• http://img.youtube.com/vi/x9zNjOyJaKg/0.jpg

    http://www.alertakamarada.com

    http://www.myspace.com/alertakamarada

    Origine du Groupe : Colombia

    Style : Reggae

    Sortie : 2010




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    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.generationslive.fr/client/files/m/mokalamity/deeperrevolution-500x500.jpg

    http://mokalamity.free.fr

    http://www.myspace.com/mokalamityspace

    Origine du Groupe : France

    Style : Reggae

    Sortie : 2009




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    <\/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://shopbase.finetunes.net/shopserver/BinaryCacheServlet?albumid=1250878000094&datatype=fc300

    http://hollygolightly.com

    http://www.myspace.com/hollygolightlyandthebrokeoffs

    Origine du Groupe : U.K

    Style : Folk , Country , Blues

    Sortie : 2008




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    <\/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://ekladata.com/-TDCWuv8tWfmW5hakmv5UL1wRYw.jpg

    http://www.archieshepp.com

    http://www.myspace.com/shepparchie

    Origine du Groupe : North America

    Style : Jazz

    Sortie : 1971




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    <\/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://ekladata.com/9tmor_qdnfqkRu4g0rA4bz5AKX8.jpg

    http://www.myspace.com/threeeeleven

    http://www.lastfm.fr/music/Dynamic+Syncopation

    Origine du Groupe : U.K

    Style : Abstract Hip Hop

    Sortie : 1999




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    <\/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://ekladata.com/an4-Qw7f_SSFewVj8SCJ_v7BZHc.jpg

    http://www.kammerflimmer.com

    http://www.myspace.com/kammerflimmerkollektief

    Origine du Groupe : Germany

    Style : Alternative , Experimental , Psychedelic

    Sortie : 2010




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    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.leblouson-noir.fr/wp-content/uploads/2010/01/heavy-trash-midnight-soul-serenade2.jpg

    http://www.heavytrash.net

    http://www.myspace.com/heavytrash

    Origine du Groupe : North America

    Style : Rock

    Sortie : 2009




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    <\/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.noticebureau.com/direction/amontobin.jpg

    http://www.amontobin.com

    http://www.myspace.com/tobinamon

    Origine du Groupe : U.K

    Style : Electro , Broken Beat , I.D.M

    Sortie : 2010




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    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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  • http://ekladata.com/ZqYlbSH851T3fAKCJ1Wg8yR5pmc.jpg

    http://funkessencia.com.br

    Origine du Groupe : Brazil

    Style : Funk , Instrumental

    Sortie : 2009




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    <\/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.amoeba.com/sized-images?src=/uploads%2Fblog%2FGomez%2FEternal-by-Huun-Huur-Tu-and-Carmen-Rizzo_SafYHbCnQmcx_full.jpg&fitType=exact&width=300&height=300

    http://www.hhtmusic.com

    http://www.myspace.com/huunhuur2

    http://www.carmenrizzo.com

    http://www.myspace.com/carmenrizzo

    Origine du Groupe : Russia , North America

    Style : World Music , Alternative , Electro World

    Sortie : 2010




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    <\/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

     

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