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http://www.myspace.com/alertakamarada
Origine du Groupe : Colombia
Style : Reggae
Sortie : 2010
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>From Official Website
:
Con invitados especiales como el maestro Alfredo Gutiérrez, la leyenda viva del acordeón colombiano; Ata, vocalista y productor de La Etnia, uno de los grupos colombianos más importantes de la
escena rap; Charley Anderson, bajista de la legendaria agrupación inglesa de ska, The Selecter y Pantera, maestro del trombón, que ha tocado, entre otros, con The Latin Brothers y Fruko y sus
Tesos, Alerta Kamarada lanza “Historias de pueblo”, su cuarto trabajo discográfico.
LGrabado en One2Records, el estudio de grabación de la banda, el disco fue masterizado en H-PEH en Alemania, por el mismo productor de artistas reggae de la talla de Gentleman o Capleton.
Bajo la producción de Pablo Araoz y mezclado por Richard Blair, “Historias de Pueblo” es una apuesta por la diversidad, tanto en el sonido como en los contenidos de las letras que hablan de los
temas eternos como el amor, la soledad y relatos de fé y vida.
El disco contiene 13 tracks originales que mezclan el estilo tradicional de Alerta Kamarada, el reggae y sonidos de roots ,dub, champeta y cumbia, cuenta con dos lados: el A, que es rumbero y
movido, y el K que mantiene la esencia pura del reggae.
Tracklist :
1. Amor Revolucionario
2. Conciencia (feat Ata 527)
3. De Dónde Viene La Cumbia (feat Alfredo Gutierrez)
4. De la luz a la oscuridad
5. Desplazados
6. Ella Baila como ninguna
7. En Las Calles
8. Family Vibez
9. Historias De Pueblo
10. Isla (preludio III)
11. Jaimeditation (preludio II )
12. Lava
13. Maitirust (preludio IV)
14. Red Dread (Interludio I)
15. Solo
16. Tiempos Positivos
17. Why (Feat Red Dread)
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http://www.myspace.com/mokalamityspace
Origine du Groupe : France
Style : Reggae
Sortie : 2009
Découvrez la playlist Mo'Kalamity & The
Wizards - Deeper Revolution (2009)
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>Le 2ème opus «Deeper revolution» de la chanteuse à la voix de velours Mo'Kalamity accompagnée des Wizards se révèle être une confirmation des piliers du reggae actuel. Ses influences métissées
allant de la soul au dub comme sur l'excellent «Never alone» rassemblent tous les ingrédients d'une «grooverie reggae roots» très bien arrangée. Si la musique n'a rien à envier aux maîtres du
genre (Burning Spears en tête), les textes sont tout aussi inspirés, abordant les problématiques africaines et inégalitaires en français ou anglais.
14 morceaux à écouter sans modération !
par Hugues (La ruche)
permalink
Tracklist :
01. Another way
02. Autour de moi
03. Inner peace
04. Walls
05. Never alone
06. About prince charming
07. Politika
08. Fears
09. Without faith, nor law
10. Woman scorned
11. Terre mère
12. Jah love
13. Deeper revolution
14. Inner dub
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http://www.myspace.com/hollygolightlyandthebrokeoffs
Origine du Groupe : U.K
Style : Folk , Country , Blues
Sortie : 2008
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>Holly Golightly has enough experience not to draw from it. She released her first solo album in 1995, after spending a few years in Thee Headcoatees; since then, she has kept up a steady pace of
new material, at least one of these per year: singles comps, odd and ends packages, live shows, and (oh yeah) traditional albums. That rate of production often seems crucial to the palatability
of her new old-timey music, preventing her from overthinking her songs or her performances while keeping everything loose and tossed off. As a result, she sounds a lot less manicured and a lot
more convincing than upstarts like Langhorne Slim or Scott H. Biram.
In fact, writing on her web site, she sounds almost apologetic explaining that it took five days to record Dirt Don't Hurt, her second collaboration with the Brokeoffs. Their previous effort, You
Can't Buy a Gun When You're Crying (which, you have to admit, is useful advice), was wrapped up in four days. And while she does admit "it may seem a little over-produced to some!" Golightly
hasn't gone all Dave Fridmann on us: That extra day doesn't ruin the antique luster of her songs, but just focuses the collection considerably. It's still a heartily ramshackle affair, with pots
and pans for percussion, rudimentary banjo picking, and what sound like first take on every track. The album's clattery rawness is its chief appeal.
Some explanation may be required: The Brokeoffs isn't a real backing band, as the pluralized name might suggest. Instead, it's just some dude named Lawyer Dave, who has been playing upright bass
for Golightly for about a decade now. He provides the clatter, even sings in a cough on menacing opener "Bottom Below". Their sandpaper and satin voices blend nicely on the country lament "Up Off
the Floor" and they imbue "Indeed You Do" and "Slow Road" with a folksy eeriness that lurches and claws at the recriminating lyrics. The slapdash "Gettin' High for Jesus" puts the pot in
pots-and-pans. A Holly/Lawyer original, it could be a cover of some late-60s hippie novelty hit by, say, Country Joe & the Fish.
At times Dirt Don't Hurt gets away from them: The clamor becomes grating (the demonstrative metal smacks that kick off ("Three Times Under"), the murder-and-mayhem storytelling sounds like
dress-up ("My 45"), and the duo risk the sort of preciousness that sinks some of their sepia-toned peers (the clucks and bocks on "Cluck Old Hen"). But more often than not, they make virtues of
these shortcomings, as on the closer "I Wanna Hug Ya, Kiss Ya, Squeeze Ya". This Claudia Swann cover ought to sound unbearably saccharine, but thanks to the rumbling electric guitar and Holly and
Lawyer's Mickey & Sylvia vocal trade-offs, it's the album's highlight-- the reconciliation after all the bickering-- underscoring how well the duo play old songs as if they wrote them and
write new songs that sound decades old.
by Stephen M. Deusner
permalink
Tracklist :
01.Bottom Below
02.Up Off The Floor
03.Burn Your Fun
04.Slow Road
05.My .45
06.Cluck Old Hen
07.Indeed You Do
08.Gettin' High For Jesus
09.Three Times Under
10.Accuse Me
11.Boat's Up The River
12.For All This
13.Cora
14.Hug You, Kiss You, Squeeze You
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http://www.myspace.com/shepparchie
Origine du Groupe : North America
Style : Jazz
Sortie : 1971
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>Archie Shepp's Thing Have Got To Change, released in 1971 solidified the saxophonists reputation as a soulful, yet radical free jazz artist motivated by social commentary and cultural
change. The record which features many of Shepp's longtime comrades including Joe Lee Wilson, Beaver Harris, Grechan Moncur III, and Ronald Wilson integrates the symphonic-like structure of
the politically charged compositions with the spirited, cathartic sound for which Shepp is so notorious.
"Dr. King, The Peaceful Warrior", a stripped down anthem style duet between Shepp and Cal Massey, provides a striking contrast with the album's predominately thick, almost ecclesiastic
orchestration. Ultimately, Things Have Got To Change is a vivid snapshot of a social conscious artist who not only wore his emotions on his sleeves but expressed them with unsurpassed
artistry and prowess.
by vervemusicgroup.com
permalink
Tracklist :
1. "Money Blues, Parts 1 - 3" (Beaver Harris, Archie Shepp) - 18:20
2. "Dr. King, The Peaceful Warrior" (Cal Massey) - 2:29
3. "Things Have Got to Change, Parts 1 and 2" (Massey) - 16:53
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http://www.myspace.com/threeeeleven
http://www.lastfm.fr/music/Dynamic+Syncopation
Origine du Groupe : U.K
Style : Abstract Hip Hop
Sortie : 1999
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>Perroquets anglophones et myrtilles enchantées, oyez,oyez, la nouvelle est arrivée: un nouveau Ninja Tune est né...
...Et il est peu dire que de prétendre qu'ils portent la dragée haute à leurs ainés puisque cet album est tout bonnement excellent, du début a la fin, sans exception aucune. "Dynamism" est
d'ailleurs un patronyme parfait pour cette masse hip hop, big beat par moment, coupée par des scratchs surprenant, mélangée à la sauce Ninja et arrosé de samples de cordes, de vents et de funk,
prenant l'auditeur par les oreilles, lui caressant les cages à miel pour mieux le surprendre, plus tard, avec un "ground zero" rap comme on l'aime, entre Krush et Shadow, où le minimalisme se
confronte aux vocaux plus tranchant que jamais. Du hip hop qui se la pète en restant cool but easy...
by djouls.com
permalink
Tracklist: :
01. Intro
02. Dynamism
03. Ground Zero (Feat. Mass Influence)
04. Veteran's Leg
05. The Essence (Feat. Yeshua Da PoED)
06. Bahian B-Boy
07. The Plan (Feat. Juice Aleem)
08. It's A Monster
09. Homing In
10. Dedicated (Feat. Mass Influence)
11. Rock
12. Losing Your Soul (Feat. Yeshua Da PoED)
13. Swings & Roundabouts
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http://www.myspace.com/kammerflimmerkollektief
Origine du Groupe : Germany
Style : Alternative , Experimental , Psychedelic
Sortie : 2010
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>From Official Myspace :
"Hippie vermin" hisses the bank employee who still thinks of himself as a punk. He’s sitting next to me as we’re watching the Kammerflimmer Kollektief playing. He says it because he doesn’t
understand. In fact, he doesn’t understand anything. He sees them play, but he does not listen.
I wonder: Does the word "play" suffice? Maybe the members of the Kammerflimmer Kollektief even perform. I am not sure. The presentation is authentic, but it’s still a presentation. You see
people, you hear their souls but no one exposes him/herself mindlessly. No one makes a fool of him/herself. No one plays the stick-in-the-mud. No one disengages him/herself. Three people who play
music.
Heike Aumüller sits on the floor, making music, singing in a type of English which can only be understood by people who listen. Those who look, who want to see music, do not see anything at all.
And they feel nothing. Johannes Frisch fondles his double bass like Kate Bush did in her video to "Babooshka". But while Kate Bush didn’t play, Frisch does while simultaneously playing around
with it, winding himself around the instrument – 1:0 for the venerably aged jazzer. On the other side sits Thomas Weber, bent over his guitar, occasionally operating the electronics in front of
him, while his other hand is being played by the guitar. Again and again, it drags the other hand towards the instrument – it’s as simple as that. The audience has to want to listen and not only
see. Those who can see, see the art of Heike Aumüller which graces the cover. What one sees there is vulnerable and strong at the same time. Anyone who has ever watched a Bruce Willis action
movie will know the sentence that Willis – suddenly more than just muscles and smiles – utters to the obligatory child (or woman, anyway, something to rescue): "Of course I’m afraid." What do we
learn from this? Those who make themselves vulnerable become strong. The Kammerflimmer Kollektief has made itself strong, had made itself strong even before it merged into a band and then as a
band, is grew even stronger. And more vulnerable. Where the music used to be beautiful, it now became powerful and momentous. Dietmar Dath speaks the truth when he suggests that one should listen
to the music loud – because thus it gains even more depth.
The Kammerflimmer Kollektief is emotive and impassioned. It is also as lucid and precise as those moods which Robert Musil (who is above suspicion of a being a romanticist) called "daylight
mysticism". The lyrics and the music want to be heard, they want to be explored, even suffered. Sound builds songs which are made of sounds, and yet they’ re no longer songs.
"Wildling" is the trio’s strongest and most vulnerable album to date. It is a solipsist, which floats solitary in its own space, somewhere between the orbits of jazz, krautrock, pop and hell.
This space is an earthly heaven, which we are permitted to inhabit – if we only can hear, with our ears as well as our heads.
by Jörg Sundermeier
Tracklist :
1. Move Right In (Drums - Christopher Brunner)
2. Silver Chords (Saxophone - Dietrich Foth)
3. Aum A Go-Go (Drums, Xylophone - Christopher Brunner)
4. In Transition (Version)
5. Spookin' The Horse (Drums - Christopher Brunner, Saxophone - Dietrich Foth)
6. Blind
7. Rotwelsch
8. Time Is The Fire In Which We Burn
9. Cry Tuff
10. We Paint The Town Beige (Drums - Christopher Brunner)
11. There's A Crack In Everything
12. Milte Hi Ankhen (aka Bird In Hand) (Written By - Lee Perry)
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http://www.myspace.com/heavytrash
Origine du Groupe : North America
Style : Rock
Sortie : 2009
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>Infatigables artisans redescendant travailler sans relâche dans la mine d’or du rock ‘n roll, Matt Verta-Ray et Jon Spencer viennent de remonter à la surface de leur inspiration onze pépites
vintage réunies pour Heavy Trash… L’auditeur tombé amoureux - pour la vie ! - des pionniers du rock trouvera matière à s’enthousiasmer durablement sur l'album Midnight Soul Serenade :
langoureuses ballades fifties qui ne dépareraient pas dans une BO de Quentin Tarentino, rockabilly enlevés prompts à envoyer sur la piste de danse tel un Vince Taylor ressuscité, rock ‘n roll
vicieux donnant envie de flirt poussé avec la gent féminine… Quand il s’agit de trousser des morceaux admirablement authentiques, Heavy Trash a toujours la main chaude ! La technique du duo est
plutôt simple pourtant (mais il faut quand même avoir un sacré talent pour composer, jouer de la guitare, aboyer ou roucouler dans le micro) : on met en présence deux musiciens férus de rock ‘n
roll avec des instruments antiques, et ce dans un studio analogique… Et ça fait « BOUM ! », la machine s’emballe, les titres arrivent sans forcer et l’on se retrouve à se laisser bercer ou
bousculer nuitamment par une très belle collection de chansons. Idéales pour se lancer dans une tendre sérénade, avant de passer aux choses sérieuses : une petite séance de rock et de roll.
Hallelujah, le filon est loin d’être tari pour Heavy Trash !
par Pierre Andrieu
permalink
Tracklist :
01 - Gee, I Really Love You
02 - Good Man
03 - Bumble Bee
04 - The Pill
05 - Pimento
06 - (Sometimes You Got To Be) Gentle
07 - Isolation
08 - Bedevilment
09 - Sweet Little Bird
10 - That's What Your Love Gets
11 - In My Heart
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http://www.myspace.com/tobinamon
Origine du Groupe : U.K
Style : Electro , Broken Beat , I.D.M
Sortie : 2010
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>From Official Myspace :
Musician, programmer, recording artist, beatsmith, dance floor commander, composer, sound designer, bad ass motherfucker. Amon Tobin is all of these things but most of all a forward thinker.
Pushing forward and never looking back has always been his focus. This is what gets him up in the morning and what keeps him up late into night.
Amon Tobin never set out to be in the music industry. To him music is an end in itself, not a path to commercial success. His own success is basically a bi product of his obsession and remains
something of a welcome mystery to him. The fact is, whether or not the world had ever heard of Amon Tobin he would still be creating music. His life has been a long term love affair with sound
and rhythm and a personal study of both. his work is a contribution to the evolution of sound in the spirit of the pioneers of electronic music.
Amon has released a series of critically claimed full lenght albums alongside a number of side projects which vary from film score work to collaborations with artists who range from classical to
hip hop and much in between. Curiosity and a relentless drive to explore has lead Amon to various places in music but the the real fruits of this are in the combined knowledge gained from these
experiences. Knowledge of how music music and sound work and the passionate application of this to his own personal creations.
Tracklist :
01 - SC Conviction - Roll Credits (unreleased)
02 - Noisia - Machinegun (Amon Tobin Remix)
03 - Eskamon - Fine Objects (edit)
04 - SC Conviction - Coste
05 - SC Conviction - Menu Theme
06 - Hey Mr. Tree
07 - SC Conviction - Oval Office
08 - Technique
09 - SC Conviction - Corridor Cue
10 - Bloodstone
11 - SC Conviction - Sarah!!!
12 - Slowly
13 - SC Conviction - White House
14 - Delpher
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Origine du Groupe : Brazil
Style : Funk , Instrumental
Sortie : 2009
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>FUNKESSENCIA, uma banda de deep funk. O Funkessencia lança em Setembro um single chamado "Urbanismo", que conta com duas faixas bônus. Uma versão de "Chameleon", clássico de Herbie Hancock e
Headhunters, e uma versão para "Music is Rulling My World", de Kutiman.
por DNA
permalink
Tracklist :
01. Urbanismo
02. Chameleon
03. MIRMW
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http://www.myspace.com/huunhuur2
http://www.myspace.com/carmenrizzo
Origine du Groupe : Russia , North America
Style : World Music , Alternative , Electro World
Sortie : 2010
<script type="text/javascript">// <![CDATA[ aR_BgColor=""; aR_FgColor=""; aR_url=location.href; aR_title=document.title; aR_StarType ='3';document.write('<\/div>');document.write('<scr'+'ipt type="text/JavaScript" src="http://addratings.com/aR_BootStrap.js"><\/scr'+'ipt>');// ]]></script>Tuvan band Huun Huur Tu have always functioned perfectly well by themselves, so pairing them with electronic musician Carmen Rizzo was a daring experiment -- what could he bring to the party?
Quite a lot, it appears. Although never overbearing, he uses instruments, synths, beats (and some strings and brass) to make the group even more shamanic and emotional, as on the utterly
breathtaking "Orphaned Child," where the voices seem to be calling from the wilderness into the void. There's perhaps less of the throat singing that first grabbed Western audiences, but it's
replaced by a beautiful, mournful lyricism (not completely; those overtones are very much in evidence on the closer, "Tuvan Prayer," with all four voices working together and traditional
instruments very much on display, with electronics more of a shadow). Rizzo proves to be the perfect sympathetic foil for Huun Huur Tu, taking what they do and heightening and shading it,
as with "Ancestors Call," where the shamanic side of Tuva stands to the fore. But the centerpiece, quite literally, of the album is "Dogee Mountain (Interlude)," an eight-minute piece that verges
more on modern classical than anything to do with folk, world, or electronic music. It marks a great departure for Huun Huur Tu, sending the group very firmly into new, wide open spaces and
marking Rizzo as the ideal partner in crime.
by
Tracklist::
1. Ancestors Call 5:41
2. Mother Taiga 6:49
3. Saryglarlar Maidens 5:46
4. Saryglarlar (Reprise) 1:28
5. Dogee Mountain (Interlude) 8:21
6. In Search of a Lost Past 4:56
7. Orphaned Child 5:11
8. Tuvan Prayer 2:21