Combat Wombat - Unsound $ystem

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

 

Combat Wombat - Unsound $ystem

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

 

Rita Indiana y Los Misterios - Rita Indiana y Los Misterios (ep)

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

permalink

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)

 

Rita Indiana y Los Misterios - Rita Indiana y Los Misterios (ep)

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

permalink

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)

 

Haruka Nakamura - Twilight

Note :

http://harukanakamura.com

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

permalink

haruka nakamura - The Light (feat. Janis crunch) 【Official Video】 from Kitchen. Label

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

 

Haruka Nakamura - Twilight

Note :

http://harukanakamura.com

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

permalink

haruka nakamura - The Light (feat. Janis crunch) 【Official Video】 from Kitchen. Label

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

 

YOU Dub I- Piperspan Flute Dub

Note :

http://youdub.podomatic.com

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

 

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