Note :

http://www.aokitakamasa.com

http://www.myspace.com/aokitakamasa

Superstrings 76+ brise la glace. Après les débuts timides d'un click n cut étonnamment groovant, le morceau opère un virage modem funk imparable. Les mélodies simples et syncopées rebondissent
sur des rythmiques ciselées à la Alva Noto période Transspray. Complexe et virtuose, c'est pourtant la simplicité paradoxale du morceau qui stimule, désinhibe et surtout émeut.



Et ça tombe bien. Takamasa chante sur See That Girl et offre un slow digital beau à tomber. Ceux qui connaissent déjà l'oeuvre du japonais trouveront une parenté certaine avec une chanson de son
album Simply Funk, Walk On The Ocean. La même sérénité se dégage ici, douceur paradoxale des glitches domptés par des nappes profondes. Par cette love song informatique, Takamasa ramène la
tendresse au centre des bpm.



Enfin, pour célébrer le premier baiser ou aussi faire oublier le râteau tout frais, le EP se clôt sur Dancing Queen. 4/4 d'oscilloscope et mélodie parfaite font lever les bras en l'air. Cette
house laborantine transpire la sensualité et hypnotise par ses nappes minimalistes à la fois âpre et veloutée, ses sound edits discrets et précieux. Le sourire, béat ou/et mélancolique, est sur
toutes les lèvres, tenace.



En s'attaquant au format vinyle, Aoki Takamasa amène avec succès sa musique informatique et humaine sur le dancefloor. La polyvalence de sa musique est indéniable : grand écart parfait entre
dance poétique altruiste et musique éxigeante intimiste. Les plus casaniers seront d’ailleurs eux-aussi ravis de recevoir dans leurs oreilles l'amour que distillent ces 3 titres.



Chroniqué par Nil

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Origine du Groupe : Japan , Germany

Style : Electro Minimaliste , Electronique , Glitch

Sortie : 2004



Tracklist :

1 - That Melody

2 - Superstrings

3 - M

4 - Walk On The Ocean

5 - Prague I.T.M

6 - Dancing Queen

7 - Protoco. M.T.T

8 - Simply Funk

9 - The Elegant Universe

10 - Monza

Note :

http://www.bandapontodeequilibrio.com.br

http://www.myspace.com/pontodeequilibrio

Reggae brasileño. La banda Ponto de Equilíbrio surgio a finales de 1999, en Rio de Janeiro, con una propuesta de concientizacion a traves del autentico lenguaje rastafari.

El contenido de las letra denuncia desigualdades sociales criadas por el sistema capitalista, y alerta con un llamado espiritual de amor, verdad y justicia, y mobiliza a un pueblo en la lucha por
sus derechos.

El nombre Ponto Do Equilibro resume el objetivo de los integrantes del grupo: el equilibrio entre el cielo y la tierra, positivo y negativo, bien o mal. Todas son facetas de la misma moneda o
estan opuestos porque asi se armonizan



permalink

Origine du Groupe : Brazil

Style : Reggae

Sortie : 2004



Tracklist :

01 - Jah Jah Me Leve

02 - Árvore Do Reggae

03 - O Convite

04 - Ditadura Da Televisão

05 - Genesis

06 - Nyah

07 - Rastafará

08 - Nossa História

09 - Ponto De Equilibrio

10 - Profeta Rei

11 - África

12 - Aonde Vai Chegar

13 - Eu

14 - Ame Sua Missão

Note : +

http://alexanderborovik.ru

http://www.myspace.com/alexanderborovik

Took from rap better and it reembodied. However, this new music it is equal as rap, it is so created for the life: it is possible to listen to it, when you go, you lie, you sit, you will go. It can
be background, it is possible to listen to it, it is possible to listen to it, and it is possible to design for it, being in any mood. Within the framework resources about rap we consider “by a
whisper”, of course, not as something that connected with this rap itself, but as simply good music.



Text possesses not semantic fullness, but fullness by the symbols, which in the head of each will outgrow already by its own associations, thoughts and interpretation. From the other side, it
cannot be said that the song of Alexander - this continuously symbolism. In them many sufficiently simple phrases without the dual bottom, which exactly in the context of music acquire their
intricate nuances. This music not for those, who love, when all present to them on the saucer, and not for those, who never took into the hands volume with the verses.



The absence of some strict movement to canons, generally something strict gives, at long last, the possibility to be weakened and to cease to analyze and to compare (only if you are the
conservative fan of his past turn of creation). Here [Borovik] - free artist. It, as El Salvador they gave, strings means after the means in the limits of one work, creating the fabric, which is
deprived of any framework, its linen is limitless.



The amplitude of the fluctuations of mood, manner of performance, arrangement is not great, canvas for this work one. Sensations from one track smoothly overflow into the sensations from another.
In the life there are no sharp passages from one aspect to another, so and [Borovik] it must be perceived in the totality.

Thoughts about the success of rhymes (about the rhymes as a whole) practically do not appear. The author rather is similar to the actor, than to the musician. “In a whisper” it obeys as radio
performance. From a number of its passages of ant they run along the skin, and is created impression, that some lines could not be written otherwise as on the elbows or in the assaults of fury.
And, it seems, in this play main heroine - music.



You listen to and you begin to envy to this freedom from [skilzov], this determination to accept itself as such, such as you exists. Volney [Borovika] perhaps that wind. And this ease of passage of
one state to another is definitely transferred to listener and gives to it, in addition to the impressions, feelings and pleasure, the new point of view. Especially if thus far listener could not
be abstracted from rap or could not understand that music - this, first of all, skill.



the author: Maria [Leskova]

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Origine du Groupe : Russia

Style : Folk , Rap

Sortie : 2010



Tracklist:

01. Новый

02. Шёпотом

03. Вдохновение

04. Нет никого ближе

05. Белый шум

06. Не убежать

07. Катя

08. В бетонных склепах

09. Исповедь

10. Трамплин

11. Кривой эфир

12. Верить в чудо

Note : ++

http://www.huskymusic.pl

http://www.myspace.com/huskypolska

There are at least two bands named "Husky".



More popular (more tracks submitted so far) is Polish electronica-downtempo duo consisting of Patrycja Hefczynska (vocalist/writer) and Jacek Dojwa (composer/producer). Their music is influenced
by such artists as Björk, Craig Armstrong, Amon Tobin, Telefon Tel Aviv, Portishead and Lamb. They released two LP's: "Czy słyszysz?" (eng. Do you hear) in 2002 and "Zgadnij" (eng. Guess) in
2006.



Based in Charlotte, NC, Husky is made up of Mark Hadden (bass), Phil Strickland (guitar), and Nate Wilkinson (drums). Hadden and Strickland began playing together as high school sophomores in
1991. After various band experiences, they recruited Wilkinson and in early 2000 Husky was born. In the past six years, the instrumental trio has grown from spinning improvised epic rock jams to
firing off focused, intelligent yet simple tunes. Ranging from thick, head nodding groove-rock to echoing bluesy twang and swirling psychedelia to driving Southern grit, Husky’s masculine punch
has been embraced by fans of blues and classic rock to modern and stoner rock aficionados. Their improv skills often come into play during live shows. They rarely play the same show twice and
have recently played with Atomic Bitchwax, Weedeater, Gods of Mars, and Pearls and Brass. The full-length debut “Circle the Wagons” was released in March 2006.



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Origine du Groupe : Poland

Style : Electro

Sortie : 2006



Tracklist :

01 Iskrzy, Iskrzy!!! (2:44)

02 Niue (5:05)

03 Zgadnij (4:04)

04 BlackCoffee (4:08)

05 Hruloe (4:37)

06 Dwa Warkoczyki (4:18)

07 Kuki (3:56)

08 Else (6:44)

09 Billie H (3:46)

10 Po Kostki (5:07)

Note :

http://www.mutabaruka.com

http://www.myspace.com/mutabaruka

Though THE ULTIMATE COLLECTION skips over some of Mutabaruka's important output, notably his RAS Records re-issued debut, CHECK IT!, the compilation does draw from the dub poet's fine Shanachie
albums, MELANIN MAN, ANY WHICH WAY FREEDOM, and THE MYSTERY UNFOLDS, among others. Mutabaruka's mission to raise consciousness about political injustice, racial discrimination, and the roots of
black identity first came to fruition as written poetry (he published three patois-driven books in Jamaica) before he decided to set his words to music. The musical backing on his albums is a
striking combination of deep roots rhythms and studio dub treatments, creating a tense sonic landscape for the poet's messages.



This release will be of particular interest to Mutabaruka fans for its inclusion of several previously unreleased singles, including a number of collaborations--"Great Kings of Africa" (with
Dennis Brown and Ini Kamoze), "Wise Up" (with dancehall pioneer Sugar Minott), and "Psalms 24" (with Luciano). In addition, there are album tracks like the heady, shuffling "Bun Dung Babylon" and
a live version of the classic "Witeman Country." THE ULTIMATE COLLECTION, along with CHECK IT!, provides an excellent overview of Mutabaruka's most important work.



permalink

Origine du Groupe : Jamaica

Style : Reggae

Sortie : 1993



Tracklist :

1. DIS POEM       

2. GREAT KINGS OF AFRICA    

3. GARVEY    

4. BUN DUNG BABYLON    

5. WISE UP    

6. PEOPLE'S COURT PART 1    

7. JUNK FOOD

8. H-2 WORKER

9.  PSALMS 24

10. JOHNNY DRUGHEAD

11. FAMINE INJECTION

12. ANY WHICH WAY FREEDOM

13. PEOPLE'S COURT PART II

14. WALKING ON GRAVEL

15. WITEMAN COUNTRY

16. I AM DE MAN

Note :

http://www.lydia-lunch.org

http://www.myspace.com/lydialunch

Sur ce superbe premier album sorti à la fin des années 70, la troublante Lydia Lunch, alors très jeune, ne manque pas de talent, et nous le prouve à travers toute une série de morceaux sur
lesquels elle décline quelques unes des multiples facettes de sa personnalité. A la fois ingénue et vénéneuse, forte et fragile, fascinante et touchante, elle explore ainsi de nombreux styles
musicaux, jouant sans cesse avec les ambiances. Sa voix, toujours très légère et délicate, accompagnée de toutes sortes d'instruments (piano, saxophone, guitares...), semble sortir tout droit
d'un nuage de fumée, et permet à l'artiste de penser ses cicatrices par l'intermédiaire de paroles crues et dérangeantes, mais toujours poétiques. Sur ce petit chef d'œuvre, la chanteuse
interprète ses textes sur un ton parfois litanique, ("Mechanical Flattery", "Tied And Twist" ou encore le suffocant "Blood Of Tin"), parfois plus ingénu ("Spooky"), ou plus rapide et tendu ("Los
Banditos"). Toute une série de tintements, de grincements, et de bruits étranges viennent habiller le fond musical, donnant ainsi une couleur, un relief, une véritable personnalité propre à
chaque morceau. Certains sont très inquiétants, d'autres ressemblent à des prières, certains sont très rapides, d'autres plus légers, sur certains, on sent l'artiste très repliée, sur d'autres,
elle est au contraire beaucoup plus extravertie... Chacun des titres de cet album ressemble à un véritable film (du polar au film des années 30) dont on suit le déroulement. Un véritable chef
d'œuvre d'émotions, extrêmement travaillé jusque dans ses moindres détails, réalisé par une artiste hors du commun.



Par Lydia

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Origine du Groupe : North America

Style : Alternative Rock , Punk

Sortie : 1980



Tracklist :

   1. "Mechanical Flattery" (2:46)

   2. "Gloomy Sunday" (Sam M. Lewis, Rezső Seress) (2:57)

   3. "Tied and Twist" (2:55)

   4. "Spooky" (Buddy Buie, Harry Middlebrooks, Jr., James Cobb, Mike Shapiro) (2:40)

   5. "Los Banditos" (3:10)

   6. "Atomic Bongos" (Pat Irwin) (2:17)

   7. "Lady Scarface" (3:12)

   8. "A Cruise to the Moon" (3:54)

   9. "Carnival Fat Man" (2:11)

  10. "Knives in the Drain" (Lunch, Billy Ver Planck) (4:00)

  11. "Blood of Tin" (1:09)

Note :

http://www.theestrandedhorse.com

http://www.myspace.com/theestrandedhorse

XVIIème siècle : le sinistre commerce triangulaire débute et conduit un grand nombre d'Africains en Amérique ; leur exploitation et les conditions cruelles dans lesquelles ceux-ci sont traités
donneront naissance à une musique qui, avec les années et au contact des instruments d'origine européenne (guitare, harmonica, …), s'appellera le blues. A son tour mêlée aux genres traditionnels
des colons (bluegrass, …), celle-ci deviendra l'un des (nombreux) ancêtres de la musique folk. Tout ceci est bien évidemment très très schématique. Mais sur son nouveau projet, "Thee, Stranded
Horse", Yann Tambour a décidé d'effectuer le trajet inverse, rebroussant le temps et l'espace : c'est désormais le folk américain qui, dans un voyage apaisé, vient rendre visite à l'Afrique. A
travers le chanteur d'Encre, ce sont les voix nasales de la musique des Etats-Unis qui abordent l'Afrique et empruntent l'un de ses instruments traditionnels : la kora, sorte de harpe issue de la
tradition mandingue. Le mélange est inédit. Dépouillé, et superbe : pas question de tomber dans la caricature ou dans le tourisme musical ; l'instrument est ici au service du spleen du chanteur.
Et celui-ci, admirable joueur de kora, se permet toutes les audaces : de la folk-song de quelques minutes aux longues plages quasiment psychédéliques de "Swaying Eel" ou "Sharpened Suede". Ainsi,
"Misty Mist", belle reprise dérobée à Marc Bolan, dédouble la voix du chanteur de manière inquiétante. "Le Sel", chanté dans un français mâchonné, évoque l'eau de cet océan qu'il a fallu
traverser. La voix penche tour à tour vers les plaintes des bluesmen ("Churning Strides") ou du côté du chant nasillard d'un Dylan ou d'un Vic Chesnutt ("Sharpened Suede"). Les morceaux prennent
leur temps, entrelacent les arpèges, s'arrêtent parfois, dévisagent l'auditeur et reprennent leur route tortueuse. Et on ne va pas se priver de faire la route avec eux.



par Christophe Dufeu

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Origine du Groupe : France , U.K

Style : Folk , Psyché

Sortie : 2007



Tracklist :

   1. So Goes the Pulse

   2. Misty Mist (Highways)

   3. Le Sel

   4. Swaying Eel

   5. Churning Strides

   6. Tainted Days

   7. Sharpened Suede

   8. Fiend Over your Knees

Note :

http://www.kokoloonline.com

http://www.myspace.com/kokoloafrobeat

"Yeah, we got our own thing", states matter-of-factly Ray Lugo, leader of New York City powerhouse KOKOLO. Based on the spiky and hyper-funky grooves found in the group’s latest album, "Love
International", it would be difficult to argue with the man. Few groups in today’s global Afro scene generate as much attention and excitement as they do debate and criticism as KOKOLO. "It’s the
result of going against conditioned expectations", expands Lugo. "People are used to expecting the familiar, but I’m doing my thing in my time. This is music that comes from my heart, humble
music for the whole world. " KOKOLO’s ever-growing international appeal (to date, the band has performed in over 15 countries) appears to lend weight to Lugo’s words.



A former punk rocker that grew disenchanted with the promise held by that genre, Lugo formed KOKOLO in 2001 in the Big Apple’s Chinatown district, along with long time cohort Chris Morrow. He
took the name from Spanish Harlem slang used to refer to devout fans of afro music. From the outset, the duo sought to carve a path of their own. “There may be better afrobeat, funk, latin or
polka groups around…but we were going to be the best KOKOLO in the world”. Within weeks of forming the group, they recorded their urgent “Fuss and Fight” debut and soon found themselves playing
to receptive audiences both at home and abroad.



Their second album, “More Consideration”, further expanded their audience and afforded the band performances in a score of new countries and on some of the world’s premier stages, such as The
Montreal Jazz, Glastonbury Festivals and many others, where they shared the spotlight with acts ranging from Gilles Peterson, Roots Manuva, Taj Mahal and Issac Hayes to Zap Mama, Chic and Roy
Ayers.



During this time, their discography grew exponentially as well, giving them the opportunity to reach new audiences through a number of releases that also feature acts such as Zero 7, Femi Kuti,
Masters At work, Ladysmith Black Mambaso, Quantic Soul Orchestra, U-Roy, Tony Allen, Afro Celt Sound System, Jazztronik and many others.



KOKOLO’s reputation for mounting an explosive live show is the reason they continue to rack up frequent flyer miles year after year. "Each musician brings an important element...everyone just
comes as they are". "Darren Lipper loves his hard rock, Casey Howard is a Jazz and Country music head, Eladio Gonzalez is Mr. Salsa personified, Chris loves his Zappa, John Turner is on the
experimental side of the dial, Ando Kal lives for Reggae and lately, I've been getting into lots of Rai music, actually", says Lugo, "These guys have a lot of soul...and together, that mix makes
KOKOLO unique onstage."



On “Love International”, the group’s third studio album released on Adrian Gibson’s Freestyle imprint, KOKOLO astutely combines an intoxicating blend of afrobeat, funk, latin, hip hop and jazz
elements into a sound that is at the same time thoroughly familiar yet remarkably fresh and intriguing. On tracks like the muscular “Our Own Thing” they spell out in no uncertain terms where they
stand on the matter, on the brilliant cover of The Clash’s “The Magnificent Seven” they masterfully inject more fire into a song that was burning to begin with, musical worlds collide on the
irresistible “The Way Up”, and we get transported to the motherland on the hypnotic “Let Compassion Be Your Fashion”. The Lyrics, half-sung, half-scatted in English, Spanish and even Portuguese,
wiz by like sparks after an explosion at a firecracker factory. Yes, this is in fact, something new and exciting.



Lugo’s ideology draws more from humanist philosophy than from conventional political ideas of right and wrong. “Billions of people today are manipulated via empty political slogans and organized
religion”, he continues, “Only through changing how we educate future generations can we begin to move the human experience towards a universal spirit of brotherhood…the eradication of fear.” The
socially conscious aspect of the group is reinforced through their consistent participation in a variety of projects and benefit concerts for causes ranging from the environment, to the Darfur
Crisis, youth empowerment groups, and urban development organizations. “It’s not about ego or rock-star clichés…it’s about the luxury that is to be alive and have the opportunity of bringing a
positive message to people.”



The future looks bright for KOKOLO. For the moment, expectations seem to be the least of their concerns.



by Malcom Traficant

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Origine du Groupe : Brazil

Style : Afrobeat , Funk

Sortie : 2004



Tracklist :

1. Mister Sinister (3:47)

2. Mama Don't Want No Gun (4:15)

3. Everybody (Tryin' To Get Buy) (5:31)

4. Root To The Fruit (5:27)

5. Late Night. Closed Eyes (4:30)

6. More Consideration (4:44)

7. Democrazy (3:28)

8. Trouble Come. Trouble Co (5:17)

9. Candela (4:10)

10. Gimme Yaya (8:42)

11. Candela - Richy Pitch Remix (5:17)

12. Late Night. Closed Eyes - White Mike Mix (4:34)

Note : ++

http://www.myspace.com/dinneratthet

Trois ans déjà que Dinner At The Thompson’s nous avait littéralement séduits par l’osmose artistique, la vitalité et le groove qui se dégageaient de leur tout premier opus “Lifetime On Planet
Heart“. Depuis, le duo franco-américain a sérieusement consolidé sa carrière, entre scène et studio, entre Paris et LA, pour finalement remettre le couvert aujourd’hui avec la sortie de leur
nouveau “Off The Grid”. Incontestablement, Dinner At The Thompson’s a mûri, affûté ses atouts et gagné encore en consistance, sans perdre une miette de ce qui a fondé son succès, et qui en fait
l’un des duos soul-hip-hop-electro les plus prometteurs de l’hexagone. On retrouve ainsi cet hétéroclisme travaillé et précis, oscillant entre new-soul (”Spirulina Queen”, “This Day We Call
Hope”), trip-hop (la douce ballade “Western Spaghetti”), et hip-hop qui tâche (”It All Began” aux notes jazzy), sans négliger la collision maîtrisée des genres (le tranchant “Levitating”, le
funky “Rise Up”, le medley réussi “You Are Love” clôturant l’opus). Les influences d’Erykah Badu  et de Portishead planent toujours sur les titres, particulièrement du côté du chant de
Lucille Tee qui, si elle n’a de toutes évidences ni le grain Billie Holidesque et indépassable de la diva de Dallas, ni la puissance métaphysique du timbre de Beth Gibbons, tire très bien son
épingle du jeu avec son chant inspiré et sensuel, flirtant volontiers avec un rap féminin et percutant (”Whatever It Takes”). Côté versions instrumentales, Fablive enchaîne les performances,
maîtrisant parfaitement les astuces du sampling, la justesse des enchaînements et l’art des contretemps. Le tout dans une harmonie bluffante, restée intacte depuis les débuts du combo. Cet album
d’une richesse plus qu’appréciable réserve enfin une très bonne surprise: la présence de deux featurings d’exception, l’un avec le roi du funk Lee Fields, admirable sur une version boostée à la
bossa, l’autre avec l’un des piliers de l’écurie Stones Throw Guilty Simpson, sur un musclé “Rice ‘N’ Beans”. Finalement, Dinner At The Thompson’s continue sur une belle lancée avec cet “Off The
Grid” généreux et gourmand du haut de ses quinze tracks, que l’on dégustera sans modération. On conseillera juste au talentueux duo de tenter d’explorer de nouvelles directions à l’avenir, et de
faire évoluer un brin leur marque de fabrique, car les meilleures recettes peuvent devenir à la longue un peu écœurantes. Mais avec une énergie et une créativité pareilles, on ne se fait pas trop
de souci pour la suite…



permalink

Origine du Groupe : France

Style : Nu-Soul , Hip Hop

Sortie : 2010



Tracklist :

01. Intro

02. How Wan I

03. Spirulina Queen

04. Just A Dream

05. It All Began

06. Levitating

07. Rise Up

08. Different Beings Feat. LEE FIELDS

09. Whatever It Takes

10. I Can Do Anything

11. Running

12. Western Spaghetti

13. Rice n Beans Feat. GUILTY SIMPSON

14. This Day We Call Hope

15. You Are Love

Note : +

http://www.kimono.is

http://www.myspace.com/kimono

kimono and Bad Taste Ltd. are very pleased to announce that the new album, Arctic Death Ship, has finally arrived in the country of Iceland. Advance reviews have called the album "an ambitious,
bold, brilliant piece of modern rock, cramming the last twenty or so years of musical genre bending into one complete whole." We like to think of it as the sound of four drastically different
individuals pulling songs in many directions at once.



ADS was recorded by Aron Arnarsson and kimono in Studio Tími (klinK+Bank). It was mastered by Mike Marsh at The Exchange in London. The artwork features drawings by Giancarlo Bracchi and layout
design by Alex and Dóri from kimono. Guests include members of Ghostigital, Hudson Wayne, the Icelandic Symphony Orchestra, and the Reagan administration.



The title of the album comes from the second of seven woodcuts by HC Westermann (U.S., 1922-81) from a series he named The Connecticut Ballroom (1975-76). This series addressed a range of "heady
themes - the likes of death, love, and the American Dream." Like the series, the album describes a foreboding atmosphere partially alleviated by a dose of humour and deflective surrealism.
Starting off with a lullaby about individualist isolation and the American hegemony, the album goes through a near-catastrophe in a family from several angles before ending on a walk through the
woods (echoing "Tea Can Forest" from kimono's first album mineur-aggressif). So there.



Thanks to everyone who helped us out over the past few years with putting on shows and sending us those nice letters of encouragement. We're moving to Germany this fall to play shows and work on
new material. We'll be trying to tour as much as possible so anyone with contacts around the continent or ideas for venues, definitely contact us about setting up shows.



By Alex

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Origine du Groupe : Island

Style : Rock Progressif , Post Rock

Sortie : 2005

Tracklist :

1 Standing Wave

2 Sober

3 Aftermath

4 Children Of God

5 Hyla Grace

6 Hle

7 Sonar

8 Onomatopoeia

9 Red Army

10 Railroads

11 Directions