Le Peuple De L'herbe - Next Level (2014) [Alternative , Indie]

http://www.lepeupledelherbe.net

Novox - Over the Honeymoon (2014) [Indie , Jazz Funk]

http://novox.zproduction.org

Cold Specks - Neuroplasticity (2014) [Alternative , Indie]

http://coldspecks.com

SeQueNce tHeOry pRojeCt - The collapse of civilization (2012) [Indie , Alternative]

http://www.sequencetheoryproductions.com

Country : Greece
Style : Indie , Alternative , Trip Hop

 

 

 

 

 

Tracklist :

1.SOUL OF MEN 03:16
2.KYTTAPA 04:48
3.ANGEL'S LULLABY 04:15
4.SILENCE 05:19
5.SADDEST BEAUTY 06:41
6.CHOCO CHOCO 04:57
7.LITTLE THINGS 04:14
8.IT'S TIME 05:13
9.THAT DAY 06:30
10.OVER THE STARS 06:24
11.DARK HEART 05:52
12.CIVILIZATION COLLAPSES 06:47

Cody ChesnuTT au festival We Love Green

http://codychesnutt.bandcamp.com

Origine du Groupe : North America
Style : Alternative , Indie
Sortie : 2012
Durée 01:01:06

 

From http://liveweb.arte.tv
Lorsque The Roots sort Phrenology en 2002, l'album est notamment remarqué pour son single étonnement rock'n'roll, "The Seed (2.0)". Pourquoi 2.0 ? Parce que la chanson est en fait de Cody Chesnutt, un jeune noir d'Atlanta qui vient de rejoindre Los Angeles la guitare au poing et qu'elle figure sur The Headphone Masterpiece, son premier album, enregistré sur un 4 pistes dans sa chambre. On y entend un étonnant mélange de hip-hop, de funk, de rock, et de soul. Le vent en poupe, il passe même dans nos contrées fin 2003 aux Transmusicales de Rennes, avec une étiquette de grand espoir à même de régénérer le rock noir américain.

Depuis, on ne l'aura aperçu que dans le film Dave Chapelle's Block Party de Michel Gondry et sur Plague Songs, une compilation éditée par 4AD. En 2010 il sort enfin un nouvel EP puis, cette année - 10 ans après - un deuxième disque, Landing On A Hundred, où la soul semble prendre le pas sur les autres composantes de sa musique. Pour le chanteur habité aux airs de Marvin Gaye, c'est peut-être enfin l'heure de la résurrection.

Wax Poetic - On A Ride

http://waxpoetic.net
https://www.myspace.com/waxpoetic

Origine du Groupe : North America
Style : Indie , Trip Hop
Sortie : 2012

From http://www.fipradio.fr
Cinq ans après "Brasil" le collectif new-yorkais Wax Poetic, toujours dirigé par le saxophoniste et claviériste Ilhan Ersahin, revient avec un sixième album "On a ride" dans les bacs le 10 septembre.

Un retour et une nouvelle direction pour ce groupe qui a commencé par la drum and bass et le trip hop toujours teinté de jazz. "On a ride" est un retour à une formule plus concise avec le même groupe de musiciens officiant sur l’album : le guitariste Zeke Zima, le bassiste Jesse Murphy et le batteur Jojo Mayer. La musique se fait ici plus pop, les mélodies et les 10 ballades de l'album sont dans la pure veine de l'Americana. Wax Poetic, dès ses balbutiements en 1997, a été le projet vocal du compositeur Ersahin avec des artistes comme Norah Jones à ses débuts, Saul Williams, U-Roy, N’Dea Davenport ou Bebel Gilberto. Ici Norah Jones pose sa voix sur un titre "Fall away" tandis que Sissy Clemens, Gabriel Gordon, Natalie Walker et Jovanotti chantent sur les autres titres de cet album surprenant et enchanteur.


Tracklist :
01 No escape      
02 Good & evil      
03 Tonight    
04 Fall away     
05 Beautiful       
06 East side    
07 Times moves on    
08 Warm night    
09 Solitude      
10 On a ride

Muse - The 2nd Law

http://muse.mu

Origine du Groupe : U.K
Style : Alternative Rock , Electro Rock , Indie
Sortie : 2012

Tracklist :
01 – Supremacy
02 – Madness
03 – Panic Station
04 – Prelude
05 – Survival
06 – Follow Me
07 – Animals
08 – Explorers
09 – Big Freeze
10 – Save Me
11 – Liquid State
12 – The 2nd Law Unsustainable
13 – The 2nd Law Isolated System

By Alexis Petridis  From http://www.guardian.co.uk
Last year, Muse frontman Matt Bellamy announced the band's sixth album would be a "Christian gangsta-rap jazz odyssey, with some ambient rebellious dubstep and face-melting metal flamenco cowboy psychedelia". It tells you something about Muse that it was hard to work out exactly how far his tongue was lodged in his cheek. For one thing, it's almost always difficult to work out how far Bellamy's tongue is lodged in his cheek, as when he told NME he believed in the theories of Zecharia Sitchin, whose big idea was that the human race had been genetically engineered by aliens from the planet Nibiru, or cancelled a series of US interviews on the grounds that he'd heard an asteroid was about to hit America. For another, if any currently extant major band were to be engaged in creating a Christian gangsta-rap jazz odyssey, with some ambient rebellious dubstep and face-melting metal flamenco cowboy psychedelia, it would probably be Muse. Comparisons are regularly made between their oeuvre and that of Queen, Rush and Radiohead: there's an argument that Muse are to pre-Kid A Radiohead what Meat Loaf circa Bat Out of Hell was to Bruce Springsteen. But none of them really capture the sheer level of trenchant preposterousness at which Muse operate. The most apposite comparison might be to say Muse have actually achieved what the Darkness set out to do: conquer the world with music that's clearly meant to be funny, but isn't supposed to be a joke.

Indeed, it could be suggested that the only real giveaways to Bellamy's comic intent were that his bandmates were talking up their forthcoming album as a major sonic reboot – "It's time to move on and do something radically different," suggested bassist Chris Wolstenholme – and that his description didn't actually sound that far removed from what Muse had done previously: they'd already achieved something best described as "metal flamenco" on 2006's Black Holes and Revelations. That said, anyone listening to Supremacy, the opening track of The 2nd Law, might wonder precisely how radical a reinvention Muse have undergone.

The understated single Madness suggested a new stripped-back approach: there's not much to it beyond an electronic bassline, a decent pop song and Bellamy's vocal, which declines to unexpectedly burst into an ear-splitting falsetto (or scream), or proclaim the imminent arrival of the apocalypse, or indeed do any of the things he usually does within seconds of getting near a microphone. But clearly any discussions about toning it down a bit were shortlived. Supremacy's musical DNA is equal parts Led Zeppelin's Kashmir and Wings' Live and Let Die: its idea of restraint is to leave it a minute and a half before bringing the choir in. It should be noted that, Madness aside, The 2nd Law's lowest-key track is Animals, which concludes with what sounds like a recording of a riot in full swing.

In fact, the most obvious sign of change on The 2nd Law is its incorporation of the kind of dubstep produced by Skrillex and dismissed by its detractors as "brostep". It actually meshes with Muse's existing style remarkably well, perhaps because Muse and your average brostep producer are cut from the same cloth in at least one sense: neither of them has much interest in subtlety. Unsubtle or not, the concluding two-part title track – the most obviously brostep-indebted thing here – is thunderously exciting stuff, a boiling mass of fidgety strings, electronic voices and sub-bass wobble.

This is obviously all great rollicking fun, but there are problems with The 2nd Law. You can see why the organisers thought Muse would be the right band to provide the official song of London 2012, but Survival didn't work – partly because it seems to have no tune whatsoever, but mostly because it didn't fit the event. The Olympics turned out to be as much about tiny human stories – from Chad le Clos's dad to Kirani James and Oscar Pistorius swapping nametags – as epic spectacle. With their choirs, string-laden intro, hysterical vocals and lyrics you might characterise as a bit Ayn Randy – "I chose to survive whatever it takes … vengeance is mine … Fight! Win!" – Muse got the scale but missed the humanity. Six albums in, this is a recurring problem: amusing and enjoyable as the aural histrionics are, you do start to wonder what, if anything, they're trying to express, or if it's just bombast for bombast's sake.

Occasionally, you get the sense the band's sound is actually antithetical to genuine emotional impact. Follow Me is a song about Bellamy's baby son: "I will keep you safe, I will protect you, I won't let them harm you," he sings. He obviously means it, but delivered as it is, in a portentous voice that leaves teeth-marks on the scenery, to a backdrop of distorted dive-bombing bass (courtesy of co-producers Nero) and florid synthesiser arpeggios, it sounds like he doesn't. Similarly, it's hard to tell whether there's actual political conviction behind the title track's equation of the second law of thermodynamics with global economic collapse, or if it's just showy grandiloquence, a lyrical counterpart to one of Bellamy's more baroque guitar solos.

None of this stops The 2nd Law from being a hugely entertaining album. Nor will it stop it being a vast success. After all, no one goes to see a blockbuster for its profundity and deep characterisation. They go for the stunts and the special effects, both of which The 2nd Law delivers.

Feist : Soirée de Poche

http://www.listentofeist.com
https://www.myspace.com/feist


Origine du Groupe : Canada
Style : Indie , Folk
Sortie : 2012
Durée : 00:26:02

 

From http://liveweb.arte.tv

Parfois, on pourrait s’inquiéter. Mais elle nous rassure aussitôt. Punkette adolescente, égérie indie, et au final dépositaire de succès planétaires ("Mushaboom", "One Evening", "1234"…), la route aurait été beaucoup plus simple pour Leslie Feist, si elle s’était laissé aller à la facilité commerciale, à la reproduction de formules. Et pourtant non. Son dernier album, Metals, paru à l’automne dernier, est une preuve de plus de son gout pour le changement, et sa capacité à mettre ses acquis au profit de choses nouvelles. Et d’ainsi continuer à proposer sa folk dans des constructions riches, intelligentes, sensibles, mais toujours accessible. Oui, Feist est populaire, mais sans jamais tricher. Et elle est là l’explication de la carrière irréprochable de Feist, et c’est sans doute ce qui ressort le plus de cette Soirée de Poche : la sincérité.

MewithoutYou - Brother, Sister

http://mewithoutyou.com

http://www.brother-sister.net





Origine du Groupe : North America

Style : Alternative Rock , Indie

Sortie : 2006

 

Wikipedia :

Brother, Sister is the third full-length album by indie rock band mewithoutYou, released on September 26, 2006 through Tooth & Nail Records. It features guest vocal and instrumental appearances by several artists, including Jeremy Enigk (of Sunny Day Real Estate), harpist Timbre, and members of Anathallo and the Psalters. From August 9, 2007, Burnt Toast Vinyl were taking pre-orders for a LP-format version of the album. The album features an abundance of symbolism, much of which is tied to animals; at least one can be found in the lyrics of each track.

Brother, Sister reached a peak position of number 116 on the Billboard 200 on October 14, 2006.

The cover art is by artist Vasily Kafanov. The album's title comes from a verse in the Bhagavad Gita.


Tracklist :
1. Messes of Men
2. The Dryness and the Rain
3. Wolf Am I! (and Shadow)
4. Yellow Spider
5. A Glass Can Only Spill What It Contains
6. Nice and Blue (Pt. Two)
7. The Sun and the Moon
8. Orange Spider
9. C-Minor
10. In a Market Dimly Lit
11. O, Porcupine
12. Brownish Spider
13. In a Sweater Poorly Knit

Archive - With Us Until You're Dead

http://archiveofficial.com

https://www.myspace.com/archiveuk





Origine du Groupe : U.K

Style : Indie , Electronic , Trip Hop

Sortie : 2012

 

By Steve Lampiris  from http://www.thelineofbestfit.com

Archive have done pretty much whatever the hell they wanted their whole career. Take trip-hop and add a string section to cheese it up, only to have it work perfectly? Sure. Add prog rock elements to trip-hop, because what’s cooler than that? Yep. Make a trip-hop album (in its own way – perhaps we should call it “rave-hop”) in 2012 when the genre is all but comatose? Of course.

It’s that last one that really matters here because it’s exactly what Archive have done with their new record, With Us Until You’re Dead. Yes, Archive have crafted what may be the best trip-hop album of the year. Which, certainly, isn’t saying much considering it isn’t the late ‘90s anymore. Yet it all makes sense because, hey, the London collective have always done things their own way.

Despite that, Archive have come close to mainstream composition before. ‘The Empty Bottle’, for example, contained “big” chords and a chorus ripe for a 20,000-person singalong. This time around, it’s done on ‘Conflict.’ The difference is that this time, the arena-ready anthem is built around skittering drums, pulsing sonics and a staccato vocal hook. Perhaps ‘Conflict’ is better suited to a rave, but who says a rave can’t be held at O2?

They’ve also done grimy club rock before, as in ‘Men Like You’. With Us’s closest parallel here is single ‘Violently’. It’s certainly grimier than anything they’ve done with a rock-tinge, and grimier than anything they’ve done ever. The soundscape is built around the kind of chords usually reserved for the score for a historical film epic, but since this is Archive and not John Williams, it’s laid over buzzing synths and held together with a stomping beat. You can practically see the Gladiators fight under hazy strobe lights.

“Constantly in motion”, then, appears to be the lyrical theme of the album. And it’s a cynical perpetual motion at that – as in, being hurt and moving on. ‘Hatchet’ is the most literal example of this, with a collection of hypotheticals centered on the narrator giving a (former) lover various weapons only to be betrayed: “If I had a pistol, it’d be yours to have/You can shoot me in the head, blow a hole in my back”. Then there’s ‘Twisting’, an attempt to reconcile reality during the push/pull of a broken heart. But best of all is the aforementioned ‘Violently’, which has both one of the best matter-of-fact lines in recent memory (“I’m mentally fucked”), and perhaps the best concluding lyric of the year (“When I close my eyes/I think of how you died/Died in me/So violently/Quietly”).

So, With Us Until You’re Dead is just Archive being Archive. Yes, the record’s a tad pretentious. Yes, it not easy to swallow or trendy. Yes, this album is a bit sad. But, here’s the trade-off: you won’t find Dr Luke or Max Martin or Shellback anywhere in the liners. If nothing else, we can be thankful for that.


Tracklist :
1. Wiped Out 6:20
2. Interlace 4:42
3. Stick Me In My Heart 3:57
4. Conflict 5:01
5. Violently 6:24
6. Calm Now 3:53
7. Silent 5:39
8. Twisting 4:01
9. Things Going Down 1:51
10. Hatchet 4:15
11. Damage 6:49
12. Rise 2:49

 

Krystle Dos Santos - Fame Fatale

http://krystledossantos.com

https://www.myspace.com/krystledossantosmusic





Origine du Groupe : North America

Style : Electro , Alternative , Indie

Sortie : 2011

 

 

 

 

 

 

 

 

 

 

 

From http://krystledossantos.bandcamp.com



A concept album based around heroine, Unit 9, and her rebellion against the evil MasterControl.





Tracklist :

01. Ninja Soul - Intro 01:35

02. DisFunk 03:10

03. Bop Bop Beatdown 03:33

04. Move Sumthin' - Interlude 01:17

05. 9Lives 04:35

06. Black Widow 03:26

07. DearMasterControl - Interlude 01:09

08. With No Emotion 04:50

09. Remember 03:33

10. Run Around 03:32

11. Sweet Dreams - Interlude 01:59

12. KnightLife 03:25

13. Coming Home 03:12

14. Cinematic Dramatic - Interlude 00:57

15. Dead Wrong 04:11

16. Goosicano - Interlude 01:05

17. Win Or Lose 04:01

18. Sunshine 02:49

 

Hacienda - Shakedown

http://www.haciendaonline.net

https://www.myspace.com/haciendaspace





Origine du Groupe : North America

Style : Alternative Rock , Indie

Sortie : 2012

 

By WOODY  from http://www.hearya.com

I’ve had Hacienda’s new LP for a couple of months now and to be honest, I wasn’t feeling it on the first few spins. I recently revisited it as I was scrolling though my iPod, mostly because I like the guys so much. I felt like I owed it to them. Thankfully their good nature won out because now I’m in love with it.

Shakedown finds the San Antonio quartet working with Dan Auerbach of The Black Keys for the third time. And just as Auerbach has been picking up some new ideas and sounds from past collaborations with Danger Mouse, Hacienda has broadened their sound as well. That’s what threw me off on the first few spins. There were areas that I found a little too polished, but once I starting paying attention, I realized I was missing the cool nuances and tones that Auerbach had instilled in this album.

After digging into Shakedown, there were a couple of things that really stuck out to me. The tones that Auerbach pulls out of the rhythm section are sublime. They vary from funky to distorted to soulful. After producing their first two albums and backing his solo tour, Hacienda are obviously quite comfortable taking some sage advice from Auerbach. The other thing that really tickled my fancy were the backing vocals. They really bring something to tracks like Let Me Go, Natural Life and Veronica.

So after three great albums with Dan Auerbach, where does Hacienda go from here? I love that each album shows Hacienda trying out new tricks while staying true to their roots. Obviously Auerbach has been instrumental in this, but I really would like to see the boys step out on their own, even for one album. Maybe see things from a different point of view. Either way, I’m sure whatever lies ahead will be awesome.


Tracklist :
01 – Veronica
02 – Let Me Go
03 – Don’t Turn Out the Light
04 – Savage
05 – You Just Don’t Know
06 – Don’t Keep Me Waiting
07 – Natural Life
08 – Doomsday
09 – Don’t You Ever
10 – Pilot in the Sky

Batlik - Le poids du superflu

http://www.abrulepourpoint.com





Origine du Groupe : France

Style : French Touch , Indie

Sortie : 2012

 

Par Laura Aupiais pour http://www.radioneo.org

Quand on évoque Batlik, ici à Néo, on a l'impression de parler d'un vieil ami qu'on n'a jamais perdu de vue. Il revient nous voir tous les ans. Et d'autres diraient qu'il fait partie des meubles. Une chose à savoir, peu importe le nombre de journées ou de mois que vous passez à Néo en tant que stagiaire ou bénévole, vous entendrez toujours un mot sur lui comme la source même du « Libérateur de talent ».

C'était en octobre, en 2004, la première fois qu'on l'a rencontré et il nous a dit « Regarde mes images ». A l'époque, il se faisait appeler Gaspard Batlik. Après huit ans d'amitié chaleureuse, aujourd'hui, il nous montre son 7e album studio, « Le poids du superflu » toujours sous son propre label abrulepourpoint.

Batlik fait partie de ces artistes qui arrivent à dépoussiérer la chanson française. Beaucoup n'y croient plus, mais il peut faire changer d'avis. Il suffit juste d'écouter le poids de ses mots. Sa première scène, il l'a faite en première partie de Karpatt à l'EMB de Sannois. On raconte qu'une fille au premier rang s'est évanouie au moment de son entrée sur scène. Nul ne sait si se fut à cause de la chaleur ou du charisme de l'artiste.

Puis, bien sûr, y'en a eu toute une tripotée après, en Belgique, Québec et un peu partout en France. Il y a cette fois-là, en Belgique, où son chien a vomit sur scène, ou encore à Montréal où il a joué devant 15 personnes dans une salle de 1500 places.

    « Une indépendance musicale, et son refus des majors lui offre une liberté d'expression artistique totale ». Muriel

Faîtes-nous plaisir, allez le voir sur scène en compagnie de ses charmants acolytes James Sindatry et Benjamin Vairon et Nicolas Bruche. Notez bien, c'est le 3 mai à la Dynamo à Toulouse, et le 11 et 12 mai au Café de la Danse à Paris.

Voir Batlik sur scène, c'est comme revoir un vieil ami. Il nous rappelle les bons et les mauvais souvenirs qu'on a passé ensemble. A la fin, on se quitte le sourire accroché aux lèvres et les yeux pétillants. Pas besoin de formuler une phrase. On sait pertinemment qu'on se reverra. Sans doute, l'année prochaine.


Tracklist :
01. Enfumée (3:25)
02. Le poids du superflu (4:14)
03. La mer d’Aral (3:34)
04. De la même façon (4:33)
05. Hospitalité (3:57)
06. Encore (3:37)
07. Subtils subterfuges (3:51)
08. Carnaval (3:53)
09. Comédie (3:15)
10. Les transitoires (3:38)
11. Les grandes plaines (3:23)
12. Tentatives ratées (3:42)