Voir tous les tags-
Note :
http://www.thecatempire.com/
http://www.myspace.com/thecatempire
Origine du Groupe : Australia
Style : Alternative Fusion
Sortie : 2010Le groupe australien n'en finit plus de surprendre par la qualité de ses arrangements.
Et de quatre donc pour The Cat Empire, cet ensemble de musiciens aux configurations pour le moins hétéroclites. Si vous ne connaissez rien du groupe – qui est venu nous visiter au Festival de
Jazz en 2006 – sachez que le sextet de base jouent trompette, claviers, basse, batterie, trombone, saxo, tables tournantes...
Et bien plus encore: dans leurs quatre albums studio, ce sont pas moins de 50 (comptez-les!) musiciens invités qui sont venus ajouter un peu de leur sauce à la recette Cat Empire: du banjo, des
guitares, des voix, des cuivre, «name it», comme on dit en mandarin.
Et ça donne quoi tout ce mélange? Dans le cas de «Cinema», un album qui hurle parfois la bonne humeur, parfois la mélancolie - une galette éclatée où le reggae rencontre le funk, où le ska
caresse les tables tournantes. Écoutez «The Heart is a Cannibal» (avec une voix ressemblant étrangement à un très jeune Peter Gabriel), dansez sur «Call Me Home».
Vraiment un album à ne pas rater, de la sangria pour les oreilles.
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Tracklist :
1. Waiting
2. Falling
3. Feeling's Gone
4. Only Light
5. All Hell
6. Shoulders
7. The Heart Is A Cannibal
8. Reasonably Fine
9. Call Me Home
10. On My Way
11. Beyond All
LINK REMOVE réclamation DMCA
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Note :
http://www.myspace.com/chkchkchk
Origine du Groupe : North America
Style : Electro Disco Punk Psychedelic
Sortie : 2010
!!! (chk chk chk) est une exception sur l'échiquier warpien mais !!! est une exception tout court. Comment réussir à cataloguer un groupe dont la musique n'arrive jamais à se figer ? Si
Warp a mis la main sur le groupe, ce n'était pas dans un délire d'ouverture au rock mais plutôt dans l'idée de démontrer que ce genre peut parfois exploser dans tous les sens.
!!! du disco-punk ? Trop réducteur. De l'électro-funk ? Trop synthétique. !!! n'est rien d'autre qu'une partouze musicale ayant pour unique but de vous faire bouger le cul comme Funkadelic en son
temps.
Depuis Myth Takes en 2007, le groupe a subit des contrecoups : mort de son batteur Jerry Fuchs, départ du bassiste Justin Van Der Volgen ainsi que du guitariste Tyler Pope. C'est désormais le
chanteur Nic Offer qui mène la troupe de déglingués. Car !!! prend toute sa mesure en live et devient alors, modestement, une des plus grosses machines à danser qui puisse exister. Le leader
donne de son corps comme personne. J'ai souvenir d'un concert démentiel à 3h du mat' au Summercase de Barcelone en 2007, le chanteur arrivant sur scène en vélo, gobant un taz devant le public et
démarrant son concert à 2000 à l'heure avant de vomir sur scène. Sous l'impulsion disco-funk du groupe, le public était devenu totalement hystérique. Grand moment !
Sur disque, la sauce prend aussi mais avec moins d'immédiateté. Même si on y gagne une meilleure cohérence dans la structure des morceaux, on y perd malheureusement cette énergie primaire
produite par le collectif. Strange Weather, Isn't It ? est le quatrième album des Californiens et les habitués ne seront pas dépaysés.
!!! a pour principe d'appliquer les codes de la musique de club dans ses morceaux. C'est relativement simple, on installe l'ambiance et quand vous êtes bien mûrs, on fait tout péter. Les montées
sont donc récurrentes avec ce côté extasié qui vous colle le sourire et les bras en l'air. Strange Weather, Isn't It ? joue sur sa basse funky et sa batterie épileptique (Paul Quattrone
remplaçant le défunt) pour vous maintenir sous pression. Ca groove sec dans votre caleçon et ça vous fait transpirer à grosses gouttes.
Le refrain facile suivi d'une longue montée, renvoyant la space-disco dans ses cordes, de The Most Certain Sure permet de retrouver immédiatement l'énergie du groupe. La voix de Nic Offer se met
en retrait pour mieux laisser les instruments prendre l'ascendant. Résultat : quand les cuivres se mêlent à la voix soul de Shannon Fuchess sur Wannagain Wannagain, ça groove comme jamais. Même
quand !!! expérimente avec le tribal Hollow, porté uniquement par la batterie, ça fonctionne à plein régime. Et en clôturant l'album par la gigantesque montée électro imparable de The Hammer, on
finit en nage. Alors même si le groupe reste bloqué sur ses acquis, on est conquis une fois de plus.
Strange Weather, Isn't It ? ne sera pas l'album de l'année mais on s'en fout du moment que le plaisir est là. Le but premier de !!! est de provoquer l'hystérie en live en vous faisant danser
jusqu'à épuisement. L'idée que la musique n'est parfois qu'un simple plaisir hédoniste se vérifie une fois de plus avec ce groupe hors-norme.
par B2B
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Tracklist :
1. AM/FM
2. The Most Certain Sure
3. Wannagain Wannagain
4. Jamie, My Intentions Are Bass
5. Steady As The Sidewalk Cracks
6. Hollow
7. Jump Back
8. Even Judas Gave Jesus A Kiss
9. The Hammer
10. Blue (Bonus Track)
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Note :
http://www.myspace.com/combatwombatforpresident
Origine du Groupe : Australia
Style : Electro Dub Hip Hop , Ragga
Sortie : 2005
From Wikipedia :
The band's name came about because they used to drive around in a camouflage painted van that looked like a giant wombat.
...one day whilst we were touring around the desert with our solar powered sound system (Labrats) my mate Rufus said why don't you call your band Combat Wombat... so we did.
—Monkey Marc[1]
Monkey Marc met Izzy in Darwin in 1998[2]
where they started up a solar powered party political sound system.
She had this whole solar-powered sound system that she had hooked-up to this old quad-bike, a four-wheeled pedal bicycle. It was basically pedal and solar-powered. I arrived with my decks and
my mixer, a sampler and an 808 drum machine, and that was kind of the start of Lab Rats and Combat Wombat
—Monkey Marc[3]
Elf joined the band in 2000 after they all met whilst living together in a squat in the heart of Sydney.
The squat lasted two-and-a-half years. It was the venue of many benefit parties for the forests, land rights and Lake Cowal. It had alternative movie nights, dumpster picnics and many thriving
underground and grass-roots gatherings
—MC Izzy[2]
We had this warehouse out the back that became known as the Pigeon Poo Palace, and that's where we started jamming with Elf Tranzporter. We were doing heaps of free parties and Reclaim The
Streets parties at the time. So he'd just rock up and start doing some rhymes, and we just started up this friendship
—Monky Marc[3]
DJ Wasabi joined the band in 2002.[1] Their
first real performance as Combat Wombat was on a Channel Seven music program[3]
Of course, it was heavily censored. The song was about four-and-a-half minutes long, but by the time Channel Seven got hold of it and cut up the footage of us performing live, they chopped it
down to about a minute-and-a-half. They'd taken everything out of it, you know, there were lines about Nike exploitation
of workers, Shell drilling hell and none of that was in there. But they left in the stuff about cops
selling smack and stuff). It seemed fairly obvious who the program sponsors were.
—Monkey Marc[3]
This led to the release of the band's debut album, Labrats Solar Powered Sound System, and their subsequent signing to Elefant Traks. The band released its second album, Unsound $ystem, in March, 2005.[4] Within a week of its release, Unsound $ystem was receiving airplay on Triple J, with the single, "Qwest" reaching #2 on the Net 50.[5] Unsound $ystem features a number of guests artists such as The Herd's Ozi Batla and TZU's Seed
MC, but the most confronting cameos are from MCG and SMS: two Afghan refugees who had escaped from Woomera detention centre.
We knew these guys from Woomera and bumped into them and invited them in to record. I played them a song, an emotive arrangement of gypsy strings, and they just tried to write whatever they
could. They had never rapped and wanted to know what this song was about. I said, 'Displaced people.' They wrote this rhyme in Persian that was pretty much like, 'Why has God forgotten us? Why
are we the forgotten people?' They were beautiful guys and we recorded it in an hour and took them out for pizza. Unfortunately they were locked up and sent to Baxter.
—Monkey Marc[5]
Tracklist :
01 - Displaced peoples [ft. chris mutiny]
02 - Alternative energy [ft. ozi batla]
03 - Lost paradise
04 - Qwest [ft. seed mc]
05 - Star wars [ft. ozi batla]
06 - Redneck shock jock
07 - Police brutality [ft. ozi batla]
08 - Days like these
09 - A loggerrhythm
10 - Radio woomera pt. 1
11 - Radio woomera pt. 2
12 - Milk cow mantra
13 - Corruption dub
14 - Human shields
15 - Clockwork [ft. raceless]
16 - End of the world dub
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Note :
http://www.myspace.com/ritaindianaylosmisterios
Origine du Groupe : Republique Dominicaine
Style : Alternative Fusion World Electro
Sortie : 2009
La banda: Con una mezcla que algunos catalogan de “merengue futurista y ácido”, la artista Rita Indiana promociona en el país su producción “Rita Indiana y los misterios”. Con este disco la
compositora e intérprete dominicana ha conseguido en poco tiempo estar junto a su banda en el gusto popular, recibiendo halagos y buenos augurios de reconocidas figuras del espectáculo. Radicada
en Puerto Rico, Rita Indiana comenzó a dar forma a su proyecto musical, el cual integra merengue, bachata y el elemento electrónico, de los sintetizadores. Sobre las letras de sus canciones,
explica que “yo integro todo lo que hice como novelista, en término de letras, hay unas letras que están curtidas de muchas experiencias y de una visión más conceptual de la vida, pero también
muy cerca de la gente”. La artista se dedicó en una primera etapa a la literatura, publicando las novelas “La estrategia de Chochueca” y “Papi”, ambas publicadas en el exterior.
Escrito por: Félix Morillo Para: El nacional.
El disco: muy rara vez un concepto musical me atrapa con tanto fervor como este, al punto de querer escuchar y re escuchar sus canciones hasta el cansancio. Cuando esto pasa es prioritario
compartir su material, darlo a conocer ya que no soy ambicioso, ni me gusta quedarme con lo bueno, esa fue una de las razones para crear este blog.
Rita Indiana tiene todo lo que busco en un músico: que sea un artista. Cuando esta condición está servida en bandeja de plata no importa el género o su procedencia solo lo que me pueda brindar y
hasta donde me puede llevar con su música.
Si alguien me pregunta cuál es el género musical que más odio (odio muchos) podría responder que tal vez es el merengue, así muy en el fondo quiera decir Reggaetón o Vallenato. Como expliqué
anteriormente el género no importa cuando de buena música se trata. Y es que Los Misterios no es solo merengue, de hecho solo puedo identificar el ritmo como el esqueleto de sus canciones, como
la columna vertebral que es completada con elementos electrónicos y otros tantos componentes de música alternativa, además de letras muy bien logradas y magistralmente interpretadas.
Lo que hoy público lo he recolectado como semillitas que la banda ha dejado germinando en el internet. De este recopilatorio se destacan Jardinera y La hora de volve’. La primera es una canción
mágica y envolvente sobre una persona que vive utópicamente en la selva de concreto. Quien sabe cuántas veces ha sonado esa canción en mi reproductor y solo yo decidiré cuando me cansaré de
escucharla. La hora de volve’ habla del regreso de los que se van a buscar suerte en países desarrollados donde literalmente se les congelan los huevos mientras comen basura rusa bajo la nieve.
Acá el roce electrónico es mas evidente y el tumbao’ del merengue guía la pauta que se completa con una letra excepcional que no hace nada más que cantar verdades.
El blu del ping pong es otra canción del repertorio de Rita Indiana que recuerda las nutridas composiciones de Calle 13. Guitarras de rock, más merengue y la experimentación electrónica arman una
canción redonda para gozar de principio a fin. La sofí es descarada y divertida: "tengo un disco de Iron Maiden, lo quiero poner, los muchachos no me dejan, lo quiero poner” canta Rita de forma
tímida sobre una pista electrónica que habla de las diversas y dispares influencias de esta propuesta que viene a engrosar la lista de bandas iberoamericanas con buenas ideas y buenas
canciones.
El material lo completa Platanitos, la versión en vivo de El blu del ping pong, y el demo de Jardinera.
Por ahora estoy en la etapa más eufórica de mi enamoramiento de esta banda, y como nunca soy objetivo, puedo expresar mi admiración profunda por la propuesta de Rita Indiana y sus Misterios,
provenientes de los olvidados rincones alternativos de centro América.
by http://elamarill0.blogspot.com
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Tracklist :
01. La hora de volve’
02. Jardinera
03. El blu del ping pong
04. La sofí
05. Platanitos
06. El blu del ping pong (en vivo)
07. Jardinera (demo)
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Note :
http://www.myspace.com/harukanakamura
Origine du Groupe : Japan
Style : Electro Ambient , Piano
Sortie : 2010
Haruka Nakamura is a composer in Tokyo, Japan, and was born in 1982. As a child, Haruka learned to play keyboard and guitar on his own. He has been weaving his soothing acoustical sounds since
2006.
An emerging talent on the Japanese independent electro-acoustic scene, haruka nakamura's second solo outing refines the lyrical, pastoral imagery that inspired his first album "grace". Recorded in
a studio overlooking the ocean as a tribute to the sight of the expiring sun falling slowly over the horizon at dusk, "twilight" is a sustained reverie that mirrors the dwindling rays of light at
day's end with its subtle variations in timbre and texture.
The brassy shimmer of ARAKI Shin's sax opens the first track "Yuube no Inori" (Evening Prayer, M1), swelling languidly as the orchestra slowly unfurls around it like a resplendent sunset.
Throughout the album, haruka nakamura coaxes a startling range of tonal color out of piano phrases that twinkle, patter and shuffle through a variety of compositions and tempos - the gentle march
of "harmonie du soir" (M2); the somnolent haze of "On the Verandah" (M6) punctuated by drowsy stutters and cicadas muttering all around you; the reverberations of your languishing pulse as night
starts to fall in "faraway" (M7). isao saito's sensitive percussion offers subdued but confident support throughout - dwindling to a hush as the fading rays of the sun dissipate in the crisp night
air.
The middle of the album - "Koukei" (Sight, M8) and "dialogo" (M9), in particular - wanders off on a short jaunt into looser, ethereal territory. The furtive meandering of the soprano saxophone by
akira uchida, roving itinerant chords, airy percussion and carefully-spaced sustain and release of the pedal are reminiscent of acoustic ambient jazz of ECM. Closing the album, however, are two
melody-driven vocal tracks: "twilight", a gentle flicker of a ballad that rises and ebbs with April Lee's (aspidistrafly) fluttering, half-whispered vocals, and Janis crunch's acoustic
arpeggio-driven elegy in tribute to the dwindling of "The Light".
by Beautiful Noise
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Tracklist :
01 夕べの祈り
02 harmonie du so
03 彼方
04 窓辺
05 memoria
06 ベランダにて
07 faraway
08 光景
09 dialogo
10 音楽のある風景
11 twilight
12 カーテンコール
13 The Light
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Note :
Tracklist :
Yabby You & Mad Professor - Winds of Dub
Nations Vibration - Underground Flute
Casualty - Likidub
Tektonic Chamber - Outer Dub Prophecy
Faya Horns - Dubbing With The Kibutz
Scoop - Our Prophecy
Faya Horns - African Warrior Dub
The Nun Project - Sofa Theory
Mcpullish - Just Dub On
Semente da Paz - Groove I Dub
Unitone - Flute Dub
Javelin - Flutey Flakes
High Quality: http://rapidshare.com/files/315075665/20_youdub_piperspan_flute_dub-2009.mp3
![[PLAY]](http://youdub.podomatic.com/img/play_button.gif)
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Note :
http://www.myspace.com/guanopadano
Origine du Groupe : Italia
Style : Alternative Rock , Country , Folk , Smooth Jazz , Instrumental Experimental
Sortie : 2009
Alessandro Steffana released his debut solo album to much acclaim on Important a few years back Since then he has worked as a member of Mark Ribot's Ceramic Dog project as well as Mike Patton's
Mondocane.
Guano Padano, assembled by Alessandro Stefana, features guests Alessandro Alessandroni (renowned whisteler of the immortal Ennio Morricone western soundtracks), Gary Lucas (Captain Beefheart/Jeff
Buckley guitarist), Chris Speed (clarinet player with Tim Berne, Uri Caine, John Zorn etc.) and, last but not least, the legendary Italian singer Bobby Solo
Guano Padano’s music is a kind of road movie, unfolding between the scorching asphalt of Highway number 4 and the juicy smells of the peasant festivals so common in the Pianura Padana. It’s a
dreaming mixture of rock, psychedelia, folk and country, jazz improvisations and Morricone hints. Alessandro "Asso" Stefana and Zeno de Rossi started to work together some years ago while playing
in Vinicio Capossela’s band, of which they are still steady members. For this trip they are joined by Danilo Gallo, a double bass player with a dark, meaty, gutsy style, who has shared with Zeno
various adventuresmerged in El Gallo Rojo collective, one of the most interesting experiences of Italian underground and independent jazz.
permalink
Tracklist :
01. Guano Padano
02. A Country Concept
03. El Divino
04. Epiphany
05. Bull Buster
06. Ramblin' Man
07. Jack Frost
08. Del Rey
09. Danny Boy
10. Tromp Valley
11. El Divino (alternate version)
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Note :
http://www.polystar.co.jp/takako/index2.html
Origine du Groupe : Japan
Style : Alternative Fusion , Electro Pop
Sortie : 1996
From Wikipedia :
As an accomplished all-around musician, Minekawa's musical skills set her firmly outside of the J-Pop "idol" tradition: she writes and composes most of her material, singing quirky lyrics about
subjects such as clouds, cats, and the color white (her personal favorite), with her love of Kraftwerk and French Pop Music[1] also showing through her unique experimental sound. She
often makes use of vintage Casio keyboards[1] and analog Moog synthesizers,[2] as well as vocoders and other electronic instruments.
Her live debut was in 1990, calling herself Mamene Kirerie as a member of the group Fancy Face Groovy Name alongside Kahimi Karie and backed by Flipper's Guitar. She was also a member of the band
L⇔R before releasing her solo debut, Chat Chat in 1994.[citation needed]
Although as a child Minekawa had a short acting career, this interest has not resurfaced in her adult life (aside from her voice exclaiming "PlayStation!" in a recent commercial for the
product).[citation needed]
She has written professionally, as regular columnist in the Japanese edition of Keyboard Magazine; she also contributed a serialized novel to the Japanese quarterly Bungei.[citation needed]
She married fellow musician Keigo Oyamada (aka Cornelius) in 2000.[3] The pair have collaborated on several projects. Cornelius remixed some of her songs, including the well-received "Milk Rock".
He also produced her album Fun9.
Tracklist :
1. "Sleep Song" - 3:01
2. "Fantastic Cat" - 3:58
3. "Never/More" - 4:17
4. "Klaxon!" - 4:28
5. "Wooooog" - 3:53
6. "Dessert Song" - 2:59
7. "Destron" - 3:57
8. "Pop Up Squirrels" - 0:27
9. "1.666666" - 6:24
10. "Rainy Song" - 2:19
11. "T.T.T. (Turntable Tennis)" - 2:05
12. "Black... White" - 3:16
13. "More Pop Up Squirrels" - 0:49
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Note :
http://www.myspace.com/shawnleemusic
Origine du Groupe : U.K
Style : Groove , Funk , Soul
Sortie : 2010
Shawn Lee records and releases albums at a pace that few beside Robert Pollard could match, but at least Lee tries to make each one distinctive. His latest, Sing A Song, features vocalists on
every track, and leaves aside Lee’s usual internationalist “soundtrack jazz” in favor of retro soul that wouldn’t sound too out of place on Daptone—that is, if Daptone were more interested in
psychedelic-ified ’70s R&B rather than the sweaty, rootsy ’60s kind. Not that Lee stays completely committed to the bit; “Fade Up” has a spacey, futuristic feel, while the oddball ballad
“I’ll Just Wait A While” shifts from acoustic moaning to wacked-out lounge music. But for the most part, Sing A Song leans more toward songs along the lines of the deeply funky Robert Bradley
collaboration “Fading Light” and the bongo-riffic, distorted “Who Are You?” Sing A Song relies too much on novelty numbers like the one-joke “Christopher Walken On Sunshine” and the doo-wop
piss-take “Swimming Pool,” but when Lee constructs a soul song as classic-sounding as “It Takes Two”—with its tin-can Marcus Malone vocals and bright chimes—he takes care to get the atmosphere as
correct as the orchestration.
By Noel Murray
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Tracklist :
01. Shut Up And Learn (ft. Fanny Franklin)
02. It Takes Two (ft. Marcus Malone)
03. Who Are You? (ft. Bing Ji Ling)
04. Fade Up (feat. The Superimposers)
05. I’ll Just Wait A While
06. Fading Light (ft. Lord Large & Robert Bradley)
07. Older (ft. Miles Bonney)
08. Swimming Pool
09. Don’t Let That Feeling (ft. The Superimposers)
10. Lucy Lucy (ft. Jeremiah)
11. Christopher Walken on Sunshine (ft. Princess Superstar)
12. Meadow in the Summer (ft. Paul Fryer)
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Note :
http://www.myspace.com/366177194
http://fr.wikipedia.org/wiki/Lloyd_Miller
Origine du Groupe : North America
Style : Jazz World
Sortie : 1963 - 2002
From Wikipedia
Lloyd Miller ou Koroush Ali Khan est un jazzman multi-instrumentiste d'avant-garde américain s'étant intéressé dès les années 1960 aux musiques du monde, en les étudiant et en les intégrant au
jazz. En tant que pianiste, il a joué notamment avec Don Ellis et Eddie Harris.
Bien qu'originaire de Californie, et ayant débuté sa carrière aux États-Unis, il émigra rapidement en Europe en 1961. où il a appris la musique iranienne avec Darioush Safvat et Djamchid
Chemirani et la musique vietnamienne avec Tran Van Khe, en fréquentant le Centre d'étude de la musique oriental à Paris.
Dans les années 1970, il émigre en Iran et entreprend avec succès des études doctorales sur la musique iranienne. Il produira aussi des émissions télévisées de jazz oriental avec son ensemble
Oriental Jazz Quartet et aussi The Mike Johnson Quartet, the U Jazz Ensemble, et the Preston Kies Quartet.
Il devient vite expert au santûr et au zarb iraniens, mais aussi au oud arabe, en plus de pratiquer quelques autres instruments tels clarinette, contrebasse, violoncelle, yangqin, flugelhorn,
saxophone alto, cor, etc.
Tracklist :
1. Gol-e Gandom (BYU 67)
2. Amber Eyes (BYU 67)
3. Morning Mist (Paris 61)
4. Gol-e Gandom (SLC 87)
5. Perso Jazz Blend (U of U 68)
6. Cello al la Turque (Tehran 72)
7. Oud Blues (Tehran 72)
8. Amber Eyes (U of U 67)
9. Bhairava (BYU 67)
10. Bhairavi (U of U 68)
11. Njonja Mirah (U of U 68)
12. Kyoto Gardens (BYU 65)
13. Sakura (U of U 68)
14. Hue Wail (BYU 67)
15. Vietnam medley (SLC 93)
16. Chun Chiang Hua Yueh Yeh (BYU 65)
17. Yang chin solo (BYU 65)
18. Eastern Tour (Tehran 72)
19. Gol-e Gandom (Tehran 72)
20. Segah - piano (Tehran 73)
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