http://www.djfrenic.com

http://www.myspace.com/djfrenic

http://dustedwax.org

Origine du Groupe : U.K

Style : Electro Jazz , Future Jazz

Sortie : 2011

 

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From http://dustedwax.org



Frenic has brought together his love of hip-hop and emotive soulful music to create a wonderfully rich throwback sound,

combining moving funky samples, head-nodding drums and slashing turntable cuts.





Tracklist :    

1. Phonographic introduction

2. Alright

3. Everything electric

4. Things get better

5. You are the bomb

6. Echos in India

7. Long misty blue

FREE DOWNLOAD FROM NETLABEL

(cc) by-nc-nd

http://www.mayasolovey.com

http://www.myspace.com/mayasolovey

Origine du Groupe : North America

Style : Folk , Indie , Bossa Nova , Alternative

Sortie : 2011

 

From http://mayasolovey.bandcamp.com



    "Here's a rarity: An original voice who really is original! Drawing inspiration from all over the map, Maya Solovéy has developed a deep, enchanting sound that's unlike
anything else out there right now."

    -- Tom Moon, music journalist for NPR, Philadelphia Enquirer, and author of 1000 Recordings To Hear Before You Die.



    "Maya Solovéy is an exceptional songwriter, possessed of a voice that is haunting, soothing, and erotic all at the same time. Her music, I'm sure, will change the world."

    --Bassy Bob Brockmann, Multiple Grammy winning producer/mixer





    On her self titled debut album, I:II, Maya has merged the acoustic/folk songwriting tradition into the territories of pop, bossa nova, and even the high drama of cinematic
scoring. Her music is a surprising, yet rational marriage between all these cultures--she sings in Portuguese, Spanish and her native English tongue. As a trilingual songwriter, Maya has trained
herself in the art of honesty. She recognizes that certain emotions travel through lyrics that could only work sincerely in Spanish, Portuguese, or English because they fit into the languages’
cultural continuum and poetic tradition. Remarkably, Maya is able to successfully guide her different cultural influences and musical perspectives into a refined and studied genre of her own
making.





credits



    Maya Solovéy- Songwriter, vocals, 7-string guitar, piano, arrangements, scoring, claps

    Eric Maltz- songwriting, keyboards, vocals, and production on "Ring Ring Ring"

    Timo Ellis- Ukelele

    "Bassy" Bob Brockmann- trumpet, flugel horn

    Robert "Chicken" Burke, additional production, drums

    Jane Scarpantoni, cello, cello arrangement on "Tonight"

    Erik Friedlander, cello

    Tracey Bonham- violin

    Fred Cash- electric bass

    Todd Sickafoose- upright bass

    Naren Rauch- electric and acoustic guitars, e-bow

    Adam Widoff- guitar

    Bashiri Johnson, percussion

    Alex Alexander- drums, percussion, claps

    Glen Grossman- claps

    Eric Gorman- drums

    Clark Gayton- trombone

    Jim Mcelwaine- bass clarinet

    Paul Shapiro- flute, clarinet, tenor sax





Produced by Maya Solovéy and Bassy Bob Brockmann.

Recorded by Bassy Bob Brockmann, Brooklyn, NY

Assistant engineering by Jonathan C. Vergara

Dreamgirls, Touch, The Most, and American Song recorded at The Chapel, Bearsville, NY, with Robert "Chicken" Burke.

Mixed by Bassy Bob Brockmann

Mastered by Ted Jensen at Sterling Sound, NY, NY

Tracklist :    

1.Ring Ring Ring (featuring Eric Maltz) 03:06    

2.A Escultura 04:34    

3.Dreamgirls 03:21    

4.Touch 04:15    

5.Eu Vi 04:10

6.The Most 02:19    

7.Tonight 03:47    

8.Na Distante 03:48    

9.Como Yo Lloro Por Ti 03:16    

10.A Vida 01:56    

11.American Song 03:04    

12.Madreselva 05:10

BUY NOW NAME YOUR
PRICE

http://www.myspace.com/diplo

Origine du Groupe : North America

Style : DJ , Mix , Beat , Psych Funk

Sortie : 2004

From http://www.undergroundhiphop.com



Nearly five years after its release, the mind-bending AEIOU 2 mix from Hollertronix co-founder Diplo and Philly record hoarder Tony Tripledouble is back in print as part of Money Studies' new
Lost Masters reissue series. Originally self-released on CDR in an edition of less than 500 (plus a handful of cassettes), AEIOU 2 features over an hour of the finest and rarest breaks drawn from
Diplo & Tripledouble's extensive collections of psych, funk and obscure soundtracks. Some of the breaks in this mix have since gone on to achieve classic status - now hear how Diplo &
Triple flipped 'em first (and best).





Tracklist :

01 Time

02 To

03 Play

04 Music!

05 Aeiou

06 Volume 2

07 A

08 New

09 Approach

10 To

11 Record

12 Inprovisation

http://www.myspace.com/zaramcfarlane

Origine du Groupe : U.K

Style : Jazz

Sortie : 2011

By Zach Cole from http://potholesinmyblog.com



trans Zara McFarlane Until TomorrowWe’ll get the obvious out of the way right off the bat. Zara McFarlane’s Until Tomorrow is a deliberately retro exercise in jazz vocals, and an remarkably
well-executed one at that. Externally, the album art nods not-so-subtly to late-50’s Ella Fitzgerald, so it’s quite fitting that the opening jazz ballad, “More Than Mine” dates right back to that
era as well. However, it’s not merely McFarlane’s ability to recall her predecessors with striking accuracy that gives Until Tomorrow its backbone, but it’s the balance with which the album pools
various musical stylings together without once sounding jumbled or confused.



Until Tomorrow weaves between slinky swing tracks, be-bop and smooth ballads, while tossing around various instruments all the while. Many tracks are primarily piano-backed and barely whisked
with light percussion, which fits Zara’s warm vocals well. It’s on these tracks that listeners might be reminded of Brownswood contemporary Jose James. Other tracks are less structured, orienting
themselves around the freewheeling and experimental side of jazz. The standout track, “Feed the Spirit (The Children and Warlock) is a bass-heavy affair that has Zara doing her best Yukimi Nagano
for the first half, while the latter lets loose into an all out Coltrane mish-mash. It’s unorganized, unpredictable, and altogether satisfying. Meanwhile, the title track provides welcome
contrast as it is almost lullaby-worthy.



The album’s ability to pass between various sub-genres of jazz is impressive, but make no mistake – this is Zara’s stage from the very first note. Her vocals command your attention, not in the
Alicia-Keys-gonna-kill-my-vocal-chords way, but simply because she is able to gently exude deep emotion with each word. She has a profound discourse on the life of relationships and love, which
granted is not the most original of all topics, but Zara performs her songs with a level of authenticity that is not easily (or often) replicated.



In case there was any doubt about it before, this album just cements the fact that Brownswood, along with Tru Thoughts and a handful of others, stand steadily at the forefront of modern jazz. But
it should come as no surprise. With new artists like Zara McFarlane in the roster, this is an exciting time for the UK jazz scene with fresh voices emerging each year. Until Tomorrow is a
fascinating listen that at once hints at the past and the future simultaneously.

Tracklist :

01 More Than Mine 04:51

02 Captured (part 3) 04:17

03 Mama Done 03:45

04 Until Tomorrow 05:12

05 Blossom Tree 04:03

06 Feed the Spirit (The Children and the Warlock) 05:13

07 Waking Sleep (Thoughts) 02:36

08 Chiaroscuro 04:49

09 Desire 04:08

10 More Than Mine (alternate take) 04:41

http://www.wulyf.org

Origine du Groupe : North America

Style : Alternative Rock , Progressive Rock

Sortie : 2011

Par Laurent pour http://mescritiques.be



On va tout de suite se calmer. Dans une première moitié de 2011 qui proclame davantage la bonne forme des talents confirmés qu’elle ne révèle de nouvelles têtes essentielles, le premier album de
Wu Lyf était attendu comme le messie par une horde de zombies en manque de chair fraîche et prêts à enfoncer des portes (ouvertes) au premier murmure de la hype. Ça, pour sûr, l’énigmatique
groupe anglais a su faire le buzz avec une stratégie marketing vieille comme Mylène Farmer : le silence radio. Ce serait, malgré tout, oublier un peu vite les démos découvertes l’an dernier,
suffisamment hétéroclites et fascinantes pour nourrir les plus grands fantasmes à l’égard de Wu Lyf, à l’acronyme déjà intrigant : « World Unite Lucifer Youth Foundation ».



Tout ça pour ça, serait-on tenté de dire aujourd’hui. Quel intérêt sur le long terme le quartette peut-il en effet retirer de cette publicité qui, volontaire ou non, n’en demeure pas moins
mensongère ? Comment ne pas se dire, dès la première écoute de “Go Tell Fire to the Mountain”, que le groupe n’est pas (encore) à la hauteur de sa (non-)réputation ? Certes, la visibilité est un
luxe que tous les artistes ne peuvent pas se payer, et la traînée de poudre qui a révélé Wu Lyf leur a sans doute rendu ce service en les plaçant sous les projecteurs alors même qu’ils n’avaient
rien à montrer. Cela étant, ces gars vont désormais devoir composer avec la méfiance de ceux qui, comme ici, risquent de les blâmer d’avoir été autant surestimés.



Bien sûr, le soutien que leur apporteront certains, qui se donnent tant de mal pour avoir raison avant tout le monde (voir la couverture très prévisible des Inrocks), maintiendra quelque temps
l’illusion. Mais on ne va tout de même pas se forcer à entendre sur ce disque la flamme de génie qu’on n’y entend pas. C’est d’autant plus regrettable qu’en réalité, “Go Tell Fire to the
Mountain” est... un sacré bon album ! Seulement, en fait de fusion improbable entre les genres, d’un œcuménisme qui aurait érigé Wu Lyf en grand combo générationnel et universel, on a ni plus ni
moins affaire ici à du chouette rock crypto-sataniste, volcanique en effet dans sa façon de charrier une constante odeur de soufre annonciatrice du feu. Comme le résume très bien le dernier titre
du disque : Heavy Pop.



L’identité des Mancuniens, c’est d’abord la voix lycanthrope de leur chanteur Ellery Roberts, en éructation ininterrompue pendant trois quarts d’heure ; c’est aussi, évidemment, le facteur
discriminatoire essentiel de l’adhésion à cette musique chargée, qui évoque des Crystal Antlers en pleine transe incantatoire avant le sacrifice humain. On pense aussi aux chantres du rock
inquiétant tels que Current 93, en général sur la première moitié de chaque chanson, puisque presque toutes sont construites sur le même schéma de montée fiévreuse avant l’inévitable éruption. Et
là, la comparaison qui revient le plus immanquablement à l’oreille, ce sont les Foals, pour le sens rythmique envoûtant et cette manie de faire sonner les guitares comme des brise-lames (de
rasoir).



Bref, rien de fondamentalement inédit ici, quand bien même Wu Lyf n’a rien non plus du groupe baudruche qui s’évaporera comme il est venu. Se détachant du lot, d’excellents titres comme le
limpide Concrete Gold, le troublant Dirt ou l’impeccable Cave Song – de loin le meilleur de l’album – prouvent que la formation, après s’être longtemps tue pour être sûre qu’on l’entende, a bel
et bien des choses à dire. Pas de quoi fouetter un chat, se convertir à une secte ou sacrer Wu Lyf révélation de l’année. Mais en faisant abstraction ou, du moins, en exorcisant par la catharsis
cette sensation d’avoir été floué par les apôtres de la hype, on peut légitimement apprécier – j’allais dire « en toute sérénité »... or voilà bien un mot à bannir définitivement du lexique
musical en présence – cet album urgent, exténuant aussi, mais prometteur à défaut d’être incroyable.

Tracklist :

01. L Y F

02. Cave song

03. Such a sad puppy dog

04. Summas bliss

05. We bros

06. Spitting blood

07. Dirt

08. Concrete gold

09. 14 Crowns for me & your friends

10. Heavy pop

http://www2.o-bb.net

http://www.myspace.com/antennasia

Origine du Groupe : Japan

Style : Trip Hop , Downtempo , Electronic , JPop

Sortie : 2002

Par Guillaume pour http://www.dmute.net



Le dernier disque recensé des nippons d'Antennasia, riche de vertus évidentes, mérite de toucher les oreilles éveillées de la planète entière... Mais en attendant que les faveurs de la hype
s'attarde sur leur dernier album, un Phased passé injustement inaperçu en France, on se réservera l’observation de l’univers du tandem San & Nerve , les faveurs de leur trip-hop matiné de
dub.



Pour donner un aperçu des qualités de Phased, on écoutera d’abord Emotion, la première véritable chanson de l’album, qui nous introduit doucement vers des climats contemplatifs, apaisés et
lumineux. Bercé d’échos et de reverb évanescente, l’auditeur est rapidement entraîné à l’abandon par les vocaux languissants de San. Le radieux Mamma, mama prolonge ensuite cette douce torpeur,
et révèle au passage l’idéale symbiose des talents des deux partenaires. On ne saurait imaginer meilleur écrin pour les mirages du chant de San que cette composition à la basse binaire, aux
accords hypnotiques, tout en séduction zen.



Au tour d'Urban lullaby, sur un tempo callé à 77 bpm et un sample de piano de Bugge Wesseltoft, de captiver par les poses lascives de San. Puis après Frozen qui s’inscrit dans ce même son
distingué voire sophistiqué, c'est Fat Noise GospelKimono qui clôt ce disque de façon ravissante.



Entre esthétique sonore moderne des rythmiques ciselées et mélodies pop, l'impeccable Phased est d’une fraîcheur salvatrice, un oasis de sérénité pour citadins speedés, vers lequel on se tournera
pour retrouver le juste biorythme.

Tracklist :

01 - Intro

02 - Emotion

03 - Mamma,Mamma

04 - Interlude

05 - Urban Lullaby

06 - Dub Handles

07 - Frozen

08 - Interlude#2

09 - Inside or Outside

10 - Morning Cafe

11 - (Sans titre)

12 - Kimono

http://davemasonmusic.com

http://www.myspace.com/thedavemason

Origine du Groupe : U.K

Style : Progressive Rock , Pop Rock

Sortie : 1977

By Brett Simpson from http://www.amazon.com



This was the album that nearly made Mason an outright star. It still didn't quite happen, but it definitely should have. The three charting singles - "So High", the title cut and "We Just
Disagree" (His only major hit) are all highlights, but you can get all of those on "Long Lost Friend". The remainder of the material, particularly the self-penned songs are just as strong and
make this one of his best efforts - not quite up to the all-conquering power of "Alone Together" but pretty close.



It is a softer album, with a lot of accoustic guitars, and fantastic vocal harmonies, but it also has a lot of energy and passion. Mason's skills as a singer, writer and guitarist are too often
overlooked, so don't let his undeservedly low profile keep you from discovering some of the finest pop/rock of the 70s.

Tracklist :

1. So High (Rock Me Baby And Roll Me Away) (Mentor Williams, Jack Conrad)

2. We Just Disagree (Jim Krueger)

3. Mystic Traveler (Dave Mason)

4. Spend Your Life With Me (Angeleen Gagliano)

5. Takin’ The Time To Find (Dave Mason)

6. Let It Go, Let It Flow (Dave Mason)

7. Then It’s Alright (Dave Mason)

8. Seasons (Angeleen Gagliano)

9. You Just Have To Wait Now (Dave Mason)

10.What Do We Got Here? (Jim Krueger)

http://www.suncitygirls.com

http://www.myspace.com/suncitygirls

Origine du Groupe : North America

Style : Rock , Experimental Rock

Sortie : 2008

From Official Site :



Recorded in July of 1988 during the sessions that produced Sun City Girl's most popular recording, these nine tracks represent the other half of songs which were originally prepared as a 2-LP
demo version of 'Torch of the Mystics' for Placebo Records in 1989. The sequencing of all 20 tracks at the time was entirely different with the predominately instrumental tracks in this
collection mixed in and around the mostly vocal tracks of what became 'Torch'. Placebo went out of business shortly after this proposed 2-LP idea was presented to them but Majora Records quickly
stepped-in to begin releasing most of the material. Included here are 5 tracks from early Majora singles: '100 Pounds of Black Olives' and 'The Fine-Tuned Machines of Lemuria' (the complete
unreleased 12 minute version) from the single 'You're Never Alone with a Cigarette' and all three tracks from Record #1 of the double seven-inch 'Three Fake Female Orgasms' --'Plaster Cupids
Falling from the Ceiling', 'The Beauty of Benghazi', and 'Souvenirs from Jangare'. The short piece 'Harmful Little Armful' is from the triple seven-inch box set 'Bruce Lee, Heroin, and the Punk
Scene' (from a Bay Area label-'Massacre at Central High') and rounding out the set are 3 unreleased studio tracks recorded the same day as much of the 'Torch' LP: never before heard versions of
'Amazon One', 'Sev Acher', and 'Wild World of Animals'. This is the first of a multi-volume set of reissued singles, compilation, and unreleased tracks to be assembled and sequenced to play as
full-length records. Vinyl editions may also appear in time.

Tracklist :

1 - 100 Pounds of Black Olives

2 - Sev Acher

3 - Souvenirs from Jangare

4 - Plaster Cupids Falling from the Ceiling

5 - Amazon One

6 - The Beauty of Benghazi

7 - Wild World of Animals

8 - Harmful Little Armful (For Will Shatter)

9 - The Fine-Tuned Machines of Lemuria

http://www.yonderboi.com

http://www.myspace.com/yonderboi

Origine du Groupe : Hongria

Style : Electro , Trip Hop

Sortie : 2011

http://onmumusic.com

http://www.myspace.com/djukeobbo

http://www.myspace.com/ondavis

http://livewiredmusic.org

Origine du Groupe : North America

Style : Afrobeat , Afro Jazz , Free Jazz

Sortie : 2009

From http://www.rockpaperscissors.biz



Musical Nomads Taking Root: Guitarist On Ka’a Davis Builds a Home for Deep Black Grooves that Lead from Jazz Abstraction to Afrobeat



An incessant pulse runs through the African diaspora; it’s the beat that tears the roof off the cerebral avant garde. Classically trained experimental guitarist On Ka’a Davis discovered it while
squatting in the once derelict tenements of the Lower East Side. Davis and his Famous Original Djuke Music Players take this pulse on Seeds of Djuke (LiveWired Music; released April 21, 2009) and
retrace the long-lost taproot of a future music.



“The very first time I saw Sun Ra and his Arkestra was in Central Park,” Davis recalls. “They walked through the crowds, passing right by me. They were all wearing Egyptian make-up on their faces
and I thought, ‘This is the Blackest band I have ever seen in my life. This is Deep Nubian music.’” Two years after this revelation, Davis was playing in the Arkestra himself, living in the
communal setting in Philadelphia that was the social basis for Sun Ra’s group.



Davis traveled far to reach deep: from the R&B and prog rock grooves of his childhood home in Cleveland to the rigorous classical guitar training at Vienna’s Hochschule für Darstellende
Kunst, to the rollicking Roma riffs of the Austrian streets. There, he saw the ripple effect of jazz in a whole new light, discovering the bebop solos of Charlie Parker, the European classical
gestures of Keith Jarrett, the worldly improvisation of John McLaughlin. Busking alongside Roma musicians for pocket money, Davis experienced the “subset culture” of gypsy life, a world that
caused him to reflect on his own complex African American heritage.



Davis eventually wound up on New York’s Lower East Side, where he played for punks in the squatter revolution that transformed the neighborhood in the 1980s. The squatters’ battle to reclaim the
derelict shells of Lower Manhattan had its sonic side, with a groundbreaking (and regulation-defining) micro-broadcasting radio station and infamous shows in myriad basements. It was in the squat
that the outlines of what Davis calls djuke emerged, a music that draws on everything from Afrobeat sensibilities to Spanish classical guitar to space culture.



“The first idea for my music came out of basement rehearsing,” says Davis. “Our building on 13th Street hosted a lot of ‘Squat or Rot’ parties, and all the punks would come. That was the first
beginnings of the music, and ‘I Stayed Cool,’ for example, is an original tune, a Malian blues kind of thing, that survived from my band rehearsals in the squat. Some of the point of view I
express in my music has been tempered by my experience of being in a squat, by my need to express socially conscious ideals.”



As a musical squatter, Davis bivouacked wherever he went, but with djuke, he found an essence beyond genre, the Deep Blackness that united Sun Ra’s remapping of ancient Egyptian culture and
cosmic interpretation of Dogon legends of African space travel with Fela’s defiant poetics and rhythmic discipline.



It powers Davis’ perception of pulse-beat, a call to movement and rhythm that defies genre while defining it. “People learn to identify the beat of a music by genre, by namesake, a reggae
nyabinghi beat, or a mambo, or a rock beat,” Davis explains. “The idea of pulse-beat goes beyond that. It gives me the opportunity to create dance rhythms based on pulsations and the freedom to
work with rhythms that are overlapping, elliptic rhythms if you will, with 3 over 5.” The many shades of the pulse-beat shine on “Yea Yea!” and “No! No Go For It!” — setting  what Davis
calls the “rhythmic cornerstones” of djuke.



Rhythm, for Davis, is about more than percussion; it is rooted in traditions like the “two-guitar” approach in R & B, when the guitars have a rhythmic as well as a melodic mission. This
approach dominates tracks like “Voodoo Ultralux,” where rhythmic parts combine in a fugue that “flows in and out like ocean waves.”



Deep Blackness inspires Davis’ quirky use of English, a personal pidgin and shout-out to Fela’s linguistic medium and message. "By altering the language, I can make it fit phrasing and rhythmic
schemes differently,” Davis notes. “That’s one thing I noticed about Fela's music. The language itself presupposes the rhythmic values of the music. You cannot get the same things in straight
English that you get with a patois.”



The power of patois is in full force on “Ain’t Nobody Teach Nobody Nothin’!” where the message has been transformed into a rhythmic statement that throws meaning in a new light. “I wanted to bend
it a certain way to force people to relate to the music divorced from any ownership of a high-brow identity,” Davis explains, “where everything is neatly said and nicely said and well understood.
I wanted people to have to think about what the words mean."



Deep Blackness is also why Davis adopts a more theatrical stage persona, inspired more by Hendrix or P-Funk than by the tennis shoes and black jeans of the New York experimental music scene. “Les
Paul, in his first efforts, took his electric guitar to a club to demonstrate. It was a block of wood with a guitar neck attached. Nobody was interested. They laughed at it,” Davis recounts. “He
realized if it looked more like a guitar, people would accept it better. So he built his next model with the outside shape of a guitar. He realized that people see the music first before they
hear it.”



Music’s impact on the eyes brought to mind the flamboyance that African American musicians had long employed to heighten their musical presence, a physicality often missing from the musical
avant-garde. “Having a style, a personality on stage has always been a tradition in Black music. It’s always been that either you dressed up looking sharp or you had some kind of atmosphere you
create with your look. I’d like to re-identify with that. It would help the music a lot.”



Reuniting body and soul with the fringe of sonic possibility lies at the heart of djuke, and Davis is building a new music with Seeds of Djuke, drafting “blueprints for future designs in the
music, whether it be harmonic or rhythmic schemes or both.” It brings the beat back to free jazz, getting listeners out on the dance floor. It creates avant-garde music that makes you “pat your
foot, snap your fingers,” Davis laughs, “makes you jump and dance around.”



“Jazz music is the ability to integrate music and dance,” Davis muses. “Charlie Parker recognized that. If I am using elements of the abstract, then the music has to be centered in the
round.”

Tracklist :

1. ...Speaking of You   

2. Yea! Yea!   

3. No! No Go for It!    

4. Ain't Nobody Teach Nobody Nothin'!   

5. Voodoo Ultralux   

6. There, In Theatre    

7. Return-Send    

8. Splendor    

9. Zero, Zero    

10. I Ain't Scared   

11. Na Na Not Me!   

12. Ain't Nobody Teach... (Reprise)

13. Put It To It   

14. We've Been Observing You   

15. I Stayed Cool   

16. Djuke No Go Die   

17. Stars At On