bass : Robbie Shakespeare
Studios :
Recording : Channel One (Kingston, JA)
Mixing : King Tubby's (Kingston, JA)
Tracklist :
01. natty dub 02:31
02. lee's dub 02:42
03. wonder why dub 02:38
04. im gone dub 02:53
05. country boy dub 02:54
06. true believer dub 02:44
07. care free dub 02:46
08. rasta train dub 02:38
09. move out of babylon dub 02:58
10. give the little man a great big hand dub 02:45
11. feel so good dub 02:42
12. for the rest of my life dub 02:41
13. when will i find my way dub 02:54
14. im leaving dub 02:41
15. feel lost dub 01:53
16. dawn dub 02:25
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