http://soundpoolmusic.com

http://www.myspace.com/soundpool

Origine du Groupe : North America

Style : Electro Disco House , Shoegaze , Psychedelic

Sortie : 2010

NEWS !!! NOW DESKTOPIFY THIS PLAYER HERE

t’s pretty amazing that a music scene as short-lived and ill-defined as “shoegaze” could have such a lasting effect. Named, to the bands’ chagrin, for the disinterested way they would look down
at their feet while playing, the “shoegazers” created ethereal, often majestic sounds by camouflaging their guitars with layers of effects until they sounded more like synthesizers.



The style had its roots going back to texturalists like Brian Eno and Robert Fripp, and was more directly influenced by boundary-pushing indie pop bands like Felt, Cocteau Twins, Kitchens of
Distinction, and the Jesus and Mary Chain. The British “indie dance” craze of the early 1990s gave the shoegazers a ticket to brief stardom, in the UK at least. The sculpted guitar haze worked
surprisingly well with the then-prevalent shuffle rhythms. You could count the major shoegaze bands, all of them British, on one hand. Ride, Slowdive, Lush, and Chapterhouse are the usual
suspects, though there were others, some lumped in erroneously because the critics had nothing better to do. When the Happy Mondays and Jesus Jones faded from public favor, the shoegazers
followed. The scene was dead faster than you could say “Britpop”.



Yet it never exactly died. The original bands split up, but others started to spring up in the mid-1990s. Curiously, many were American. There seemed to be a consistent audience for bands that
inverted the guitar noise of hard rock and turned it into something pretty and ponderous. The rise of electronic dance music gave these bands a new platform for their effects racks and reverb.
And that’s pretty much where things stand, 15 years later.



The New York band Soundpool have been compared to Slowdive, but that really wasn’t fair. On the evidence of their first two albums, Soundpool simply weren’t nearly as good as that. You can’t just
take a mysterious, pretty girl with a pretty voice, add those guitars, and end up with something substantial. Yes, you still have to have songs. And few of Soundpool’s made a lasting
impression.



With Mirrors in Your Eyes, Soundpool have decided to emphasize the disco beats that have always been an element of their music. A good, clean beat that you can dance to can cover a lot of
songwriting shortcomings, but leaders John Ceparano and Kim Field have improved in that area, too. This is still mostly in-one-ear-out-the-other stuff, but it provides a pleasurable, danceable
experience while it’s there. Mirrors in Your Eyes is a very cool-sounding album, and that goes a long way. It could have come out ten years ago, or 15 years ago. Whether that’s a compliment
depends on your perspective.



A crucial key to Mirrors in Your Eyes is that the electronic rhythms work. They’re crisp, sharp, and well-produced, retro rather than dated. Soundpool have gone all-in with the dance thing, too.
These are big, club-ready beats, and better for it. The title track opens the album with a blast of filtered noise and what sounds like an actual synth, before the beat and a surprisingly funky
disco bassline kick in. Field’s thin but beguiling voice slots in beneath the barrage, just where you’d expect it. This is the formula from which Soundpool work for the rest of the album, and
most of the time it succeeds.



The centerpiece is “Makes No Sense”, which finds the all the album’s strongest elements coming together in one three-minute capsule of bliss. With a pounding four-on-the-floor rhythm, acid
bassline, melancholy synths, and interplanetary guitars, the song sounds like someone held up a tape recorder in the middle of a packed club in 1992 while Saint Etienne was blaring. In other
words, glorious. Elsewhere, “Kite of Love” and “Listen” work a more jazzy vibe, while “I’m So Tired” spins out into space in almost gothic fashion.



Inevitably, Mirrors in Your Eyes begins to suffer from some the tracks’ similar template. Some songs go on too long, lost in their own haze. But the only real dud is the limp Jesus and Mary Chain
redux, where Ceparano takes over the vocals. Otherwise, Soundpool’s dancefloor excursion makes a pretty good case for shoegaze’s longevity.



by  John Bergstrom

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Tracklist :

01. Mirrors In Your Eyes

02. But It's So

03. Kite of Love

04. Makes No Sense

05. Sparkle in the Dark

06. I'm So Tired

07. That Sunny Day

08. Shelter

09. Listen

http://iamsubstance.com

http://www.myspace.com/substancerefrain

Origine du Groupe : North America

Style : Hip Hop

Sortie : 2009

From Official Myspace :

Hailing from Virginia, Atari Blitzkrieg has been recording and producing since 1995 but due to real life situations didn't release his first single until 2007. The Rokkonorrottenhell single
featured hip-hop icon Royce Da 5'9, Groovie Mann from the industrial band My Life with the Thrill Kill Kult and producer Krohme.



Since then, he has released close to 200 songs, has unveiled 16 EP's. 3 full-length albums, numerous guest appearances, produced a few songs for other artists including Ryu of Styles of Beyond
and Little Indian and has worked with some of the biggest names in underground hip-hop; Daedelus, Rapper Pooh, Louis Logic, Vast Aire, Roc C, LMNO, Breez Evahflowin, Motion Man, Wildchild, Mr.
Len, Blockhead, Moka Only, 4th Disciple & Bronze Nazareth to name a few. He continues to evolve his sound and blur genres while keeping his core principles; technology, violence, corruption
and post-apocalyptic dystopia's intact.



He has been featured in magazines and websites across the world, was selected as an URB Next 1000 and recently saw a track off of The Melancholy Tales of Extraordinary Robot Avengers licensed for
use in an upcoming indie film.

Tracklist :

1. Welcome to the Now

2. Today’s Horror Show

3. Third Finger Salute

4. Subconscious Tales of Dream Kids in Utero/Kill Everybody

5. The Cry From Within feat. Vast Aire, Breez Evahflowin’, LMNO & Krohme

6. It’s 12 O’Clock Do You Know Where Your God Is?

7. Hedcraktopen

8. Touch the Big Star

9. Profile: Julius Jackson/Amethyst

10. Wheres Your Eye feat. Akrobatik & Existereo

11. Knock Knock Bastard Face feat. Louis Logic & Roc C

12. I’m the Awesomest My Friends

13. Swhyneflew/The Voices In My Head

14. WTF!!!

15. Blood Coffee feat. Moka Only/Blood Pudding

16. Sunday Mourning

17. Faithful Visionaries

18. The Central Parking Lot Rangers feat. Vast Aire

19. Ragnarok feat. Mike McTernan of Damnation A.D.

http://www.chromeo.net

http://www.myspace.com/chromeo

Origine du Groupe : Canada , North America

Style : Electro-Disco , Pop

Sortie : 2010

On n’a pas si souvent que ça l’occasion de baisser les vitres de la 309 GTI ,de mettre l’autoradio à fond et de faire cracher le boomer en écoutant un bon vieux disque de dance music. L’occasion
nous en est donnée avec le troisième album de Chromeo  qui se présente, tout simplement, comme le disque le plus fun de la rentrée 2010 !

Composé de deux canadiens, Chromeo joue une musique electro funk disco retro, assez irrésistible, comme a pu l’être en son temps celle des Rythmes Digitales sur l’album Dark dancer, ou encore
l’electro pop régressive et jouissive du moins connus, mais non moins fameux, DMX Krew.

Après un fameux "DJ Kicks" paru en 2009, dans lequel le duo "Dave 1 + Pee Thug" faisait valoir ses références disco 80’s, Chromeo revient dans les mêmes dispositions avec un album produit cette
fois par Zdar, alors que les deux précédentes l’avaient été par Tiga.

Guitares Rock FM, rythmes disco endiablés, synthés vintage, refrains et gimmicks hits des clubs estampillé 1985, le duo s’amuse comme un fou avec les clichés 80 ‘s et persiste dans un genre où il
est passé maitre, à savoir l’art du recyclage toujours à la limite du mauvais gout. Mais justement, leur grande force est de ne jamais sombrer dans le mauvais gout et de toujours trouver le
parfait équilibre pour que leur musique reste parfaitement écoutable et digeste de bout en bout. Résultat on écoutera "Business Casual" en boucle encore pendant une paire de jours.



par Pop Revue Express

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Tracklist :

01. Hot Mess (3:39)

02. I’m Not Contagious (3:39)

03. Night By Night (3:44)

04. Don’t Turn The Lights On (4:33)

05. You Make It Rough (7:19)

06. When The Night Falls (Feat. Solange) (3:31)

07. CDon’t Walk Away (3:30)

08. J’ai Claque La Porte (2:25)

09. The Right Type (3:54)

10. Grow Up (3:01)

http://www.clintonfearon.com

http://www.myspace.com/clintonfearon

Origine du Groupe : North America

Style : Dub , Reggae Instrumental

Sortie : 2008

From Official Site :

Step up to higher education...Clinton Fearon has scaled another musical summit with the release of his eighth album and his first purely dub CD. Faculty of Dub is a higher education in sound. If
his previous work established Fearon's tenure in the reggae world, the 15 lessons on this album reveal a deeper mastery. They teach us to transcend melody and lyrics, into direct experience. Your
heart and bones will understand-without taking notes.



I've been thinking about this album for a long time, Clinton reveals. In Faculty of Dub he gives vent to creative experimentation that builds upon his previous work. The layered sounds, echoes
and reverberations blend into songscapes evocative of the legendary Jamaican sound system engineers. You may recognize some rhythms from earlier recordings, but this album is original in every
sense.



Recorded in Seattle with the Boogie Brown Band, he teams especially strongly with singer and musician Ire, whose experience hails from Culture, and Winston Watson of Meditations fame. Horns,
flute, and lead guitar are key ingredients, and respect is due to every member of the band for consistently strong performances. But when Professor Fearon picks up his bass, partnered with ex
Burning Spear drummer Nelson Miller, watch out! You will see why he is also known as Basie, a name earned during the Studio One and Gladiator years. The lessons set forth by these combined
talents will stay with you for life. Clinton Fearon has once again put together a remarkable album that will also be available on vinyl. Your assignment: listen with all your senses. Douglass
Colbert, Rootsbeat International House of Dread, KSER FM Everett, Washington.

Tracklist :

01. Kingston Walk

02. Street Talk

03. Wha Dat

04. Ghost

05. Nah Run

06. Fight Back

07. Dirty Water

08. Get Out

09. Polluted Minds

10. Back Of Satan

11. Full House

12. Who's The Winner

13. Peace Of Mind

14. Come Forward

15. Sweetness

http://www.pressure.co.uk

Origine du Groupe : Jamaica

Style : Reggae

Sortie : 1977

BLACK BLACK MINDS: While this isn't exactly the gold nugget suggested by producer King Jammy's (who presumably came across these tapes while spring cleaning), The Travellers' one and only long
player is the sort of roots reggae that you just don't hear anymore. There's no need for any gimmicks - though the original release is augmented in the usual Pressure Sounds style with DJ cuts
and dub versions. Okay, so The Travellers' might not have been the most versatile vocal group of their time, and their harmonies are sometimes stretched a little thin, and no, there's nothing
particularly innovative about the songwriting or the fairly standard roots rhythms, but there's definitely an element of quintessential reggae goodness at the heart of BLACK BLACK MINDS, and it's
this that really recommends The Travellers' record for re-release. It's the middle of winter here, right now, but I have a feeling that this one is going to sound very nice in the yard when
summer moves in.

by Locks Lion

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Tracklist :

01 - Jah Give Us This World

02 - Poor Man Cry

03 - Girl I Left Behind

04 - Keep On Trying

05 - Peace And Rest

06 - False Leaders

07 - Tell Me Why

08 - Know Yourself

09 - How Long

10 - Black Black Mind



Mixing Engineer : Prince Jammy

Producer : Prince Jammy



Vocals : The Travellers

Backing Band : The Aggrovators

Drums : Sly Dunbar & Santa Davis

Bass : Robbie Shakespeare

Guitar : Chinna

Piano : Keith Sterling

Organ : Winston Wright

Percussions : Scully Simms

Harpsicord : Winston Wright

Clavinet : Winston Wright

http://www.myspace.com/laab

http://www.valiza-tools.com

Origine du Groupe : France

Style : Electro , Glitch , Minimaliste

Sortie : 2010

Infographiste et peintre poursuivant à travers des productions calmes et raffinées un travail de mise en abîme des sens, Laab, que ce soit en live ou dj set, cherche toujours à amener l'auditeur
là il veut : loin. Il débute son travail de composition électronique en 1994. De la techno minimale à l'ambient en passant par l'électro et le break, il poursuit à travers ses productions calmes
et raffinées son travail de mise en abîme des sens souvent teinté d'humour. Exerçant depuis 1994 le métier d'infographiste 3D (voir les Tools de Bernard Stulzaft), peintre apprécié, sa culture
pluridisciplinaire donne à ses travaux une approche réfléchie et résolument moderne. Ses compositions sont construites comme un film avec un important travail de mise en scène, tout s'imbriquant
pour raconter une histoire.

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Tracklist :

01 - Right

02 - Left

03 - Radio Thing

04 - Ambigous

http://www.thenonband.com

http://www.myspace.com/thenonband

Origine du Groupe : North America

Style : Alternative Rock , Instrumental

Sortie : 2010

The Non release their latest album, Tadaima, this weekend at The Conservatory in
Oklahoma City. The album was recorded at Blackwatch Studios in Norman.

“Although The Non’s signature guitar-driven melodies and driving drum lines are still present, “Tadaima” seems decidedly more complete than its predecessor. It has fewer atmospherics and —
despite being assembled in studios in Norman, Chicago and Toronto — sounds less wandering.” - Becky Carman (Oklahoma Gazette)

“The attention to detail shows, with moments of “Tadaima” echoing the sounds of Battles or No Age at times, but also Radiohead and Dirty Projectors at others.” - Joshua Boydstun
(The Oklahoma Daily)

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Tracklist :

01. No Spark, No Fire

02. Pigeon Force

03. Horse Leper

04. Bhabha

05. Waveshapes

06. Cloud Collision

07. Mimsy

08. At Brillig

09. The Days to Come

10. Tadaima

http://www.hiddenorchestra.com

http://www.myspace.com/hiddenorchesta

Origine du Groupe : U.K

Style : Altertnative , Ambient , Instrumental , Electronic , Jazz , Experimental

Sortie : 2010

The hidden orchestra est le fils caché de Rémi Bricka, l’homme orchestre qui jouait simultanément de tout un tas d’instruments et doit figurer dans le livre des Records quelque part entre Paul le
Poulpe et les Beatles.



Joe Acheson, puisque c’est son nom, pense, compose, et produit ce Hidden Orchestra en unique pilote, en plus de savoir jouer de l’orgue, du basson, de la guitare, basse, batterie et une quantité
de percussions. Les comparaisons s’arrêtent ici.



Musicalement, le Hidden Orchestra parcourt les mêmes terres que le Cinematic Orchestra, mais de nuit. Un chemin qui dispute l’ombre à la lumière, une route pavée de silence et d’un choix
incertain entre le jazz et l’électronique. Night walks, collections d’ambiances sourdes s’écoute comme une bande-son automnale où couve la dynamique sous un calme apparent et précaire.

par Stéphane Andrieu

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Tracklist :

01. Antiphon

02. Footsteps

03. Dust

04. Tired And Awake

05. The Windfall

06. Out Of Nowhere

07. Wandering

08. Stammer

09. Strange

10. Undergrowth

http://www.myspace.com/slyjohnson

Origine du Groupe : France

Style : Soul

Sortie : 2010

Sly Johnson, né Silvère Johnson, mais également connu sous le claquant pseudonyme de Sly The Mic Buddah, n’est pas un inconnu. Au sein du Saïan Supa Crew, groupe exemplaire de rap français à la
carrière courte mais au succès populaire crossover éprouvé, et ensuite en sideman de luxe auprès de Camille, Erik Truffaz, Rokia Traoré, Oxmo Puccino et quantité d’autres artistes
internationaux.



74, son année de naissance, est un premier album soyeux qui s’inscrit dans une veine estampillée nu soul, une étiquette certes rigide, mais qui a le mérite de délimiter le territoire. Un duo avec
Ayo, « I’m Calling You », après un « Slaave 2» qui cite le « Slave To The Rythm » de Grace Jones, offre un idéal complément de deux voix, féminine et masculine. « Hey Mama », nettement plus
rentre dedans, dans une couleur quasi Staxienne, confirme que le chanteur rappeur de Montrouge (qui ne s’exprime qu’en anglais tout au long de cet album) n’est pas là pour distiller que de la
douceur. Les cuivres claquent, la basse bourdonne et la guitare aguiche.



Pour montrer son héritage, il reprend un des plus grands tubes d’Otis Redding, « Fa-Fa-Fa-Fa-Fa (Sad Song) », dans une version un peu ralentie, avec une guitare wha wha à la syncope contagieuse.
Plus inattendue, sa version de l’unique hit des Korgis, « Everybody’s Got To Learn Sometimes », en 1980, déjà repris récemment par Laurent Voulzy et par JP Verdin sur la B.O. de Lol, semble être
ici pour indiquer que l’artiste dépasse le classement urbain auquel il est prédestiné, même si sa version, très soul slow à la Billy Paul, s’affranchit des autres tentatives constatées. 74, avec
son parti pris rétro, seventies, au plus près de l’essence de cette musique, est une réussite dans sa réalisation, sa musicalité, et son interprétation.



Sly, après des années dans le métier, veut décoller l’étiquette de rappeur que son parcours lui a collée aux épaules. Mais on aurait aimé se laisser séduire par quelques chansons en français, qui
auraient formé nouveauté dans cette couleur. Là, il se met sur les rangs des collègues anglo-saxons, et du même coup se complique la vie dans son territoire d’élection, au moment où un jeune
cousin joue les oncles affranchis.



par Jean-Eric Perrin pour Music Story

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Tracklist :

01 - Slaave 2 Ft. Slum Village

02 - Calling You Ft Ayo

03 - Hey Mama

04 - Fa - Fa - Fa - Fa - Fa

05 - Goodbye Tomorow

06 - Everybody's got to learn sometimes

07 - Don't justify urself

08 - Star Ft. Rachel Claudio

09 - Sexy

10 - I.S.A.R.

11 - 26.06.74

http://www.buffroshi.com

http://www.myspace.com/buffroshi

Origine du Groupe : North America

Style : Trip Hop , Electro , Alternative , Abstract , Experimental

Sortie : 2010

After six years in the making, film composer and founding member of the 80’s band , Vivabeat, Mick Muhlfriedel and experimental guitarist, G.E. Stinson to release album 6/16/10



Buff Roshi’s debut album "Devil You’re a Liar" marks the first release from the new Cephalophone Music label. The album, featuring cover art by celebrated L.A. guerrilla poster artist Robbie
Conal is the product of a long term studio collaboration between film and commercial composer and founding member of Peter Gabriel discovered 80’s band, Vivabeat, Mick Muhlfriedel and extended
technique guitarist G.E. Stinson, a charter member of the world jazz group Shadowfax. Stinson counts Buff Roshi amongst several current band projects he is part of, including Sleepr Wave, Coded
Source, plus numerous collaborations with Nels Cline.



"I began putting together bits of found sounds and random snippets of music that I had been collecting for sometime with some processed beats,” says Muhlfriedel. “I was a big fan of G.E.’s
Splinter Group and sent some of the tracks to him to experiment with. We then worked together on several additional songs. Eventually, I enlisted Renee Wilson, who added some vocals and later,
G.E. brought in the great John Fumo to lay down some trumpet.”



Of the eleven tracks on the album, Buff Roshi includes two covers, a lush chill-out reset of Pink Floyd’s "Set The Controls for the Heart of the Sun" and "Dark", a circa 1940's Julie London
b-side featuring vocals by singer-filmmaker Renee Wilson, who appears as Raelette, Pat Lyle, in the Academy Award winning film, Ray.



In 2007 Muhlfriedel circulated a demo of several of the earliest Buff Roshi compositions, which garnered some late night airplay on L.A. hipster station KCRW and resulted in Hong Kong director,
Derek Chang tapping excerpts of two tracks for a Canon Camera commercial campaign. "Buff Roshi somehow manages to infuse layers of cinematic adrenaline with a cool jazz vibe that played well
against the visuals i was going for in the commercials," said Chang.



by Cephalophone Music -- Musical Moods for Moderns

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Tracklist :

01. Blue Days (05:03)

02. Set the Controls For the Heart of the Sun (04:46)

03. Devil You’re A Liar (04:39)

04. It’s Not the End of the World (05:23)

05. Watch As Blast Points Appear (below The Falling Section of Tower) (00:54)

06. Tonight Let’s All Make Love In London (03:46)

07. Flying the French Way (04:03)

08. Dark (05:47)

09. The Hours (00:58)

10. Julie Christie (05:20)

11. This Is How It Goes (05:20)