Palenke Soultribe - Wepalenke (Ep)

http://www.palenkesoultribe.com

http://www.myspace.com/palenkesoultribeproject

Origine du Groupe : North America , Colombia

Style : Alternative Fusion World , Electro

Sortie : 2010

Palenke Soultribe just got back from a tour and have released a few remixes from a few bands and a re-edit of their track ‘The Color of your Dreams’ for their fans as a thank you to each place
they stopped at. This Columbian group comprised of two producers and a drummer/percussionist have a unique Cumbia electro dance groove vibe to them and I’m digging it. Check out the free download
of Wepalenke below!

by http://wgmeets.wordpress.com

Tracklist :

1.Palenke Soultribe + Locos por Juana - Afro Sound 04:28

2.Palenke Soultribe + Maleco Collective - Serenata para Ti (Palenke Soultribe Remix) 03:02   

3."Te Veo" feat. Sr.Mendez 03:01   

4.The Color of your Dreams (Radio Edit) 04:22

 

Palenke Soultribe - Wepalenke (Ep)

http://www.palenkesoultribe.com

http://www.myspace.com/palenkesoultribeproject

Origine du Groupe : North America , Colombia

Style : Alternative Fusion World , Electro

Sortie : 2010

Palenke Soultribe just got back from a tour and have released a few remixes from a few bands and a re-edit of their track ‘The Color of your Dreams’ for their fans as a thank you to each place
they stopped at. This Columbian group comprised of two producers and a drummer/percussionist have a unique Cumbia electro dance groove vibe to them and I’m digging it. Check out the free download
of Wepalenke below!

by http://wgmeets.wordpress.com

Tracklist :

1.Palenke Soultribe + Locos por Juana - Afro Sound 04:28

2.Palenke Soultribe + Maleco Collective - Serenata para Ti (Palenke Soultribe Remix) 03:02   

3."Te Veo" feat. Sr.Mendez 03:01   

4.The Color of your Dreams (Radio Edit) 04:22

 

Vlatko Stefanovski & Miroslav Tadic - Live In Zagreb

http://www.vlatkostefanovski.com.mk

http://adagio.calarts.edu/~snakes

Origine du Groupe : Macedonia , Serbia

Style : World Music , Guitar

Sortie : 2009

NEWS !!! This player HERE

 Creativity is something that cannot be forced and the most distinctive and rewarding artistic fellowships are those that follow a natural path to fruition. What brought together guitarists
Vlatko Stefanovski and Miroslav Tadic 15 years ago was an act of faith. They were introduced to each other by another musician who was aware of their mutual love for guitars and Macedonian folk
music. In the period that followed they went to work on  Krushevo (M.A. Recordings 1997), a record that is considered to be seminal and groundbreaking.



Since Krushevo was released, Stefanovski and Tadic have not only made three records together, but they have continued to unite in concert settings, despite the numerous projects they both have in
addition to this partnership. Their collaborative project proved to be anything but problematic, instead feeding and nurturing an alchemical connection. The tours that followed have allowed them
further to continue to explore the possibilities that have been laid at their feet. Building upon their shared love of bending genres until they break, Stefanovski and Tadic seamlessly blur the
lines between traditional folk music, jazz, rock, flamenco and classical. It isn't about where the songs begin but where they end, and that gives the duo its distinct flavor.



In 2005, the duo welcomed a new member, the Bulgarian flautist Teodosii Spasov, adding a new dimension to the music. Live in Zagreb was recorded during a summer tour in Croatia in 2007, when the
trio itself expanded into a quartet by introducing the Indian master percussionist Swapan Chaudhuri. The album is a stunning celebration of the project's past, present and future. It sums up the
whole trajectory, as it begins with the duo guitars, then the trio is introduced, and finally the quartet is heard.



Starting with "Dafino Vino Crveno," (Dafina with cheeks like red wine), the guitar duo plays with a bright fire that never goes out, even on more laid-back, plaintive numbers such as this one. It
seems that the two players are completely engaged in conversation as they magically complete each other's lines. "Izlezi Vido" (Come out Vida, to see a miracle), is a funky folk song with the two
guitars setting off into improvisations like twins joined at the hip, something to be expected from virtuosi with such distinguished backgrounds.



"Ej Ti Momche Ohridjanche" (Hey you boy from Ohrid) is an upbeat reel that introduces the trio with Spasov. What is amazing about this trio is that the unit has no single sound identity, though
their aesthetic is distinct and readily identifiable. Owing to their long-standing association, the three communicate with heightened perception, anticipating each others' curveballs and
responding in kind. When improvising, the trio weaves in and out of meter and harmony, yet always emerges together before the mood shifts anew. The structure of the melody is respected but
outside of that it's open season.



For a long time, this project drew associations with guitarist John McLaughlin's Shakti, because of the musicians' virtuoso abilities, improvisational madness and breadth of influences, their
folk music associations, and the emotional depth of their style. The introduction of Chaudhuri makes such comparisons more vivid and tangible. Apart from holding a master's degree in music and
being conferred honors for his distinguished contributions in the field of tabla by the government of India, and as well as performing with world renowned artists such as sitar maestro Ravi
Shankar, Chaudhuri is also a member of the teaching staff at the California Institute of the Arts in California. So is Miroslav Tadic.



On tracks such as "Prosheta Se Jovka Kumanovka," (Yovka from Kumanovo went for a stroll), and especially "Anadolu oyun havasi," which is a 16 minute tour de force, the quartet's seamless
interplay is quite remarkable. It delivers consistently inventive music while combining the discipline of classical chamber music with the openness of free improvisation. There is a perfect
balance between the two, strung halfway between heaven and earth.



The group's music in general is a milestone in cross-cultural music, fusing Macedonian folk music with various styles including the arcane percussion disciplines of Indian music. This is
thoughtful, inspired guitar work woven out of tasteful tones and performed with brilliant virtuosity against a sublime backdrop of percussion and flute. The album is the audio equivalent of pure
beauty.

by  NENAD GEORGIEVSKI 
permalink

Tracklist :

01.Anadolou oyun havasi

02.Dafino vino crveno

03.Ej ti momce ohrigance

04.Eleno kerko

05.Izlezi Vido

06.Jovano, Jovanke

07.Kales Ango

08.Kasapsko oro

09.Proseta se Jovka kumanovka

 

Vlatko Stefanovski & Miroslav Tadic - Live In Zagreb

http://www.vlatkostefanovski.com.mk

http://adagio.calarts.edu/~snakes

Origine du Groupe : Macedonia , Serbia

Style : World Music , Guitar

Sortie : 2009

NEWS !!! This player HERE

 Creativity is something that cannot be forced and the most distinctive and rewarding artistic fellowships are those that follow a natural path to fruition. What brought together guitarists
Vlatko Stefanovski and Miroslav Tadic 15 years ago was an act of faith. They were introduced to each other by another musician who was aware of their mutual love for guitars and Macedonian folk
music. In the period that followed they went to work on  Krushevo (M.A. Recordings 1997), a record that is considered to be seminal and groundbreaking.



Since Krushevo was released, Stefanovski and Tadic have not only made three records together, but they have continued to unite in concert settings, despite the numerous projects they both have in
addition to this partnership. Their collaborative project proved to be anything but problematic, instead feeding and nurturing an alchemical connection. The tours that followed have allowed them
further to continue to explore the possibilities that have been laid at their feet. Building upon their shared love of bending genres until they break, Stefanovski and Tadic seamlessly blur the
lines between traditional folk music, jazz, rock, flamenco and classical. It isn't about where the songs begin but where they end, and that gives the duo its distinct flavor.



In 2005, the duo welcomed a new member, the Bulgarian flautist Teodosii Spasov, adding a new dimension to the music. Live in Zagreb was recorded during a summer tour in Croatia in 2007, when the
trio itself expanded into a quartet by introducing the Indian master percussionist Swapan Chaudhuri. The album is a stunning celebration of the project's past, present and future. It sums up the
whole trajectory, as it begins with the duo guitars, then the trio is introduced, and finally the quartet is heard.



Starting with "Dafino Vino Crveno," (Dafina with cheeks like red wine), the guitar duo plays with a bright fire that never goes out, even on more laid-back, plaintive numbers such as this one. It
seems that the two players are completely engaged in conversation as they magically complete each other's lines. "Izlezi Vido" (Come out Vida, to see a miracle), is a funky folk song with the two
guitars setting off into improvisations like twins joined at the hip, something to be expected from virtuosi with such distinguished backgrounds.



"Ej Ti Momche Ohridjanche" (Hey you boy from Ohrid) is an upbeat reel that introduces the trio with Spasov. What is amazing about this trio is that the unit has no single sound identity, though
their aesthetic is distinct and readily identifiable. Owing to their long-standing association, the three communicate with heightened perception, anticipating each others' curveballs and
responding in kind. When improvising, the trio weaves in and out of meter and harmony, yet always emerges together before the mood shifts anew. The structure of the melody is respected but
outside of that it's open season.



For a long time, this project drew associations with guitarist John McLaughlin's Shakti, because of the musicians' virtuoso abilities, improvisational madness and breadth of influences, their
folk music associations, and the emotional depth of their style. The introduction of Chaudhuri makes such comparisons more vivid and tangible. Apart from holding a master's degree in music and
being conferred honors for his distinguished contributions in the field of tabla by the government of India, and as well as performing with world renowned artists such as sitar maestro Ravi
Shankar, Chaudhuri is also a member of the teaching staff at the California Institute of the Arts in California. So is Miroslav Tadic.



On tracks such as "Prosheta Se Jovka Kumanovka," (Yovka from Kumanovo went for a stroll), and especially "Anadolu oyun havasi," which is a 16 minute tour de force, the quartet's seamless
interplay is quite remarkable. It delivers consistently inventive music while combining the discipline of classical chamber music with the openness of free improvisation. There is a perfect
balance between the two, strung halfway between heaven and earth.



The group's music in general is a milestone in cross-cultural music, fusing Macedonian folk music with various styles including the arcane percussion disciplines of Indian music. This is
thoughtful, inspired guitar work woven out of tasteful tones and performed with brilliant virtuosity against a sublime backdrop of percussion and flute. The album is the audio equivalent of pure
beauty.

by  NENAD GEORGIEVSKI 
permalink

Tracklist :

01.Anadolou oyun havasi

02.Dafino vino crveno

03.Ej ti momce ohrigance

04.Eleno kerko

05.Izlezi Vido

06.Jovano, Jovanke

07.Kales Ango

08.Kasapsko oro

09.Proseta se Jovka kumanovka

 

I Monster- A Dense Swarm

http://www.imonstermusic.com

http://www.myspace.com/imonsteruk

Origine du Groupe : U.K

Style : Alternative Fusion

Sortie : 2009

Le premier album du duo anglais de Sheffield I Monster, sorti en 2004, avait pour lui deux choses :



- Un nom à la con (Neveroddoreven)

- Une consistance presque incroyable dans le registre de la pop song alambiquée et triturée par différentes machines.



Une qualité qui le placait très nettement en haut du panier pop, qualité certifiée d’ailleurs par le succès (critique et commercial) de leur relecture de « Daydream », le tube sixties du groupe
Wallace Collection, chanson baptisée « Daydreaming in blue ».



5 ans donc jusqu’à la sortie de ce nouvel album du groupe, même si celui-ci n’a pas chômé entre temps participant à différents projets musicaux (musiques de spectacle etc.).



Intitulé “A Dense Swarm of Ancient Stars”, l’album s’inscrit dans la même lignée que le précédent, une électro pop de qualité partagée entre deux axes quelquefois concomitants.



D’un coté et dans une large majorité c’est un condensé éclairé de pop profondément ludique et espiègle, un côté décontracté qui n’empêche pas la qualité.



On trouve sur cet album quelques échos du premier album tels « Lust for a Vampyr », cette pop qui ne se refuse rien dans la composition ou les arrangements mais en restant toujours d’une part
dans une veine mainstream et en détournant d’autre part chaque bout de matière sonore ou chaque once de mélodie pour y rogner toute éventuelle solennité et y développer le côté pétillant et
malicieux.



« A pad is waiting » par exemple encore, cette pop du dimanche, cette pop de fortune bricolée tant bien que mal mais qui a plein de charme. Le premier single « A sucker for your sound » encore,
cette excellente pop tarabistouille chantée par une voix féminine mutine.



On a droit aussi à un superbe instrumental terriblement groovy, « Escape from New York » qui sonne comme du Death in Vegas fluo, un instrumental martial mais là encore sans une once de velléité,
tout en rondeurs et clins d’œil.



On peut aussi penser à un endroit ou deux (« She’s giving me the I » et « Goodbye sun ») au Blur dernière époque, cette pop paresseuse et lymphatique certes mais toujours inspirée dans son
méticuleux minimalisme. La voix même se rapprochant alors de celle de Damon Albarn.



Notons qu’en fin d’album trois morceaux enchainés portant le même titre (Sickly suite part 1, 2 et 3, la dernière étant un court intermède instrumental) forment une sorte de vase-clos, débutant
par une balade atypique et enjolivée par une voix féminine appliquée et fragile avant de tomber dans la marmite « Top of the pops » à sa suite dans une musique typique de ce que l’on pouvait voir
et entendre dans les années 70 à cette émission anglais culte, cette pop british de petit culs blancs tendant tant bien que mal de swinger avec nonchalance et raideur des hanches, un morceau à la
“Never let her slip away” d’Andrew Gold.



La musique d’I Monster est profondément anglaise, elle respire de tous ses pores l’Albion, sa way of life et sa science infuse de la pop. On connait les caractéristiques de l’humour anglaise, il
est soit arrogant soit débile complètement assumé. C’est ce côté brinquebalant et brinqueboulant qu’on retrouve ici par moment.



Tout d’abord via quelques intermèdes musicaux plus ou moins longs qui ont tous en commun un aspect improbable (une musique de cirque neuneu ou des bzzz d’insectes par exemple). On le trouve
ensuite dans un morceau comme « Cool coconuts », cette bossa-nova de Brighton qui laisse à imaginer quelle musique Beck aurait pu faire s’il était né en Angleterre et s’il avait la tronche de
Wayne Rooney.



On le trouv eaussi dans un « Dear John » qui nous laisse perplexe avec son improbable synthé à la Benny Hill et plus encore dans un « The best » presque terminal et orgasmique. Imaginez Benny
Bennassi salopant ‘Nightclubbin » de Iggy Pop et vous aurez là une petite idée de cette excellente chanson.



Une musique d’imbéciles heureux peut-être, de grands enfants sans doute, mais surtout une musique extrêmement talentueuse et inspirée, un grand album une fois de plus de ce duo dont on regrettera
toutefois qu’il n’offre pas cette fois un ou deux singles de la force de ceux du premier album (même si A sucker for your sound peut s’avérer addictif pour le plus grand nombre), ils risquent
ainsi d’en pâtir et cela serait fort dommage.



Qu’importe pour ce qui nous regarde en tous les cas, voilà un excellent disque de pop gouailleuse et truculente à écouter sans modération. Pas de chef d’œuvre, juste un très bon disque pour qui
aime la pop enjouée et joyeuse.



Comme le chantait d'ailleurs Eric Idle (I pour Idle Monster ?) : "Alway look of the bright side of pop (tulu, tulu tulululu)"



par Bruno Piszorowicz permalink

Tracklist :

01. The Circus Of Deaf

02. A Sucker For Your Sound

03. Goodbye Sun

04. Cool Coconuts

05. Lust For A Vampyr

06. Mr. Mallard

07. She's Giving Me The I

08. Escape From New Yorkshire

09. Dear John

10. Inzects

11. Inzects 2 - The Mutations

12. Sickly Suite. Part One: How Are You?

13. Sickly Suite. Part Two: Out Of The Shadows

14. Sickly Suite. Part Three: Gone

15. A Pod Is Waiting

16. The Best

 

Sfonx - Like A Monkey

http://www.grolektif.com

http://www.myspace.com/sfonx

Origine du Groupe : France

Style : Funk , Soul

Sortie : 2010

NEW !!! Deskstopify this music player HERE

From Official Myspace :

SFONX, c'est un groupe qui fait danser et transpirer, un concentré de groove bruyant et explosif ! A mi chemin entre rock survolté et funk psychédélique, 9 lyonnais qui n’ont pas froid aux yeux
ont inventé le Groove ‘n Roll (Groll pour les intimes). Une solide culture soul, des fulgurances de funk-rock furieux, quelques fragrances d’Afrobeat et de subtils clins d’œil au dancefloor
achèvent de donner à ce nouveau cocktail tout son arôme. Guitare, claviers, basse et batterie propulsent cet équipage infernal piloté par deux chanteurs endiablés et pimenté par une section de
cuivres délicieusement incisifs. Fort de cette formule irrésistible et imposante, SFONX donne la fièvre aux allumés du genre et le vertige aux moins avertis. Une chose est sûre, vous n’allez pas
en croire vos orteils !

babbles of voices FIMU 2009

Tracklist :

1. Happy People (3:43)

2. Like A Monkey (3:49)

3. Cocoon (4:23)

4. Deep Breath (4:26)

5. Everything You've Got (3:15)

6. Behind The Glasses (3:34)

7. Babbles Of Voices (4:06)

8. Time For Fever (4:39)

9. Nursery (4:02)

10. Speed Dating (4:59)

 

Sfonx - Like A Monkey

http://www.grolektif.com

http://www.myspace.com/sfonx

Origine du Groupe : France

Style : Funk , Soul

Sortie : 2010

NEW !!! Deskstopify this music player HERE

From Official Myspace :

SFONX, c'est un groupe qui fait danser et transpirer, un concentré de groove bruyant et explosif ! A mi chemin entre rock survolté et funk psychédélique, 9 lyonnais qui n’ont pas froid aux yeux
ont inventé le Groove ‘n Roll (Groll pour les intimes). Une solide culture soul, des fulgurances de funk-rock furieux, quelques fragrances d’Afrobeat et de subtils clins d’œil au dancefloor
achèvent de donner à ce nouveau cocktail tout son arôme. Guitare, claviers, basse et batterie propulsent cet équipage infernal piloté par deux chanteurs endiablés et pimenté par une section de
cuivres délicieusement incisifs. Fort de cette formule irrésistible et imposante, SFONX donne la fièvre aux allumés du genre et le vertige aux moins avertis. Une chose est sûre, vous n’allez pas
en croire vos orteils !

babbles of voices FIMU 2009

Tracklist :

1. Happy People (3:43)

2. Like A Monkey (3:49)

3. Cocoon (4:23)

4. Deep Breath (4:26)

5. Everything You've Got (3:15)

6. Behind The Glasses (3:34)

7. Babbles Of Voices (4:06)

8. Time For Fever (4:39)

9. Nursery (4:02)

10. Speed Dating (4:59)

 

Incognito - Tribes, Vibes + Scribes

http://www.incognito.org.uk

http://www.myspace.com/bluey_incognito

Origine du Groupe : U.K

Style : Acid Jazz , Nu-Soul , Nu-Jazz

Sortie : 1992

NEW !!! Desktopify this player music HERE

Loved and respected throughout the industry, Incognito are a long-running institution, headed up by guitarist/keyboardist Jean Paul 'Bluey' Maunick. Released at the height of the Talkin' Loud
label's powers, this was the second release from Incognito's second incarnation. It fully marked their transition from the very 80s jazz funk to the very 90s acid jazz.





For those with longer memories, Incognito were the sophisticated group who emerged when Light Of The World splintered in the early 80s. After a decade resting, but with Maunick writing with a
revived Incognito in mind, they were signed by DJ Gilles Peterson to his Talkin' Loud imprint in the early 90s.
 




Tribes Vibes and Scribes built on the success of 1991's Inside Life, which featured Jocelyn Brown's gargantuan reading of Ronnie Laws' classic Almost There. With American vocalist Maysa Leak now
at the helm, the album is full of hook-laden, assured soul.
 




The lead single, a cover of Stevie Wonder's Don't You Worry About A Thing was a bold statement, squaring up to the master's Innervisions tour de force with aplomb. It earned them a UK Top 20
placing.





Tribes Vibes and Scribes is accomplished in both its playing and positive message. The dancefloor storm of opener Colibri its with scat vocals and soloing, never strays too far into indulgence;
there is also the urban, orchestrated soul of Change. The jazz feel of tracks like L'Arc En Ciel De Miles saw the group's popularity in the US grow, becoming something of a staple on the
burgeoning 'quiet storm' radio strand.
 




Tribes Vibes and Scribes is infused with is a tremendous enthusiasm and exuberance. It is this remarkable spirit that has kept the group so popular for so long and this record sounding like it
was recorded only yesterday.



by  Daryl Easlea

permalink

 

Tracklist :

1. Colibri

2. Change

3. River In My Dreams

4. Don't You Worry 'Bout A Thing

5. Magnetic Ocean

6. I Love What You Do For Me

7. Closer To The Feeling

8. L'Arc En Ciel De Miles

9. Need To Know

10. Pyramids

11. Tribal Vibes

 

Incognito - Tribes, Vibes + Scribes

http://www.incognito.org.uk

http://www.myspace.com/bluey_incognito

Origine du Groupe : U.K

Style : Acid Jazz , Nu-Soul , Nu-Jazz

Sortie : 1992

NEW !!! Desktopify this player music HERE

Loved and respected throughout the industry, Incognito are a long-running institution, headed up by guitarist/keyboardist Jean Paul 'Bluey' Maunick. Released at the height of the Talkin' Loud
label's powers, this was the second release from Incognito's second incarnation. It fully marked their transition from the very 80s jazz funk to the very 90s acid jazz.





For those with longer memories, Incognito were the sophisticated group who emerged when Light Of The World splintered in the early 80s. After a decade resting, but with Maunick writing with a
revived Incognito in mind, they were signed by DJ Gilles Peterson to his Talkin' Loud imprint in the early 90s.
 




Tribes Vibes and Scribes built on the success of 1991's Inside Life, which featured Jocelyn Brown's gargantuan reading of Ronnie Laws' classic Almost There. With American vocalist Maysa Leak now
at the helm, the album is full of hook-laden, assured soul.
 




The lead single, a cover of Stevie Wonder's Don't You Worry About A Thing was a bold statement, squaring up to the master's Innervisions tour de force with aplomb. It earned them a UK Top 20
placing.





Tribes Vibes and Scribes is accomplished in both its playing and positive message. The dancefloor storm of opener Colibri its with scat vocals and soloing, never strays too far into indulgence;
there is also the urban, orchestrated soul of Change. The jazz feel of tracks like L'Arc En Ciel De Miles saw the group's popularity in the US grow, becoming something of a staple on the
burgeoning 'quiet storm' radio strand.
 




Tribes Vibes and Scribes is infused with is a tremendous enthusiasm and exuberance. It is this remarkable spirit that has kept the group so popular for so long and this record sounding like it
was recorded only yesterday.



by  Daryl Easlea

permalink

 

Tracklist :

1. Colibri

2. Change

3. River In My Dreams

4. Don't You Worry 'Bout A Thing

5. Magnetic Ocean

6. I Love What You Do For Me

7. Closer To The Feeling

8. L'Arc En Ciel De Miles

9. Need To Know

10. Pyramids

11. Tribal Vibes

 

Wolf Myer Orchestra - Femme Fatale

http://www.wolfmyerorchestra.com

Origine du Groupe : Austria

Style : Alternative Fusion , Nu-Jazz

Sortie : 2007

NEW !!! Desktopify this player music HERE

From Official Site :

Over 30 guest - artists helped to create a fresh and vivid album that is always aware of it´s jazzy roots but definitively goes beyond any genres thight boundaries. Hip Hop meets Soul, Funk, Pop
und Jazz in a perfect blend of analog and digital. Leading the listener into a world full of intimate thoughts and capacious moments, "Femme Fatal" rejects all daily struggle and rush.

Tracklist :

01. Soulgate (feat. Lilith) (3:37)

02. Get Up (feat. Roia) (4:24)

03. Quicksand (feat. Nika Zach) (3:46)

04. Caught (feat. Rebecca Kolland) (3:53)

05. Flowers (feat. Gabriella Hanninen) (4:01)

06. Is It Me (feat. Lilith) (4:58)

07. Silent Tango (feat. Nika Zach) (3:50)

08. Hell (feat. Gabriella Hanninen) (5:01)

09. Illusionary Waves (feat. Kristina Lindberg) (3:41)

10. Face The Future (feat. Gabriella Hanninen) (4:26)

11. Bittersweat (feat. The Dining Rooms) (3:16)

12. Funky Bastard (feat. Parov Stelar & Lilith) (5:41)

 

Wolf Myer Orchestra - Femme Fatale

http://www.wolfmyerorchestra.com

Origine du Groupe : Austria

Style : Alternative Fusion , Nu-Jazz

Sortie : 2007

NEW !!! Desktopify this player music HERE

From Official Site :

Over 30 guest - artists helped to create a fresh and vivid album that is always aware of it´s jazzy roots but definitively goes beyond any genres thight boundaries. Hip Hop meets Soul, Funk, Pop
und Jazz in a perfect blend of analog and digital. Leading the listener into a world full of intimate thoughts and capacious moments, "Femme Fatal" rejects all daily struggle and rush.

Tracklist :

01. Soulgate (feat. Lilith) (3:37)

02. Get Up (feat. Roia) (4:24)

03. Quicksand (feat. Nika Zach) (3:46)

04. Caught (feat. Rebecca Kolland) (3:53)

05. Flowers (feat. Gabriella Hanninen) (4:01)

06. Is It Me (feat. Lilith) (4:58)

07. Silent Tango (feat. Nika Zach) (3:50)

08. Hell (feat. Gabriella Hanninen) (5:01)

09. Illusionary Waves (feat. Kristina Lindberg) (3:41)

10. Face The Future (feat. Gabriella Hanninen) (4:26)

11. Bittersweat (feat. The Dining Rooms) (3:16)

12. Funky Bastard (feat. Parov Stelar & Lilith) (5:41)

 

Omar Rodriguez Lopez - Cizaña De Los Amores

http://www.rodriguezlopezproductions.com

http://www.myspace.com/omarrodriguezquintet

Origine du Groupe : North America

Style : Alternative Fusion Rock , Psychedelic , Experimental , Rock Progressive

Sortie : 2010

News !!! Desktopify this player music HERE

From Wikipedia :

Cizaña de los Amores is the seventeenth studio album by Omar Rodríguez-López as a solo artist. The album will be released October 18, 2010 on CD and vinyl by Rodriguez-Lopez Productions on
Koncurrent in Europe, then November 8 through the US hello merch store.[1]  It is the first collaboration between Omar and vocalist Lisa Papineau, who had previously worked with The Mars
Volta bandmate Juan Alderete in their band Big Sir.[2]  This record features the song "Victimas del Cielo" in studio form, having first been released on the live album Los Sueños de un
Hígado.



Cizaña was recorded in Hamburg, Germany by Omar and Lars Stalfors, with all artwork done by Sonny Kay.





Lisa Papineau - Vocal melodies & Lyrics [tracks 1&7]

Ximena Sariñana Rivera- Vocal melodies & Lyrics [tracks 2,3,4,5 & 6 ]

Juan Alderete De La Peña - Bass

Marcel Rodriguez Lopez - Drums, Organ, Piano, Synths

Omar Rodriguez Lopez - Guitar, Piano, Synths



Produced by Omar Rodriguez Lopez

Mixed by Lars Stalfors

Mastered by Mark Chalecki

Original artwork, layout and design by Sonny Kay



All music written, arranged and directed by Omar Rodriguez Lopez P 2010 Hija De Lola (ASCAP) & Seitrack Music/Warner Chappell Music

except Soledad y Silencio and Nada De Amor P 2010 Hija De Lola (ASCAP) & Bontà D’Animo (BMI)

Tracklist :

1. Soledad Y Silencio

2. No Hay Más Respuestas

3. Victimas Del Cielo

4. Corazón

5. De Piedra

6. Infiel Hasta La Muerte

7. Nada De Amor

8. Carne De Perro

 

Omar Rodriguez Lopez - Cizaña De Los Amores

http://www.rodriguezlopezproductions.com

http://www.myspace.com/omarrodriguezquintet

Origine du Groupe : North America

Style : Alternative Fusion Rock , Psychedelic , Experimental , Rock Progressive

Sortie : 2010

News !!! Desktopify this player music HERE

From Wikipedia :

Cizaña de los Amores is the seventeenth studio album by Omar Rodríguez-López as a solo artist. The album will be released October 18, 2010 on CD and vinyl by Rodriguez-Lopez Productions on
Koncurrent in Europe, then November 8 through the US hello merch store.[1]  It is the first collaboration between Omar and vocalist Lisa Papineau, who had previously worked with The Mars
Volta bandmate Juan Alderete in their band Big Sir.[2]  This record features the song "Victimas del Cielo" in studio form, having first been released on the live album Los Sueños de un
Hígado.



Cizaña was recorded in Hamburg, Germany by Omar and Lars Stalfors, with all artwork done by Sonny Kay.





Lisa Papineau - Vocal melodies & Lyrics [tracks 1&7]

Ximena Sariñana Rivera- Vocal melodies & Lyrics [tracks 2,3,4,5 & 6 ]

Juan Alderete De La Peña - Bass

Marcel Rodriguez Lopez - Drums, Organ, Piano, Synths

Omar Rodriguez Lopez - Guitar, Piano, Synths



Produced by Omar Rodriguez Lopez

Mixed by Lars Stalfors

Mastered by Mark Chalecki

Original artwork, layout and design by Sonny Kay



All music written, arranged and directed by Omar Rodriguez Lopez P 2010 Hija De Lola (ASCAP) & Seitrack Music/Warner Chappell Music

except Soledad y Silencio and Nada De Amor P 2010 Hija De Lola (ASCAP) & Bontà D’Animo (BMI)

Tracklist :

1. Soledad Y Silencio

2. No Hay Más Respuestas

3. Victimas Del Cielo

4. Corazón

5. De Piedra

6. Infiel Hasta La Muerte

7. Nada De Amor

8. Carne De Perro

 

Natacha Atlas - Mounqaliba

http://www.myspace.com/natachaatlasofficial

Origine du Groupe : U.K , Egypt

Style : World Music

Sortie : 2010

NEWS !!! Desktopify this player music HERE

Après s’être frottée à la dance métissée, et à des reprises farouchement sensuelles (« Mon amie la rose », 1999) ou branchées sur le secteur (« I Put A Spell On You », 2001), l’ancienne chanteuse
de Transglobal Underground a, en 2007 (et l’album Ana Hina), négocié un prolifique virage vers une inspiration plus authentique, et naturelle, et des racines musicales directement en phase avec
la tradition égyptienne ou libanaise.

 

Mounqaliba/In A State Of Reversal poursuit heureusement ce cheminement métissé et acoustique, et, bien que certaines machines de studio, en particulier des boîtes à rythme, se soient immiscées
dans le projet - mêlant ensemble à cordes et inspiration ottomane, piano de jazz (la brillante Britannique Zoe Rahman tient le clavier) et percussions orientales. Enregistré à Londres, l’album
s’orne d’une majorité de compositions de la chanteuse et de son fidèle associé artistique le violoniste Samy Bishai (bien que l’ancien Transglobal Underground Tim Whelan soit venu prêter main
forte à l’élaboration d’une mélodie), chansons plutôt mélancoliques, ou désenchantées.



Natacha Atlas, et jusque dans les illustrations du livret, croit manifestement encore à la force de l’amour, même si c’est sur un mode mineur. Trois reprises ont été sélectionnées : celle de « La
Nuit est sur la Ville » de Françoise Hardy (et qui, en 1964, figurait assez curieusement sur le même 45 tours que « Mon amie la rose »), un « River Man » emprunté à Nick Drake, et extrait du
premier album du chanteur folk anglais, et la partition de « Le Cor, le vent », que l’on doit à Khaled Mouzanar (compositeur de la luxuriante musique du film Caramel). Enfin, six introductions ou
interludes – l’un deux s’intitule joliment « Direct Solutions Interlude » - complètent le menu, offrant chacun, en quelques poignées de secondes, bruits du quotidien empruntés aux rues de
Marrakech ou du Caire, chant proche du liturgique, et évocations des concepts développés par le cinéaste expérimental Peter Joseph.

 

Toutes ces facettes esthétiques tendent à permettre au disque d’atteindre la dimension d’un objet conceptuel, dans lequel s’entremêlent cultures musicales occidentales et orientales, sentiments
humains génériques, et tentatives de développer, dans le contexte étroit d’une chanson, une véritable rêverie en images. Une nouvelle réussite à mettre au crédit de la chanteuse belge.



par Christian Larrède

permalink

Tracklist :

1. Intro (00:55)

2. Makaan (04:27)

3. Matrah Interlude (01:00)

4. Bada Al Fajr (02:01)

5. Muwashah Ozkourini (03:43)

6. Riverman (05:39)

7. Batkallim (05:58)

8. Mounqaliba (03:39)

9. Le Cor, Le Vent (03:43)

10. Direct Solutions Interlude (01:38)

11. Lahazat Nashwa (03:04)

12. La Nuit Est Sur La Ville (03:35)

13. Fresco's Interlude (02:08)

14. Ghoroub (02:25)

15. Evening Interlude (01:09)

16. Taalet (03:11)

17. Egypt Interlude (02:13)

18. Nafourat El Anwar (02:57)

 

Natacha Atlas - Mounqaliba

http://www.myspace.com/natachaatlasofficial

Origine du Groupe : U.K , Egypt

Style : World Music

Sortie : 2010

NEWS !!! Desktopify this player music HERE

Après s’être frottée à la dance métissée, et à des reprises farouchement sensuelles (« Mon amie la rose », 1999) ou branchées sur le secteur (« I Put A Spell On You », 2001), l’ancienne chanteuse
de Transglobal Underground a, en 2007 (et l’album Ana Hina), négocié un prolifique virage vers une inspiration plus authentique, et naturelle, et des racines musicales directement en phase avec
la tradition égyptienne ou libanaise.

 

Mounqaliba/In A State Of Reversal poursuit heureusement ce cheminement métissé et acoustique, et, bien que certaines machines de studio, en particulier des boîtes à rythme, se soient immiscées
dans le projet - mêlant ensemble à cordes et inspiration ottomane, piano de jazz (la brillante Britannique Zoe Rahman tient le clavier) et percussions orientales. Enregistré à Londres, l’album
s’orne d’une majorité de compositions de la chanteuse et de son fidèle associé artistique le violoniste Samy Bishai (bien que l’ancien Transglobal Underground Tim Whelan soit venu prêter main
forte à l’élaboration d’une mélodie), chansons plutôt mélancoliques, ou désenchantées.



Natacha Atlas, et jusque dans les illustrations du livret, croit manifestement encore à la force de l’amour, même si c’est sur un mode mineur. Trois reprises ont été sélectionnées : celle de « La
Nuit est sur la Ville » de Françoise Hardy (et qui, en 1964, figurait assez curieusement sur le même 45 tours que « Mon amie la rose »), un « River Man » emprunté à Nick Drake, et extrait du
premier album du chanteur folk anglais, et la partition de « Le Cor, le vent », que l’on doit à Khaled Mouzanar (compositeur de la luxuriante musique du film Caramel). Enfin, six introductions ou
interludes – l’un deux s’intitule joliment « Direct Solutions Interlude » - complètent le menu, offrant chacun, en quelques poignées de secondes, bruits du quotidien empruntés aux rues de
Marrakech ou du Caire, chant proche du liturgique, et évocations des concepts développés par le cinéaste expérimental Peter Joseph.

 

Toutes ces facettes esthétiques tendent à permettre au disque d’atteindre la dimension d’un objet conceptuel, dans lequel s’entremêlent cultures musicales occidentales et orientales, sentiments
humains génériques, et tentatives de développer, dans le contexte étroit d’une chanson, une véritable rêverie en images. Une nouvelle réussite à mettre au crédit de la chanteuse belge.



par Christian Larrède

permalink

Tracklist :

1. Intro (00:55)

2. Makaan (04:27)

3. Matrah Interlude (01:00)

4. Bada Al Fajr (02:01)

5. Muwashah Ozkourini (03:43)

6. Riverman (05:39)

7. Batkallim (05:58)

8. Mounqaliba (03:39)

9. Le Cor, Le Vent (03:43)

10. Direct Solutions Interlude (01:38)

11. Lahazat Nashwa (03:04)

12. La Nuit Est Sur La Ville (03:35)

13. Fresco's Interlude (02:08)

14. Ghoroub (02:25)

15. Evening Interlude (01:09)

16. Taalet (03:11)

17. Egypt Interlude (02:13)

18. Nafourat El Anwar (02:57)