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Friday, July 29, 2011

Why? - Oaklandazulasylum

http://cdn.pitchfork.com/media/8670-oaklandazulasylum.jpg

http://whywithaquestionmark.com

http://www.myspace.com/whyanticon

Origine du Groupe : North America

Style : Experimental , Darkfolk , Hip Hop

Sortie : 2003



Par Traulever pour http://www.dmute.net



Why? Pourquoi ? En voilà un joli mot qui nous permet de poser plein de questions comme : "Why Oaklandazulasylum is sold in hiphop counter of records shops tough it's as hiphop as the last Mogwaï
album?" et en français : "Pourquoi Oaklandazulasylum est vendu au rayon hip-hop des disquaires alors qu'il est aussi hip-hop que le dernier Mogwaï ?"

Nul doute que Why? a pris ce pseudo en pensant aux questions qu'on allait lui poser après l'écoute de ses morceaux.



Bien que Why? fasse partie d'Anticon, on ne retrouve finalement qu'assez peu de hip-hop dans cet album, qui est plutôt dans l'esprit expérimental de cLOUDDEAD ou Reaching Quiet. Ce qui est sûr,
c'est que les expérimentations de Why? peuvent amuser et intéresser comme elles peuvent très rapidement ennuyer l'auditeur. Les changements de style, de rythme au sein des morceaux sont parfois
très brusque, pas vraiment choquant mais surtout suprenant et déconcertant. Ainsi la chanson Bad Entropy dont l'intro nous laisse penser qu'on aura un titre très pop évolue en un morceau
dépouillé où un rap froid est posé sur un beat de batterie répétif et trois notes de guitare, puis on enchaîne sur un passage planant avec la mélodie lointaine et étouffée d'un orgue et enfin
retour au beat hip-hop. Même chose sur le titre Seventeen qui commence avec un sample de fanfare, puis enchaîne sur un passage planant à la guitare accompagnée du chant de Why? et de sons
étranges et termine sur un bruit de saturation très désagréable.

On pourrait également parler de l'affreuse intro de A Little Titanic où un orgue et la voix filtrée de Why? viennent se poser sur une espèce de rythme house. On commence à craindre le pire. Et
évidemment un break étrange arrive et nous fait passer à une ambiance plus sombre, avec un beat toujours étrange mais plutôt plaisant. Certains titres sont carréments pop ou rock, comme Women
Eye, "No." ou encore Early Whitney. Why? lui-même parle d'un croisement impropable entre darkfolk digital et hip-hop, c'est dire l'aspect conceptuel et expérimental de cet album.



Il faut vraiment plusieurs écoutes pour rentrer dans l'album tant il est déroutant et imprévisible. Inutile de préciser que ce disque n'est pas facile d'accès et qu'il n'aura pas de succès sur
une nouvelle compil lounge vu qu'il nécessite une écoute attentive. Si certains trouveront cet album génial pour son coté expérimental, d'autres pourront le trouver mauvais pour les mêmes
raisons, car, comme souligné précédemment, les changements au sein d'un morceau nous désorientent facilement. De même, ceux qui s'attendaient à une pure bombe hip-hop d'un des membres d'Anticon
risquent d'être un peu déçus. Les autres, ceux qui n'ont pas peur d'être désarçonnés et ceux qui avaient aimé Reaching Quiet aimeront probablement Oaklandazulasylum. Mais pour vous faire une
véritable idée de cet album, il faut l'écouter et, si possible, bien l'écouter. Cet album ne peut réellement s'apprécier qu'au bout de plusieurs écoutes attentives. Bon courage, vous en aurez
besoin.

 



Tracklist :

01/ Ferriswheel

02/ Cold Lunch

03/ Afterschool America

04/ Our Neighbours' Daughter

05/ A Little Titanic

06/ Weak Moon

07/ Early Whitney

08/ Dream on Courtelyon

09/ Women Eye, "No."

10/ Dirty Glass

11/ Shirtless, Sheetless, and

12/ Bad Entropy

13/ Seventeen

14/ Ape in Cage With Wire Cutters

mp3

DOWNLOAD1.gif

Why? - Oaklandazulasylum

http://cdn.pitchfork.com/media/8670-oaklandazulasylum.jpg

http://whywithaquestionmark.com

http://www.myspace.com/whyanticon

Origine du Groupe : North America

Style : Experimental , Darkfolk , Hip Hop

Sortie : 2003



Par Traulever pour http://www.dmute.net



Why? Pourquoi ? En voilà un joli mot qui nous permet de poser plein de questions comme : "Why Oaklandazulasylum is sold in hiphop counter of records shops tough it's as hiphop as the last Mogwaï
album?" et en français : "Pourquoi Oaklandazulasylum est vendu au rayon hip-hop des disquaires alors qu'il est aussi hip-hop que le dernier Mogwaï ?"

Nul doute que Why? a pris ce pseudo en pensant aux questions qu'on allait lui poser après l'écoute de ses morceaux.



Bien que Why? fasse partie d'Anticon, on ne retrouve finalement qu'assez peu de hip-hop dans cet album, qui est plutôt dans l'esprit expérimental de cLOUDDEAD ou Reaching Quiet. Ce qui est sûr,
c'est que les expérimentations de Why? peuvent amuser et intéresser comme elles peuvent très rapidement ennuyer l'auditeur. Les changements de style, de rythme au sein des morceaux sont parfois
très brusque, pas vraiment choquant mais surtout suprenant et déconcertant. Ainsi la chanson Bad Entropy dont l'intro nous laisse penser qu'on aura un titre très pop évolue en un morceau
dépouillé où un rap froid est posé sur un beat de batterie répétif et trois notes de guitare, puis on enchaîne sur un passage planant avec la mélodie lointaine et étouffée d'un orgue et enfin
retour au beat hip-hop. Même chose sur le titre Seventeen qui commence avec un sample de fanfare, puis enchaîne sur un passage planant à la guitare accompagnée du chant de Why? et de sons
étranges et termine sur un bruit de saturation très désagréable.

On pourrait également parler de l'affreuse intro de A Little Titanic où un orgue et la voix filtrée de Why? viennent se poser sur une espèce de rythme house. On commence à craindre le pire. Et
évidemment un break étrange arrive et nous fait passer à une ambiance plus sombre, avec un beat toujours étrange mais plutôt plaisant. Certains titres sont carréments pop ou rock, comme Women
Eye, "No." ou encore Early Whitney. Why? lui-même parle d'un croisement impropable entre darkfolk digital et hip-hop, c'est dire l'aspect conceptuel et expérimental de cet album.



Il faut vraiment plusieurs écoutes pour rentrer dans l'album tant il est déroutant et imprévisible. Inutile de préciser que ce disque n'est pas facile d'accès et qu'il n'aura pas de succès sur
une nouvelle compil lounge vu qu'il nécessite une écoute attentive. Si certains trouveront cet album génial pour son coté expérimental, d'autres pourront le trouver mauvais pour les mêmes
raisons, car, comme souligné précédemment, les changements au sein d'un morceau nous désorientent facilement. De même, ceux qui s'attendaient à une pure bombe hip-hop d'un des membres d'Anticon
risquent d'être un peu déçus. Les autres, ceux qui n'ont pas peur d'être désarçonnés et ceux qui avaient aimé Reaching Quiet aimeront probablement Oaklandazulasylum. Mais pour vous faire une
véritable idée de cet album, il faut l'écouter et, si possible, bien l'écouter. Cet album ne peut réellement s'apprécier qu'au bout de plusieurs écoutes attentives. Bon courage, vous en aurez
besoin.

 



Tracklist :

01/ Ferriswheel

02/ Cold Lunch

03/ Afterschool America

04/ Our Neighbours' Daughter

05/ A Little Titanic

06/ Weak Moon

07/ Early Whitney

08/ Dream on Courtelyon

09/ Women Eye, "No."

10/ Dirty Glass

11/ Shirtless, Sheetless, and

12/ Bad Entropy

13/ Seventeen

14/ Ape in Cage With Wire Cutters

mp3

DOWNLOAD1.gif

Free The Robots - Ctrl Alt Delete

http://sound-space.org/wp-content/plugins/wp-o-matic/cache/d5082_1267788086_ctrlaltdelete-1200x1200.jpg

http://www.myspace.com/freetherobots

Origine du Groupe : North America

Style : Electro , Abstract , Psychedelic

Sortie : 2010



Par paco pour http://delaluneonentendtout.blogspot.com

Il y en a qui militent pour libérer des prisonniers politiques, Casey pour libérer la bête, Chris Alfaro quant à lui se bat pour la libération des robots avec « Ctrl Alt Delete » comme mot de
passe.

Ce producteur issu de la scène abstract hip-hop californienne à côté de Flying Lotus et de Gaslamp Killer (présent sur son 1er album), deux des protagonistes du merveilleux « A Sufi and a Killer
» de Gonjasufi, propose à son tour un album de hip-hop psychédélique. Mais alors que Sumach se nourrissait du rock et de la soul des 70’s, la création de Chris Alfaro est beaucoup plus
électronique, parfois dub et flirte souvent avec le jazz. Des influences qui rendent son album moins évident que le Gonjasufi, plus sombre et bourré d’expérimentations sonores. Il mélange des
samples avec des sons de synthés variés, et des breakbeats avec des instruments live. Et malgré son côté bricolage électronique, il réussit à nous embarquer grâce à sa maîtrise des rythmes et à
l'art de marier le contretemps du dub à des mélodies. Au milieu des titres électro futuristes ou électro vintage, se glisse deux perles aux sonorités plus orientales.  Sur « Wandering Gypsy
» il marie des nappes de synthé avec un son de mélodica digne d’Augustus Pablo pour un ensemble plutôt dub et sur « Turkish Voodoo » ce sont les cordes qui nous amènent vers l'Est et alliées au
son de guitare funky, on dirait parfois ce morceau issu de la compilation « Pomegranates ».

Finalement, le code magique  « Ctrl Alt Delete » fonctionne bel et bien malgré sa complexité apparente, et il faut donc se préparer à l'invasion des robots...

 



Tracklist :

01. Sci-Fidelity

02. Turbulence

03. Jupiter

04. Orion’s Belt Buckle

05. Wandering Gypsy

06. Select / Start

07. Voices

08. Granite Rock

09. Mental Universe

10. Global Warning

11. The Eye (feat. Ikey Owens)

12. Turkish Voodoo

13. Inter Arma

mp3

DOWNLOAD1.gif

Willie Williams - Armagideon Time

http://ecx.images-amazon.com/images/I/51SrMixVxCL._SL500_AA300_.jpg

http://www.williwilliams.com

Origine du Groupe : jamaica

Style : Reggae

Sortie : 1982



Wikipedia :



Willi Williams (ou Willie Williams), né en 1953 dans le comté de Saint Ann, en Jamaïque, est un chanteur et producteur de reggae.



Il enregistre le titre Calling pour Coxsone Dodd en 1968 ; cette chanson se trouve sur la compilation sortie la même année Party Time In Jamaica aux côtés de Hello Carol des Gladiators
(enregistré le même jour) ou des formidables instrumentaux des Sound Dimension : Reggae Rock, In the Mood et Jericho Rock. Il fonde avec deux amis le sound system Triple Zone et enregistre en
1969 Prisoners Of Loneliness, un titre autoproduit qui sort sur son label Soul Sound comme les titres Get Ready et Love Zone.



Il produit quelques titres pour Delroy Wilson ou The Versatiles et s'installe à Toronto au Canada en 1974, où il se lie d'amitié avec Jackie Mittoo. Leur collaboration donna lieu à certains
titres, Jahquarius, Come along ou Repatriation Song qui sortent sur le label de Jackie Mittoo, Stine Jac.



En 1979, Willi Williams enregistre également Unity et Messenger Man qui attire l'attention de Coxsone Dodd et débouche sur son grand Armagideon Time enregistré sur le riddim du Real Rock des
Sound Dimension. Un titre qui donna la même année le Nice up the dance de Michigan And Smiley. Cette chanson est en parfaite adéquation avec l'esprit punk et attire rapidement l'attention du
groupe The Clash. Ces derniers la reprennent, en face B du classique London Calling, ainsi que sur leur album Black Market Clash.



Il enregistre Armagideon Man une version de son grand classique pour Vivian Jackson (il fait même partie un temps du line up des Prophets) et en sort une autre version Rocking Universally qui
obtient un franc succès au Canada et en Europe. Il enregistre encore chez Studio One, les singles Jah Righteous Plan, No One Can Stop Us et Addis Ababa, et son album Armagideon Time, contenant
des versions longues de Master Plan, People, et de son populaire Armagideon Time. En 1980, sort Messenger Man sur Jah Muzik au Canada avec I man, Valley Of Jehosephat, Zion Town, Messenger Man ou
Give Jah Praise.

 





Tracklist :

A1* Master Plan

A2* See You When I Get There

A3* People

A4* Armigideon Time

B1* All The Way

B2* Turn On The Power

B3* Easy

Burn (Bonus Track)

mp3

DOWNLOAD1.gif

Free The Robots - Ctrl Alt Delete

http://sound-space.org/wp-content/plugins/wp-o-matic/cache/d5082_1267788086_ctrlaltdelete-1200x1200.jpg

http://www.myspace.com/freetherobots

Origine du Groupe : North America

Style : Electro , Abstract , Psychedelic

Sortie : 2010



Par paco pour http://delaluneonentendtout.blogspot.com

Il y en a qui militent pour libérer des prisonniers politiques, Casey pour libérer la bête, Chris Alfaro quant à lui se bat pour la libération des robots avec « Ctrl Alt Delete » comme mot de
passe.

Ce producteur issu de la scène abstract hip-hop californienne à côté de Flying Lotus et de Gaslamp Killer (présent sur son 1er album), deux des protagonistes du merveilleux « A Sufi and a Killer
» de Gonjasufi, propose à son tour un album de hip-hop psychédélique. Mais alors que Sumach se nourrissait du rock et de la soul des 70’s, la création de Chris Alfaro est beaucoup plus
électronique, parfois dub et flirte souvent avec le jazz. Des influences qui rendent son album moins évident que le Gonjasufi, plus sombre et bourré d’expérimentations sonores. Il mélange des
samples avec des sons de synthés variés, et des breakbeats avec des instruments live. Et malgré son côté bricolage électronique, il réussit à nous embarquer grâce à sa maîtrise des rythmes et à
l'art de marier le contretemps du dub à des mélodies. Au milieu des titres électro futuristes ou électro vintage, se glisse deux perles aux sonorités plus orientales.  Sur « Wandering Gypsy
» il marie des nappes de synthé avec un son de mélodica digne d’Augustus Pablo pour un ensemble plutôt dub et sur « Turkish Voodoo » ce sont les cordes qui nous amènent vers l'Est et alliées au
son de guitare funky, on dirait parfois ce morceau issu de la compilation « Pomegranates ».

Finalement, le code magique  « Ctrl Alt Delete » fonctionne bel et bien malgré sa complexité apparente, et il faut donc se préparer à l'invasion des robots...

 



Tracklist :

01. Sci-Fidelity

02. Turbulence

03. Jupiter

04. Orion’s Belt Buckle

05. Wandering Gypsy

06. Select / Start

07. Voices

08. Granite Rock

09. Mental Universe

10. Global Warning

11. The Eye (feat. Ikey Owens)

12. Turkish Voodoo

13. Inter Arma

mp3

DOWNLOAD1.gif

Willie Williams - Armagideon Time

http://ecx.images-amazon.com/images/I/51SrMixVxCL._SL500_AA300_.jpg

http://www.williwilliams.com

Origine du Groupe : jamaica

Style : Reggae

Sortie : 1982



Wikipedia :



Willi Williams (ou Willie Williams), né en 1953 dans le comté de Saint Ann, en Jamaïque, est un chanteur et producteur de reggae.



Il enregistre le titre Calling pour Coxsone Dodd en 1968 ; cette chanson se trouve sur la compilation sortie la même année Party Time In Jamaica aux côtés de Hello Carol des Gladiators
(enregistré le même jour) ou des formidables instrumentaux des Sound Dimension : Reggae Rock, In the Mood et Jericho Rock. Il fonde avec deux amis le sound system Triple Zone et enregistre en
1969 Prisoners Of Loneliness, un titre autoproduit qui sort sur son label Soul Sound comme les titres Get Ready et Love Zone.



Il produit quelques titres pour Delroy Wilson ou The Versatiles et s'installe à Toronto au Canada en 1974, où il se lie d'amitié avec Jackie Mittoo. Leur collaboration donna lieu à certains
titres, Jahquarius, Come along ou Repatriation Song qui sortent sur le label de Jackie Mittoo, Stine Jac.



En 1979, Willi Williams enregistre également Unity et Messenger Man qui attire l'attention de Coxsone Dodd et débouche sur son grand Armagideon Time enregistré sur le riddim du Real Rock des
Sound Dimension. Un titre qui donna la même année le Nice up the dance de Michigan And Smiley. Cette chanson est en parfaite adéquation avec l'esprit punk et attire rapidement l'attention du
groupe The Clash. Ces derniers la reprennent, en face B du classique London Calling, ainsi que sur leur album Black Market Clash.



Il enregistre Armagideon Man une version de son grand classique pour Vivian Jackson (il fait même partie un temps du line up des Prophets) et en sort une autre version Rocking Universally qui
obtient un franc succès au Canada et en Europe. Il enregistre encore chez Studio One, les singles Jah Righteous Plan, No One Can Stop Us et Addis Ababa, et son album Armagideon Time, contenant
des versions longues de Master Plan, People, et de son populaire Armagideon Time. En 1980, sort Messenger Man sur Jah Muzik au Canada avec I man, Valley Of Jehosephat, Zion Town, Messenger Man ou
Give Jah Praise.

 





Tracklist :

A1* Master Plan

A2* See You When I Get There

A3* People

A4* Armigideon Time

B1* All The Way

B2* Turn On The Power

B3* Easy

Burn (Bonus Track)

mp3

DOWNLOAD1.gif

Macy Gray - Big

http://images.uulyrics.com/cover/m/macy-gray/album-big.jpg

http://www.myspace.com/macygray

Origine du Groupe : North America

Style : Nu-Soul , Blues , Alternative

Sortie : 2007



Par Adeline Lajoinie  pour http://www.welovemusic.fr


Macy Gray a su tirer les bonnes leçons de son passé. Son dernier album, The Trouble With Being Myself, avait été un relatif échec commercial en 2003. Pour BIG, son quatrième et nouvel opus, la
chanteuse soul à la voix éraillée a bouleversé ses habitudes.



Jusqu'ici, Macy gray était connu pour être une artiste plutôt solitaire et difficile. Mais, pour la première fois, la rebelle de 37 ans a accepté de travailler avec d'autres artistes. Une
nouvelle ouverture d'esprit que l'on doit au rappeur-producteur aux mains d'or Will.I.Am, artisan des derniers succès de Busta Rhymes, John Legend et des Pussycat Dolls. «Will m'a signé sur son
label et convaincu d'essayer de ne pas tout faire seule.» explique-t'elle. «Suite aux problèmes sur mon dernier disque, j'ai acquis pas mal d'humilité. J'ai alors découvert que les autres
pouvaient m'apporter des énergies nouvelles, profitables à mon processus artistique.»Et les artistes invités à composer pour elle sont plutôt des pointures : Justin Timberlake, Teedra Moses,
Natalie Cole ou Fergie. Ce qui permet aux douze titres de l'album d'être d'une vraie richesse musicale. N'ayant rien perdu de sa voix rauque et puissante, l'américaine surfe entre ballades gospel
(Finally made Me Happy), funk énergique (Get Out) et hip-hop mâtiné de soul (Ghetto Love) où elle sample avec talent It's A Man's Man's World de James Brown. Natalie McIntyre, de son vrai nom, en
profite pour se raconter un peu, expliquant les difficultés d'être une mère célibataire (Okay) quand on cherche, en même temps, l'homme parfait (One For Me).Macy n'hésite pas non plus à chanter
tout le mal qu'elle pense de notre société matérialiste, basée sur le bling-bling avec les très efficaces et dansants Treat Me Like Your Money and Strange Behaviour. Sur ce dernier, Macy se met,
avec un plaisir jouissif, dans la peau d'une femme qui tue son mari pour toucher son assurance vie. On pensait la chanteuse un peu perdu pour la musique, entre sa grande passion pour le cinéma
(elle a joué dans Training Day, Scary Movie 3, Domino...) et sa future ligne de vêtements, Humps, créée spécialement pour les femmes «voluptueuses».N'ayant rien perdu de son mordant ni de son
groove, elle confirme avec BIG qu'elle est restée une chanteuse hors-pair.

 



Tracklist :

01 Finally made me happy (ft. Natalie Cole) (4:02)

02 Shoo be doo (4:04)

03 What I gotta do (3:08)

04 Okay (4:09)

05 Glad you're here (ft. Fergie) (2:54)

06 Ghetto love (3:08)

07 One for me (4:09)

08 Strange behavior (3:35)

09 Slowly (3:54)

10 Get out (4:01)

11 Treat me like your money (ft. will.i.am) (3:27)

12 Everybody (3:17)

13 AEIOU (3:15)

mp3

DOWNLOAD1.gif

Macy Gray - Big

http://images.uulyrics.com/cover/m/macy-gray/album-big.jpg

http://www.myspace.com/macygray

Origine du Groupe : North America

Style : Nu-Soul , Blues , Alternative

Sortie : 2007



Par Adeline Lajoinie  pour http://www.welovemusic.fr


Macy Gray a su tirer les bonnes leçons de son passé. Son dernier album, The Trouble With Being Myself, avait été un relatif échec commercial en 2003. Pour BIG, son quatrième et nouvel opus, la
chanteuse soul à la voix éraillée a bouleversé ses habitudes.



Jusqu'ici, Macy gray était connu pour être une artiste plutôt solitaire et difficile. Mais, pour la première fois, la rebelle de 37 ans a accepté de travailler avec d'autres artistes. Une
nouvelle ouverture d'esprit que l'on doit au rappeur-producteur aux mains d'or Will.I.Am, artisan des derniers succès de Busta Rhymes, John Legend et des Pussycat Dolls. «Will m'a signé sur son
label et convaincu d'essayer de ne pas tout faire seule.» explique-t'elle. «Suite aux problèmes sur mon dernier disque, j'ai acquis pas mal d'humilité. J'ai alors découvert que les autres
pouvaient m'apporter des énergies nouvelles, profitables à mon processus artistique.»Et les artistes invités à composer pour elle sont plutôt des pointures : Justin Timberlake, Teedra Moses,
Natalie Cole ou Fergie. Ce qui permet aux douze titres de l'album d'être d'une vraie richesse musicale. N'ayant rien perdu de sa voix rauque et puissante, l'américaine surfe entre ballades gospel
(Finally made Me Happy), funk énergique (Get Out) et hip-hop mâtiné de soul (Ghetto Love) où elle sample avec talent It's A Man's Man's World de James Brown. Natalie McIntyre, de son vrai nom, en
profite pour se raconter un peu, expliquant les difficultés d'être une mère célibataire (Okay) quand on cherche, en même temps, l'homme parfait (One For Me).Macy n'hésite pas non plus à chanter
tout le mal qu'elle pense de notre société matérialiste, basée sur le bling-bling avec les très efficaces et dansants Treat Me Like Your Money and Strange Behaviour. Sur ce dernier, Macy se met,
avec un plaisir jouissif, dans la peau d'une femme qui tue son mari pour toucher son assurance vie. On pensait la chanteuse un peu perdu pour la musique, entre sa grande passion pour le cinéma
(elle a joué dans Training Day, Scary Movie 3, Domino...) et sa future ligne de vêtements, Humps, créée spécialement pour les femmes «voluptueuses».N'ayant rien perdu de son mordant ni de son
groove, elle confirme avec BIG qu'elle est restée une chanteuse hors-pair.

 



Tracklist :

01 Finally made me happy (ft. Natalie Cole) (4:02)

02 Shoo be doo (4:04)

03 What I gotta do (3:08)

04 Okay (4:09)

05 Glad you're here (ft. Fergie) (2:54)

06 Ghetto love (3:08)

07 One for me (4:09)

08 Strange behavior (3:35)

09 Slowly (3:54)

10 Get out (4:01)

11 Treat me like your money (ft. will.i.am) (3:27)

12 Everybody (3:17)

13 AEIOU (3:15)

mp3

DOWNLOAD1.gif

Skipless - The Travelers Ghost

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEWk4M7G7ivxoB8OSXyGIIly88rHCjNLYvPOZcG1XUoyC0JSPpRvDoIqRx-RRDUf-KrxpB93YgouMlUMFFd8wC4nWTNNNSqC8q_dpOVg4qukljrziy0zKNOVUROjRAwCmCZ3ZMqFZZI8bv/s1600/Skipless_-_The_Travelers_Ghost.jpghttp://skipless.com

Origine du Groupe : Bulgaria

Style : Abstract Hip Hop

Sortie : 2011



By http://dustedwax.org



Skipless is back! This time besides the blasting jazzy instrumental beats, you'll enjoy a few remixes of some favorite

90s hip-hop tracks + collabos with the underground rhyme masters Concrete Cee & Praverb.



Tracklist :

01 The Travelers Ghost

02 I'm Chillin' (feat. Concrete Cee)

03 Beatnuts - Props Over Here (Skipless Remix)

04 Time (Interlude0

05 Nas - One Love (Skipless Remix)

06 Dark Matter

07 Common - I Use To Love H.E.R. (Skipless Remix)

08 Introspection (feat. Praverb)

09 Vibe

10 Outro

11 Charizma - My World Premiere (Skipless Bonus Remix)

mp3FREE DOWNLOAD FROM NETLABEL http://hypoetical.net/blog/wp-content/uploads/2010/11/dusted_wax_kingdom.jpg

Skipless - The Travelers Ghost

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEWk4M7G7ivxoB8OSXyGIIly88rHCjNLYvPOZcG1XUoyC0JSPpRvDoIqRx-RRDUf-KrxpB93YgouMlUMFFd8wC4nWTNNNSqC8q_dpOVg4qukljrziy0zKNOVUROjRAwCmCZ3ZMqFZZI8bv/s1600/Skipless_-_The_Travelers_Ghost.jpghttp://skipless.com

Origine du Groupe : Bulgaria

Style : Abstract Hip Hop

Sortie : 2011



By http://dustedwax.org



Skipless is back! This time besides the blasting jazzy instrumental beats, you'll enjoy a few remixes of some favorite

90s hip-hop tracks + collabos with the underground rhyme masters Concrete Cee & Praverb.



Tracklist :

01 The Travelers Ghost

02 I'm Chillin' (feat. Concrete Cee)

03 Beatnuts - Props Over Here (Skipless Remix)

04 Time (Interlude0

05 Nas - One Love (Skipless Remix)

06 Dark Matter

07 Common - I Use To Love H.E.R. (Skipless Remix)

08 Introspection (feat. Praverb)

09 Vibe

10 Outro

11 Charizma - My World Premiere (Skipless Bonus Remix)

mp3FREE DOWNLOAD FROM NETLABEL http://hypoetical.net/blog/wp-content/uploads/2010/11/dusted_wax_kingdom.jpg

Tuesday, July 26, 2011

William Parker - Raining On The Moon

http://cdn.pitchfork.com/media/6173-raining-on-the-moon.jpg

http://www.williamparker.net

Origine du Groupe : North America

Style : Jazz , Experimental

Sortie : 2002



By Chris Dahlen from http://pitchfork.com



We argue now and then around the 'Fork office about whether or not "jazz is dead." My take: it's not, and Thirsty Ear's Blue Series is the evidence. Despite the genre's recent bout with hard
times, its artists-- from Matthew Shipp, to John Zorn, to David S. Ware, to William Parker-- continue to merge new ideas with new technology, breaking many of the old laws of conventional jazz
while still adhering to its base policies. With the ground broken by these artists in recent years, jazz, at least in the underground, is finding a new audience, and even enjoying something of a
renaissance-- Blue Series curator Matthew Shipp broke records when, earlier this year, his Nu-Bop LP became the first album ever to debut at #1 on CMJ's college charts.



The Blue Series is tailor-made to grab new listeners and convince that jazz is alive and doing damn well, thanks very much, with releases showcasing this new, boundary-pushing jazz music. William
Parker and Matthew Shipp, in particular, have anchored many releases that take the best living improvisers and throw in something 'extra'-- sometimes a DJ, sometimes an programmer/electronics
guy, or in this case, a singer.



On Raining on the Moon, Parker's quartet-- with Louis Barnes on trumpet, Rob Brown on alto and flute, and the extremely simpatico Hamid Drake on drums-- is joined by Leena Conquest, who sings
Parker's lyrics with a deep, compelling voice. Like Parker's bass, Conquest's vocals fluctuate between the bold and the yearning, always reaching for the fantastic from a deep-rooted center. And
what she reveals about his vision makes this album as essential as his other recent projects, as well as a fine place for beginners to start exploring, as it's probably the most accessible.



William Parker pursues spirituality through hard work. He plays bass as if reaching heaven is a matter of steadily, repeatedly knocking until someone opens the door; he's one of the avant-garde
jazz players most dedicated to the pursuit of higher purpose and heightened awareness in music, and he approaches it with a heavy, elemental tone. His poetry, which he has rarely recorded, has
the same character: it's full of images that emerge steadily and deliberately, using simple words to evoke rich colors and sounds. Take, for example, these lines from "Song of Hope": "I have a
rag doll filled with light and when I squeeze it the world gets brighter and brighter.../ I clap my hands and birds fill trees with sweet melodies."



On the album's centerpiece, the ambling, fourteen-minute title track, Conquest sings about an America turned upside down. Every wrong is corrected: the Native Americans take the presidency, and
"the White House is now the Red House"; Columbus Day is off the calendar; millionaires hand their money to the poor. It's a great riff, slowly growing more serious and pseudo-Biblical when
everyone who's been lynched comes back to life. The victims forgive their killers: "If you knew what you did you'd be evil... and I know you're not evil." The song swells and rises, yet it never
erupts or loses balance: Parker and Drake stay the course, Parker's tone sounding like a man moving heavy furniture while Drake's hi-hats shuffle around him.



On two tracks, Parker plays an African Harp called the 'donso ngoni,' and echoes the reflectiveness of the New York loft jazz sound; there are also two instrumentals, the bright "Hunk Pappa
Blues" and the ballad "Old Tears," where Barnes and Brown stretch out beyond the commentary and interjections given to the other tracks. The album generally sticks with a strident, determined
tone, with echoes of 60s and 70s protest music-- Conquest often evokes the spirit of, say, Abbey Lincoln on Max Roach's Freedom Now Suite-- yet the lyrics don't signify opposition so much as they
dream of alternatives: a better world, more justice, watermelons that grow on trees... These are wild visions, but they sure seem real, and even attainable, when Conquest sings of them.







William Parker- BASS

Rob Brown- ALTO & FLUTE

Louis Barnes- TRUMPET

Hamid Drake- DRUMS

Leena Conquest- VOCALS



Tracklist :

1-Hunk Pappa Blues

2-Song of Hope

3-Old Tears

4-Raining on the Moon

5-Music Song

6-The Watermelon Song

7-James Baldwin to the Rescue

8-Donso Ngoni

mp3

DOWNLOAD1.gif

William Parker - Raining On The Moon

http://cdn.pitchfork.com/media/6173-raining-on-the-moon.jpg

http://www.williamparker.net

Origine du Groupe : North America

Style : Jazz , Experimental

Sortie : 2002



By Chris Dahlen from http://pitchfork.com



We argue now and then around the 'Fork office about whether or not "jazz is dead." My take: it's not, and Thirsty Ear's Blue Series is the evidence. Despite the genre's recent bout with hard
times, its artists-- from Matthew Shipp, to John Zorn, to David S. Ware, to William Parker-- continue to merge new ideas with new technology, breaking many of the old laws of conventional jazz
while still adhering to its base policies. With the ground broken by these artists in recent years, jazz, at least in the underground, is finding a new audience, and even enjoying something of a
renaissance-- Blue Series curator Matthew Shipp broke records when, earlier this year, his Nu-Bop LP became the first album ever to debut at #1 on CMJ's college charts.



The Blue Series is tailor-made to grab new listeners and convince that jazz is alive and doing damn well, thanks very much, with releases showcasing this new, boundary-pushing jazz music. William
Parker and Matthew Shipp, in particular, have anchored many releases that take the best living improvisers and throw in something 'extra'-- sometimes a DJ, sometimes an programmer/electronics
guy, or in this case, a singer.



On Raining on the Moon, Parker's quartet-- with Louis Barnes on trumpet, Rob Brown on alto and flute, and the extremely simpatico Hamid Drake on drums-- is joined by Leena Conquest, who sings
Parker's lyrics with a deep, compelling voice. Like Parker's bass, Conquest's vocals fluctuate between the bold and the yearning, always reaching for the fantastic from a deep-rooted center. And
what she reveals about his vision makes this album as essential as his other recent projects, as well as a fine place for beginners to start exploring, as it's probably the most accessible.



William Parker pursues spirituality through hard work. He plays bass as if reaching heaven is a matter of steadily, repeatedly knocking until someone opens the door; he's one of the avant-garde
jazz players most dedicated to the pursuit of higher purpose and heightened awareness in music, and he approaches it with a heavy, elemental tone. His poetry, which he has rarely recorded, has
the same character: it's full of images that emerge steadily and deliberately, using simple words to evoke rich colors and sounds. Take, for example, these lines from "Song of Hope": "I have a
rag doll filled with light and when I squeeze it the world gets brighter and brighter.../ I clap my hands and birds fill trees with sweet melodies."



On the album's centerpiece, the ambling, fourteen-minute title track, Conquest sings about an America turned upside down. Every wrong is corrected: the Native Americans take the presidency, and
"the White House is now the Red House"; Columbus Day is off the calendar; millionaires hand their money to the poor. It's a great riff, slowly growing more serious and pseudo-Biblical when
everyone who's been lynched comes back to life. The victims forgive their killers: "If you knew what you did you'd be evil... and I know you're not evil." The song swells and rises, yet it never
erupts or loses balance: Parker and Drake stay the course, Parker's tone sounding like a man moving heavy furniture while Drake's hi-hats shuffle around him.



On two tracks, Parker plays an African Harp called the 'donso ngoni,' and echoes the reflectiveness of the New York loft jazz sound; there are also two instrumentals, the bright "Hunk Pappa
Blues" and the ballad "Old Tears," where Barnes and Brown stretch out beyond the commentary and interjections given to the other tracks. The album generally sticks with a strident, determined
tone, with echoes of 60s and 70s protest music-- Conquest often evokes the spirit of, say, Abbey Lincoln on Max Roach's Freedom Now Suite-- yet the lyrics don't signify opposition so much as they
dream of alternatives: a better world, more justice, watermelons that grow on trees... These are wild visions, but they sure seem real, and even attainable, when Conquest sings of them.







William Parker- BASS

Rob Brown- ALTO & FLUTE

Louis Barnes- TRUMPET

Hamid Drake- DRUMS

Leena Conquest- VOCALS



Tracklist :

1-Hunk Pappa Blues

2-Song of Hope

3-Old Tears

4-Raining on the Moon

5-Music Song

6-The Watermelon Song

7-James Baldwin to the Rescue

8-Donso Ngoni

mp3

DOWNLOAD1.gif

V.A - Star Band de Dakar Vol.3

http://ecx.images-amazon.com/images/I/51MywRCN7nL._SL500_AA280_.jpg

Origine du Groupe : Senegal

Style : World Music , African Music

Sortie : 1964 (2010)



From http://globalgroovers.blogspot.com



I've read somewhere on the internet, Laba Sosseh only sang one

year with the Star Band. Logically this one must be from that year, 1964.

Vocals by Laba Sosseh, Doudou Sow and Magatte N'Diaye.

Somehow it feels like it's not that old, can anyone shine a light

on this matter ? Not that it is all that important,

it's the sweetness of this music that matters.

Sorry it has a few minor pops, love this.



 MAR SECK : Vocal

 LABA SOSSEH : Vocal

 DOUDOU SOW : Vocal

 BADOU DIALLO : Timbales

 MALICK ANN : Vocal et Tumba

 AMADOU TALL : Tumba

 MAMANE FALL : Tama

 YAKYA FALL : Guitare

 NANJANE NDIAYE : Guitare

 IDI KASSE : Basse



Tracklist :

1   Solla

2   Mamaya Ssima

3   Yena Neckla

4   Yadaque

5   Gualletana

6   Vagane

7   Le lolaye

8   Sigala

mp3

DOWNLOAD1.gif

30[eks] - ThirtyX

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbt39BhwbwmvdRyJFu4Vlf8GEzFFMtPsGQrz4ZbSTAyRDQxhJYGMjbzyIp-Swwpy740x9PlAHH6ypIeRrtAXEFpR7oC7Gf9_pIfa-AhhsRZzXbIQ684wRf1wcFCEiCuG5Ys-QxVKxq0uvC/s1600/30eksthx.jpg

http://www.30eks.net

Origine du Groupe : Russia

Style : Electro , IDM

Sortie : 2010



By FUGUEFAT from http://fuguefat.blogspot.com



Yet another Russian producer to grace the hallowed pages of my blog! Kind of different from the stuff I usually post, but still really good tunes. I heard about this fella from the collabs he did
with Foner.



This is 30[eks]'s third release, titled ThirtyX, and it's an engaging, sprawling, set of 15 ambient IDM tunes. These well-crafted melancholy soundscapes, layered with synthy textures and haunting
melodies, are sometimes evocative of artists like Boards of Canada, but ultimately develop a sound of their own.



Not an instant classic by any means, sometimes even flirting with cheesiness, but definitely worth a few listens.



Tracklist :

01. My Lyrical Goddess

02. Fragility

03. High Q

04. Black Capricorn Day

05. You Know What I Want

06. Supersonic Combustion Ramjet

07. Pause !!

08. Select-Start

09. All Kinds Of Things

10. Code 2615118

11. Hold U Tight

12. It's A Good Idea If You Can Pull It Off

13. The Little Lady Of The Big House

14. Twenty Filter Cigarettes

15. Signalize

mp3

DOWNLOAD1.gif

V.A - Star Band de Dakar Vol.3

http://ecx.images-amazon.com/images/I/51MywRCN7nL._SL500_AA280_.jpg

Origine du Groupe : Senegal

Style : World Music , African Music

Sortie : 1964 (2010)



From http://globalgroovers.blogspot.com



I've read somewhere on the internet, Laba Sosseh only sang one

year with the Star Band. Logically this one must be from that year, 1964.

Vocals by Laba Sosseh, Doudou Sow and Magatte N'Diaye.

Somehow it feels like it's not that old, can anyone shine a light

on this matter ? Not that it is all that important,

it's the sweetness of this music that matters.

Sorry it has a few minor pops, love this.



 MAR SECK : Vocal

 LABA SOSSEH : Vocal

 DOUDOU SOW : Vocal

 BADOU DIALLO : Timbales

 MALICK ANN : Vocal et Tumba

 AMADOU TALL : Tumba

 MAMANE FALL : Tama

 YAKYA FALL : Guitare

 NANJANE NDIAYE : Guitare

 IDI KASSE : Basse



Tracklist :

1   Solla

2   Mamaya Ssima

3   Yena Neckla

4   Yadaque

5   Gualletana

6   Vagane

7   Le lolaye

8   Sigala

mp3

DOWNLOAD1.gif

30[eks] - ThirtyX

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbt39BhwbwmvdRyJFu4Vlf8GEzFFMtPsGQrz4ZbSTAyRDQxhJYGMjbzyIp-Swwpy740x9PlAHH6ypIeRrtAXEFpR7oC7Gf9_pIfa-AhhsRZzXbIQ684wRf1wcFCEiCuG5Ys-QxVKxq0uvC/s1600/30eksthx.jpg

http://www.30eks.net

Origine du Groupe : Russia

Style : Electro , IDM

Sortie : 2010



By FUGUEFAT from http://fuguefat.blogspot.com



Yet another Russian producer to grace the hallowed pages of my blog! Kind of different from the stuff I usually post, but still really good tunes. I heard about this fella from the collabs he did
with Foner.



This is 30[eks]'s third release, titled ThirtyX, and it's an engaging, sprawling, set of 15 ambient IDM tunes. These well-crafted melancholy soundscapes, layered with synthy textures and haunting
melodies, are sometimes evocative of artists like Boards of Canada, but ultimately develop a sound of their own.



Not an instant classic by any means, sometimes even flirting with cheesiness, but definitely worth a few listens.



Tracklist :

01. My Lyrical Goddess

02. Fragility

03. High Q

04. Black Capricorn Day

05. You Know What I Want

06. Supersonic Combustion Ramjet

07. Pause !!

08. Select-Start

09. All Kinds Of Things

10. Code 2615118

11. Hold U Tight

12. It's A Good Idea If You Can Pull It Off

13. The Little Lady Of The Big House

14. Twenty Filter Cigarettes

15. Signalize

mp3

DOWNLOAD1.gif

SGT. - Capital of Gravity

http://music.is-amazing.com/sites/music.is-amazing.com/files/imagecache/Covers/sites/default/files/covers/sgt.jpg

http://sgt-web.net

http://www.myspace.com/sgtofficial

Origine du Groupe : Japan

Style : Post Rock , Shoegaze , Alternative Rock , Experimental

Sortie : 2009



By McNutsack from http://mirr0rshades.blogspot.com



"sgt. bring their noise, emo, jazz and improv infused cinematic soundscapes back for their second mini album. This instrumental band melds a violin seamlessly into the thought evoking music into
42 minutes of bliss. It has only been a year since their last release, Stylus Fantasticus which was rated as one of the top 50 albums in 2008 by The Silent Ballet as well as the top 50 album list
of 2008 from ZB's A-Z of J-Music. Their second mini-album capital of gravity is aptly titled as there is definitely a heavenly force of the likes of gravity which is pulling this band further
into their musical groove. This could be due to the band returning to a 4 person lineup creating a new marketplace for original and creative ideas unleashing the potential masterpiece that was
previously a brewing latency.



Not only has capital of gravity brought back their four member lineup, but it also is graced by multiple guest musicians such as Keisaku Nakamura (from kowloon and stim)(track 4 and 5) as well as
the saxophonist Nobuo Ootani (track 5) who is a famous writer. This mini-album also features a rearranged version of "Ginga no Shasou kara" by Tyme (Tatsuya Yamada) which appeared on their first
mini album in 2005. This song is a spaced out version of the original that adds another layer of freshness to this album. The cover artwork was done by mitchel who produces music videos for RUMI,
TamakiROY, etc.



The album reverberates with amazing and powerful sounds which make this one of the most artistically crafted instrumental albums of 2009. sgt. simply has the artistic audacity and fine sense to
produce another breathtaking release"



"After "Kalliope," the brief introduction, the band jump full force into "Apollo Program." It's a song that has all of the band's most bold hallmarks, from its relentlessly looping rhythms, to
its fuzzed out guitars and heavily effected violin wails. "Teas of Na-Ga" brings in guest musician Keisaku Nakamura on piano, the first sign of Capital's broader sound pallet. The song quietly
percolates along until the break mid-way in where the piano drops out and things get back to the usual frenetic pace. "Ant's Planet" pushes things into an overtly upbeat direction with, again, a
jaunty piano riff, some squelchy synth noise and even a few hand-claps and sampled laughter.



The length of "Epsilon," 10 minutes and 20 seconds, and its proximity to the former peppy and (relatively) short song, should be easily recognized indicators of its corresponding "far out" ness.
It is indeed the most free-form and improvisational track on Capitol, and even included another guest musician, Nobuo Ootani, on saxophone. The song does find a sort of coherence near the end as
the band starts to gel back together, then again explodes into space at the end. It's also a great lead-in to the final track, a remix of "Ginga no Shasou kara," a song from the band's first
release, by Tyme. Unlike so many other remixes, this one doesn't feel tacked on or at all out of place with the rest of the album. It's a muscular, throbbing space-out.



Capital of Gravity shows a band in full control of its skills, as well as its own vision. While the album does breathe a bit more than their previous releases, it is still very much under sgt.'s
control."

 





Tracklist :

1. Kalliope (2:26)

2. Apollo Program (6:56)

3. Tears of na-ga (8:22)

4. Ant's planet (4:52)

5. Epsilon (10:18)

6. Ginga No Shasoh Kara (Reprise) (Tyme. Remix) (8:30)

mp3

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