http://www.fzm.fr/molodoi

http://www.myspace.com/ltdmolodoi

Origine du Groupe : France

Style : Punk , Rock , Ska

Sortie : 1999

Molodoï est un groupe punk formé en septembre 1990 par François (Berurier Noir) au chant, Nanouche à la basse et à la boite à rythme et Spirou (Charge 69, Witotos) à la guitare.

Le mot Molodoï est inspiré du film de Stanley Kubrick "Orange Mechanic" et signifie "jeunesse" en russe.



En 1990, le groupe sort le 45 tours On est là sur le label "Division Nada" fondé par François quelques temps plus tot et qui est sous la tutelle du label "New Rose" créé par Patrick Mathé
(harmoniciste du morceau "Bonze Déchu"). Le groupe recrute Pascal Kung-Fou au saxophone (Berurier Noir) et enregistre le premier album de 13 titres Irrécupérables (Pascal Kung-Fou participe
seulement à 3 morceaux).



En janvier 1991, Nanouche laisse vite tomber la boite à rythme et Nino, le bourguignon, prend le rôle de batteur. Sort ensuite en été, l'album En avant, toujours chez "Division Nada". Des
morceaux mythiques comme "Vive l'armée... du salut", "Lieutenants du désordre" voient le jour. Au mois d'octobre sort Dragon Libre, marque le tournant de l'histoire du groupe. Avec des morceaux
engagés, Molodoï confirme son coté punk militant aux thèmes variés, rejetant la politiques et les idéologies de bases. Il suffit pour cela de regarder les paroles de "A poil les militants",
"Harkis", "Okinawa" ou encore de "Dragon libre". Il sorte le 45 tours de 2 titres Soleil et acier, puis Vent d'est.



Fin 1991, le groupe enregistre le titre "Génération perdue" pour la compilation Live au Kremlin vol. 2 et "Les flammes de la joie", "Une histoire sans lendemain" et "Xmas Party" pour la
compilation Christmas party paru chez "Division Nada".



Molodoï quitte son label, car "New Rose" devenant de moins en moins indépendante, commence à critiquer la gestion de "Division Nada" et l'attitude du groupe. Il signe chez "In Fact!" filiale de
Sony. Sort le quatrième album Royaume de la Jeunesse en aout 1992.

Nino quitte le groupe provisoirement remplacé par Vincent, puis par Fred (ancien tourneur pour les Ludwig Von 88).



En 1993 sort l'album live On est là enregistré au "Florida" d'Agen, il marque incontestablement la puissance du groupe en concert.



Fin de l'année 1994, Molodoï enregistre en compagnie du claviste Seamus (Madness), un de leur meilleur album... Tango Massaï produit par Patrick Duffy (ex-batteur des Ruts).



Molodoï se sépare, six ans jour pour jour après leurs débuts, le 20 septembre 1996.



En 1999, sort l'album Rebelles Anonyme, un vibrant hommage aux personnes mortes dix ans plutôt sur la place Tien An Men. Ce disque est composé de 12 morceaux + 4 inédits.



par http://www.hardcore-punk.net

Tracklist :   

1. R.A.S

2. On Est Là

3. Détresse

4. Oi and Ska

5. Rebelle Anonyme

6. Vive l'Armée... du Salut

7. Lieutenant du Désordre

8. Dragon Libre

9. Domaine des Dieux

10. B.M.C Dub

11. Année Zéro

12. Irrécupérables

13. Fils de la Rizière

14. Les Flammes de la Joie

15. Roi des Singes

16. Christmas Party

http://www.elefanttraks.com

http://www.myspace.com/ozibatla

Origine du Groupe : Australia

Style : Hip Hop , Rap , Alternative

Sortie : 2010

Ozi Batla is one of Australia’s best known emcees, fronting both The Herd and Astronomy Class. He is best known for penning anthemic tunes such as “77%”, “Starship Troopers” and “A Bright
Tomorrow”, sharing credits on “We Can’t Hear You”, “Only 19″ and the early Australian hip hop breakthrough “Scallops” in 2003.



Renowned for his often politically charged lyrics, he also been involved outside music, through direct activism, fundraising and conducting hip hop workshops for disadvantaged youths in the
outback and inner cities. Far from a one-dimensional emcee, his vocal range is as evident live as on record. He is comfortable working in a variety of styles, from straight hip hop in his work
with Chasm, melodic with The Herd, on a reggae tip with Astronomy Class, or, occasionally still, in a drum n bass style.



In 1996, Ozi Batla teamed up DJ ALF, and hosted the Joined at the Bass nights at the Cricketer’s Arms in Surry Hills. From there, he and ALF went on form the band Trace Element with current Herd
bassist Rok Poshtya. They played a multitude of gigs, including the unforgettable Reclaim the Streets parties of the late 90s. In 2000, Ozi and ALF were part of the DnB weekly Sonic Fiction,
which lasted 36 consecutive weeks. Frigid, the legendary sunday-nighter, was also host to many of Batla’s shows.



In 2001, The Herd began to evolve out of the fledgling independent label Elefant Traks, with which Ozi has been recording artist since it’s inception in 1998. Live shows began to reveal the raw
elements of the group’s debut release. 2002 saw Ozi earn his “battler” tag, completing in a swag of MC battles and taking a number of titles, including Verbal Mechanics NSW champ, NSW Stealth
Battle champ, semi-finalist in Melbourne’s Revolver MC Battle, placing in the Battle for Supremacy invitational and was a grand finalist in the National Stealth Battle.



No stranger to controversy, the songs “77%”, “Burn Down the Parliament” and “Starship Troopers” have evoked strong responses, and often national debate. It has also led to a number of songs
placing in Triple J’s Hottest 100 with “77%”, “Unpredictable”, “We Can’t Hear You” and the Herd’s cover of “Only 19 (Walk in the Light Green)”.



Currently Ozi is working on his upcoming debut solo album titled ‘Wild Colonial’. Here is a quick snippet of what Ozi had to say about his progress with the album:



    Yep, I’m working with Sydney producer Sandro – ex-Good Buddha, he has worked with Def Wish Cast, 13th Son, Celcius, Trey, the list goes on. Sandro – Classic hip hop done
proper.

    We’re pretty deep into it, probably need another 4 or 5 songs but it’s coming together well. Will put up some demos when we’ve got some decent ones recorded.



Stay tuned for more on this!



by http://allaussiehiphop.wordpress.com

Tracklist :   

01 Air Raid 3:44

02 Wild Colonial 4:26

03 Joyride 4:31

04 Integrity 4:30

05 Have A Beer (Interlude) 0:47

06 Mics, Peeps And Light 3:53

07 She'S Gotta Have It 4:24

08 What A Place (Interlude) 0:42

09 Put It On Wax 3:52

10 1000 Drummers 4:20

11 Don'T Wanna Wait 1:30

12 Shoot The Breeze 4:13

13 Doesn'T Matter 5:53

14 A Distant Shore 4:49

http://www.myspace.com/dayofthewoman

Origine du Groupe : North America

Style : Electro Beat , Abstract Hip Hop , Instrumental

Sortie : 2010

La libération tant attendue d'un trio Day Of The Woman, que nous connaissons sur la compilation «Texas» sur le label exponentielle, qui a été présenté près de la voie la plus forte de l'ensemble
de la collection «Cassette Tape». L'album présenté 7 morceaux instrumentaux atmosphériques entrecoupées avec un son indie et 7 remixes



by http://respecta.net



Tracklist :   

01.Cassette Tape 05:34        

02.I'd Be Insane to Say It 05:14        

03.Jennifer Hills 03:52        

04.Kill Screen 06:00        

05.Amazing Things 03:54        

06.Pinwheel 03:56        

07.Rocketship Champion 03:54        

08.Amazing Things (Stenographer Remix) 05:33        

09.I'd Be Insane to Say It (Ape School Remix) 05:06        

10.Pinwheel (Landing Remix) 03:03        

11.Cassette Tape (Zoon Van Snook Remix) 04:17        

12.Rocketship Champion (Yppah Remix) 04:00        

13.Jennifer Hills (Mexicans with Guns Remix) 04:34        

14.Killscreen (Pollination Remix) 05:13

http://www.enelbus.com/dna

http://www.myspace.com/doctordestino

Origine du Groupe : Mexico

Style : Rap Fusion

Sortie : 2010

DNA como una conjunción de dos integrantes (Dr. Destino y Alonso) presentan este EP Titulado ” Luz y Calles” de 4 Tracks de gran calidad auditiva y el el aspecto gráfico esta excelente , como
siempre.



La produccion musical de este material corre a cargo de:  Dr. Destino y Alonso; En los coros: Lorena; A si mismo la lírica y la letras de los temas a cargo de Dr. Destino en los temas con
una colaboración con Zake en el tema 4 ;  El diseño gráfico que es sorprendente a si como la fotografía es obra de : Urban Samurai este material incluye id3 tags , caratula incrustada en la
lista de reproducción , asi como arte del album en la carpeta .



Como la mayoría de los casos este material es de distribución gratuita y libre a traves de internet Asi que descarguen tanto de este blog como de la pagina oficial.

para http://difusionhiphop.site11.com



Tracklist :    

1. Debo seguir

2. Víctimas del tiempo

3. Lo que sigue

4. Nos faltan años

http://omeravital.com

http://www.myspace.com/omeravitalmusic

Origine du Groupe : North America

Style : Jazz , Jazz World , Instrumental

Sortie : 1996

Bassist and composer Omer Avital assembled an especially intriguing line-up for ASKING NO PERMISSION, a live date recorded at New York City's famed jazz club Small's. The sextet features four
saxophonists, creating an expansive, careening sound and plenty of options for soloing. Ironically, Avital's bass is still featured prominently, as is his songwriting (six of the album's seven
cuts are his). ASKING NO PERMISSION is entrenched in bop and post-bop idioms, but the sensibility driving it is relentlessly fresh and contemporary.



by http://www.cduniverse.com

Tracklist :   

1. Know What I Mean?! - 11:26

2. Lullaby Of The Leaves (Petekere/Young) - 08:42

3. Ballad - 02:57

4. Devil Head - 08:51

5. 12 Tribes - 15:22

6. Kentucky Girl - 14:55

7. The Field - 12:02



All compositions by Omer Avital (Abutbul Music/ASCAP), except where otherwise indicated.



Omer Avital (bass)

Ali Jackson (drums)

Mark Turner (tenor sax)

Gregory Tardy (tenor sax, flute)

Myron Walden (alto sax)

Charles Owens (tenor sax)

http://www.myspace.com/gladiatorroots

Origine du Groupe : Jamaica

Style : Reggae

Sortie : 2004

LE LIVE des Gladiators !!!

JAH WORKS

PEACE



Tracklist :   

1. Intro

2. Head to My Toe

3. Hug Me Up

4. Bongo Red

5. The Belly Full

6. Look Is Deceiving

7. Hello Carol

8. Jah Works

9. Something a Gwaan

10. Big Fish

11. Stick a Bush

http://www.myspace.com/davironment

Origine du Groupe : U.K

Style : Electro Ambient

Sortie : 2010

Richard Bailey ou encore Proem est déjà une sacrée pointure dans la mouvance des musiques électroniques. La trentaine, il est l’auteur d’une bonne flopée d’albums  depuis 1999 qui ont fait
de lui une référence en matière d’IDM (Intelligent Dance Music). Enough Conflict ne déroge pas aux précédentes recettes qui ont fait le succès et la reconnaissance du jeune homme. On se laisse
submerger  par des boucles sonores percutantes et des samples hétéroclites toujours bien agencés. Proem crée des atmosphères électro-poétiques où l’on retrouve aussi bien du “à l’ancienne”
au gré de rythmiques connues (type valse) ou l’utilisation d’instruments classiques (piano) mais aussi du totalement futuriste avec bidouillages bruitistes et électroniques.  Boîte à
berceuses modernes pour grands enfants, Enough Conflict peut plaire tout autant aux fans hardcores qu’aux nouveaux venus sur la planète Proem.



par http://www.toujoursuncoupdavance.com



Tracklist :   

01 Deep Sleeping Birds

02 Back To Fail

03 guns.knives.lemons

04 jiittirrrrriii

05 She Never Cries

06 Fall Forward

07 Sudden Sharp Turns

08 Kalimba Jam

09 Enough Conflict

10 seafaring velvet waltz

11 skulls

12 @ the firey abyss

13 a short bit before you go

14 untitled

Origine du Groupe : Africa

Style : World Music

Sortie : 2000

Join in the high energy and raw rhythms of the X-Tribe. Going as high as 182 BPM, this group of master drummers will literally blow your mind with beats and groove. Featured Instruments:
Didgeridoos, flute, voice, bas, tambourine, shakers & rattles, congas, surdos, dholaks, dohallas, djembes, dumbeks, batas Together we join in the circle of life and celebrate the dance
eternal. Within the circle this dance plays out through infinite combinations. We are one within this tribe which has no name; we are one with the spirit of the drum.



by http://www.amazon.com



Tracklist :   

1.Petwa

2.Yanvi

3.Iba

4.Nyago

5.Bandi

6.Djabo

7.Abata

8.Maya

9.Konga

http://www.ingridchavez.com

http://www.myspace.com/ingridchavez

Origine du Groupe : North America

Style : Alternative , Pop , Easy Listening

Sortie : 2010

Since the musical output of Ingrid Chavez has been far and few between these last two decades, it’s something of a task to track her musical growth. Those who are in the know about Chavez’s work
will remember her from her days with the Paisley Park production team (one of the many side projects of Prince), resulting in her 1991 debut release, May 19, 1992. That album was a judicious mix
of skeletal dance beats, understated pop hooks, and hushed poetry. Hearing that album today, it now betrays the trappings of early ‘90s production values and seems to suffer from the
too-many-cooks syndrome, with Chavez fighting for space to accommodate her artistry.



On the other hand, you also get the sense that Chavez was on to something in the way of musical language, being that she was one of the earliest female artists to merge spoken word with a dance
floor sensibility. She is, after all, credited with co-penning Madonna’s sultry slice of musical eros, “Justify My Love”, a tone-poem of love, sex, and controversy that reshaped the public’s idea
of a pop lyric. Following the release of her debut and a few moderately successful singles, Chavez seemed to recede from public view and little was heard from her. In reality, she would marry
art-pop trailblazer David Sylvian, on occasion contributing to his oeuvre of work while holding down the fort maternally and quietly making designs on a follow-up album, which would finally see
fruition after 19 years.



A Flutter and Some Words is the combined effort of Chavez and Italian composer Lorenzo Scopelliti, who initially sent Chavez a composition a couple years back, which kick-started their
collaborative song-writing process. Much of this album was pieced unhurriedly together, mostly over the Internet, with the two artists emailing their contributions back and forth between the US
and Italy. This transatlantic exchange is apparent on the album; there is strain of European jazz that underscores the music. This influence in particular is what expunges all preconceptions that
might exist in lieu of Chavez’s dance-pop flirtations of yore. Given that many of the songs on this album are working within the structures of jazz (though not exclusively), the more confining
borders of the pop format are removed, allowing Chavez to invite more space into her designs and experiment freely with other sonic textures. It also allows her voice, cool and clear like fresh
water, to breathe easier in the airy spaces of the music.



In fact, Flutter is all about spaces, both private and open, yielding to an array of live instruments (brass, woodwinds, and strings). These sounds collide and ribbon around the centre from which
the singer’s voice emanates, but they never threaten to overtake it. The album, in addition, is mainly devoid of the dance beats that featured heavily on her debut, excepting first single “By the
Water”, a delicate, crisp hip-hop number sparsely coloured by the soft cries of a trumpet and the digital ripples of a synthesizer.



What really opens up Flutter, in fact, are the far more expansive numbers that show off Chavez’s growth as a songwriter. In “Mine”, a lone violin threads its way through the meditative, circular
guitar lines and swirls in the rhythm of some lightly tapped percussion. It works to create a sense of solitude and resignation, sentiments that are echoed in other tracks—like the heavy heart of
“No Goodbyes”, made heavier by the contemplative, forceful strokes of a piano and found-sound samples of falling pennies (perhaps from heaven?). There is also a suggestion of other musical
flavours that factor into the sonic mix; the title track appropriates a classic jazz riff by way of an electronic beat and harkens back to the days of fossa, the smoky nightclub take on ’50s
Brazilian jazz that was made popular by the likes of Maysa Matarazzo and Nora Ney. Trading in standard jazz fingerings for treated woodwinds and sly snatches of DJ scratching, the song still
retains the lush romanticism that fossa is noted for while being performed from a contemporary standpoint.



Elsewhere, Chavez explores more gritty terrain, such as on the earthy, fractured rhythms of “Tightrope”, a scrap-metal opus of clanks, creaks, and groans drowning in a wash of ethereal blues.
Here, we get an idea of the kind of invention that took place behind the scenes; there isn’t so much a sense to prove any sort of musical technique as there is to introduce the listener to
alternative modes of music-making. Though intricate and artfully crafted, we never feel like we are being schooled on the M.O. of art-pop.



This comes down to the interplay between Chavez and Scopelliti; an interaction, challenge, and acceptance of musical ideas that ultimately distinguish the more mannered and restrained approach of
Scopelliti from the spontaneity and abandonment of Chavez’s. And somehow the work manages an elegant balance of imagination and discipline. This attitude is openly voiced in “Back Roads”. The
track features a buzzing synth that sounds as if it is being transmitted from somewhere outside the song, imprinting it with a sense of urgency. The clarinet that cuts its way through the bells
and chimes orbiting in the airy mix is a nice and curious touch. In the song, Chavez sings of opportunity at the expense of comfort, leaving for the back roads and more importantly, the power to
leave and affirm an identity.



A Flutter and Some Words arrives this winter. It seems justly suited for a season that respires with an alternating sense of stillness and flurry. It arrives with assuredness but not without a
feeling of turbulence—something not quite excised in the past 19 years that it took for this album to materialize. A compass in the midst of rhythm and song, Chavez navigates around emotions of
misgiving and desire, equal components in the routines of life. It is an album not of reborn love, but of seductions, old and new, taking place in troubled air.



by Imran Khan   from http://www.popmatters.com

January 26th from Ingrid Chavez on Vimeo.

Tracklist :   

1. Wing Of A Bird

2. Mine

3. Exhale

4. A Flutter And Some Words

5. The First Darshan (Song For Ameera)

6. Back Roads

7. By The Water

8. Path Of Rain

9. Returning To Seed

10. Tightrope

11. No Goodbyes

12. Terrible Woman

13. Isobel

14. A Flutter Coda

15. Dreamland (Bonus Track)

http://www.dubkasm.com

http://www.myspace.com/dubkasm

Origine du Groupe : U.K

Style : Dub , Alternative

Sortie : 2010

The Dubkasm Story from Dubkasm 

Tracklist :   

01. Void Dub (04:00)

02. Sept fois sept (03:42)

03. Écouter Je Certains Dub (feat Tena Stelin) (04:21)

04. Beto's Yard (feat Ras Addis) (04:14)

05. 135, rue Orange (00h37)

06. There's A Dub (feat Christine Miller) (03:59)

07. Ta Agora Gravado (04)

08. Dub Bûcheron (04)

09. Dernière Tune (01:42)

10. Memories Of Xylon (feat Lidj Xylon) (04:32)

11. Transform I & I (feat Ras Bernardo) (04:31)

12. Jah Hail In Dub (04:36)

13. Cet homme était né là-bas (feat Dub Judah) (02:11)