Archive for août 31st, 2010

août 31, 2010

Combat Wombat – Unsound $ystem

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Note :

http://www.myspace.com/combatwombatforpresident

Origine du Groupe : Australia

Style : Electro Dub Hip Hop , Ragga

Sortie : 2005

From Wikipedia :

The band’s name came about because they used to drive around in a camouflage painted van that looked like a giant wombat.

…one day whilst we were touring around the desert with our solar powered sound system (Labrats) my mate Rufus said why don’t you call your band Combat Wombat… so we did.
—Monkey Marc[1]

Monkey Marc met Izzy in Darwin in 1998[2]
where they started up a solar powered party political sound system.

She had this whole solar-powered sound system that she had hooked-up to this old quad-bike, a four-wheeled pedal bicycle. It was basically pedal and solar-powered. I arrived with my decks and
my mixer, a sampler and an 808 drum machine, and that was kind of the start of Lab Rats and Combat Wombat
—Monkey Marc[3]

Elf joined the band in 2000 after they all met whilst living together in a squat in the heart of Sydney.

The squat lasted two-and-a-half years. It was the venue of many benefit parties for the forests, land rights and Lake Cowal. It had alternative movie nights, dumpster picnics and many thriving
underground and grass-roots gatherings
—MC Izzy[2]
We had this warehouse out the back that became known as the Pigeon Poo Palace, and that’s where we started jamming with Elf Tranzporter. We were doing heaps of free parties and Reclaim The
Streets parties at the time. So he’d just rock up and start doing some rhymes, and we just started up this friendship
—Monky Marc[3]

DJ Wasabi joined the band in 2002.[1] Their
first real performance as Combat Wombat was on a Channel Seven music program[3]

Of course, it was heavily censored. The song was about four-and-a-half minutes long, but by the time Channel Seven got hold of it and cut up the footage of us performing live, they chopped it
down to about a minute-and-a-half. They’d taken everything out of it, you know, there were lines about Nike exploitation
of workers, Shell drilling hell and none of that was in there. But they left in the stuff about cops
selling smack and stuff). It seemed fairly obvious who the program sponsors were.
—Monkey Marc[3]

This led to the release of the band’s debut album, Labrats Solar Powered Sound System, and their subsequent signing to Elefant Traks. The band released its second album, Unsound $ystem, in March, 2005.[4] Within a week of its release, Unsound $ystem was receiving airplay on Triple J, with the single, « Qwest » reaching #2 on the Net 50.[5] Unsound $ystem features a number of guests artists such as The Herd‘s Ozi Batla and TZU‘s Seed
MC, but the most confronting cameos are from MCG and SMS: two Afghan refugees who had escaped from Woomera detention centre.

We knew these guys from Woomera and bumped into them and invited them in to record. I played them a song, an emotive arrangement of gypsy strings, and they just tried to write whatever they
could. They had never rapped and wanted to know what this song was about. I said, ‘Displaced people.’ They wrote this rhyme in Persian that was pretty much like, ‘Why has God forgotten us? Why
are we the forgotten people?’ They were beautiful guys and we recorded it in an hour and took them out for pizza. Unfortunately they were locked up and sent to Baxter.
—Monkey Marc[5]

 

 

Tracklist :

01 – Displaced peoples [ft. chris mutiny]

02 – Alternative energy [ft. ozi batla]

03 – Lost paradise

04 – Qwest [ft. seed mc]

05 – Star wars [ft. ozi batla]

06 – Redneck shock jock

07 – Police brutality [ft. ozi batla]

08 – Days like these

09 – A loggerrhythm

10 – Radio woomera pt. 1

11 – Radio woomera pt. 2

12 – Milk cow mantra

13 – Corruption dub

14 – Human shields

15 – Clockwork [ft. raceless]

16 – End of the world dub

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août 31, 2010

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

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Note :

http://www.myspace.com/ritaindianaylosmisterios

Origine du Groupe : Republique Dominicaine

Style : Alternative Fusion World Electro

Sortie : 2009

La banda: Con una mezcla que algunos catalogan de “merengue futurista y ácido”, la artista Rita Indiana promociona en el país su producción “Rita Indiana y los misterios”. Con este disco la
compositora e intérprete dominicana ha conseguido en poco tiempo estar junto a su banda en el gusto popular, recibiendo halagos y buenos augurios de reconocidas figuras del espectáculo. Radicada
en Puerto Rico, Rita Indiana comenzó a dar forma a su proyecto musical, el cual integra merengue, bachata y el elemento electrónico, de los sintetizadores. Sobre las letras de sus canciones,
explica que “yo integro todo lo que hice como novelista, en término de letras, hay unas letras que están curtidas de muchas experiencias y de una visión más conceptual de la vida, pero también
muy cerca de la gente”. La artista se dedicó en una primera etapa a la literatura, publicando las novelas “La estrategia de Chochueca” y “Papi”, ambas publicadas en el exterior.

Escrito por: Félix Morillo Para: El nacional.

El disco: muy rara vez un concepto musical me atrapa con tanto fervor como este, al punto de querer escuchar y re escuchar sus canciones hasta el cansancio. Cuando esto pasa es prioritario
compartir su material, darlo a conocer ya que no soy ambicioso, ni me gusta quedarme con lo bueno, esa fue una de las razones para crear este blog.

Rita Indiana tiene todo lo que busco en un músico: que sea un artista. Cuando esta condición está servida en bandeja de plata no importa el género o su procedencia solo lo que me pueda brindar y
hasta donde me puede llevar con su música.

Si alguien me pregunta cuál es el género musical que más odio (odio muchos) podría responder que tal vez es el merengue, así muy en el fondo quiera decir Reggaetón o Vallenato. Como expliqué
anteriormente el género no importa cuando de buena música se trata. Y es que Los Misterios no es solo merengue, de hecho solo puedo identificar el ritmo como el esqueleto de sus canciones, como
la columna vertebral que es completada con elementos electrónicos y otros tantos componentes de música alternativa, además de letras muy bien logradas y magistralmente interpretadas.

Lo que hoy público lo he recolectado como semillitas que la banda ha dejado germinando en el internet. De este recopilatorio se destacan Jardinera y La hora de volve’. La primera es una canción
mágica y envolvente sobre una persona que vive utópicamente en la selva de concreto. Quien sabe cuántas veces ha sonado esa canción en mi reproductor y solo yo decidiré cuando me cansaré de
escucharla. La hora de volve’ habla del regreso de los que se van a buscar suerte en países desarrollados donde literalmente se les congelan los huevos mientras comen basura rusa bajo la nieve.
Acá el roce electrónico es mas evidente y el tumbao’ del merengue guía la pauta que se completa con una letra excepcional que no hace nada más que cantar verdades.

El blu del ping pong es otra canción del repertorio de Rita Indiana que recuerda las nutridas composiciones de Calle 13. Guitarras de rock, más merengue y la experimentación electrónica arman una
canción redonda para gozar de principio a fin. La sofí es descarada y divertida: « tengo un disco de Iron Maiden, lo quiero poner, los muchachos no me dejan, lo quiero poner” canta Rita de forma
tímida sobre una pista electrónica que habla de las diversas y dispares influencias de esta propuesta que viene a engrosar la lista de bandas iberoamericanas con buenas ideas y buenas
canciones.

El material lo completa Platanitos, la versión en vivo de El blu del ping pong, y el demo de Jardinera.

Por ahora estoy en la etapa más eufórica de mi enamoramiento de esta banda, y como nunca soy objetivo, puedo expresar mi admiración profunda por la propuesta de Rita Indiana y sus Misterios,
provenientes de los olvidados rincones alternativos de centro América.

by http://elamarill0.blogspot.com

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Tracklist :

01. La hora de volve’

02. Jardinera

03. El blu del ping pong

04. La sofí

05. Platanitos

06. El blu del ping pong (en vivo)

07. Jardinera (demo)

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août 31, 2010

Haruka Nakamura – Twilight

https://i0.wp.com/curtaincalln.img.jugem.jp/20100516_755037.jpg

Note :

http://harukanakamura.com

http://www.myspace.com/harukanakamura

Origine du Groupe : Japan

Style : Electro Ambient , Piano

Sortie : 2010

Haruka Nakamura is a composer in Tokyo, Japan, and was born in 1982. As a child, Haruka learned to play keyboard and guitar on his own. He has been weaving his soothing acoustical sounds since
2006.

An emerging talent on the Japanese independent electro-acoustic scene, haruka nakamura’s second solo outing refines the lyrical, pastoral imagery that inspired his first album « grace ». Recorded in
a studio overlooking the ocean as a tribute to the sight of the expiring sun falling slowly over the horizon at dusk, « twilight » is a sustained reverie that mirrors the dwindling rays of light at
day’s end with its subtle variations in timbre and texture.

The brassy shimmer of ARAKI Shin’s sax opens the first track « Yuube no Inori » (Evening Prayer, M1), swelling languidly as the orchestra slowly unfurls around it like a resplendent sunset.
Throughout the album, haruka nakamura coaxes a startling range of tonal color out of piano phrases that twinkle, patter and shuffle through a variety of compositions and tempos – the gentle march
of « harmonie du soir » (M2); the somnolent haze of « On the Verandah » (M6) punctuated by drowsy stutters and cicadas muttering all around you; the reverberations of your languishing pulse as night
starts to fall in « faraway » (M7). isao saito’s sensitive percussion offers subdued but confident support throughout – dwindling to a hush as the fading rays of the sun dissipate in the crisp night
air.

The middle of the album – « Koukei » (Sight, M8) and « dialogo » (M9), in particular – wanders off on a short jaunt into looser, ethereal territory. The furtive meandering of the soprano saxophone by
akira uchida, roving itinerant chords, airy percussion and carefully-spaced sustain and release of the pedal are reminiscent of acoustic ambient jazz of ECM. Closing the album, however, are two
melody-driven vocal tracks: « twilight », a gentle flicker of a ballad that rises and ebbs with April Lee’s (aspidistrafly) fluttering, half-whispered vocals, and Janis crunch’s acoustic
arpeggio-driven elegy in tribute to the dwindling of « The Light ».  

by Beautiful Noise

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Tracklist :

01 夕べの祈り

02 harmonie du so

03 彼方

04 窓辺

05 memoria

06 ベランダにて

07 faraway

08 光景

09 dialogo

10 音楽のある風景

11 twilight

12 カーテンコール

13 The Light

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août 31, 2010

YOU Dub I- Piperspan Flute Dub

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Note :

http://youdub.podomatic.com

Tracklist :

Yabby You & Mad Professor – Winds of Dub

Nations Vibration – Underground Flute

Casualty – Likidub

Tektonic Chamber – Outer Dub Prophecy

Faya Horns – Dubbing With The Kibutz

Scoop – Our Prophecy

Faya Horns – African Warrior Dub

The Nun Project – Sofa Theory

Mcpullish – Just Dub On

Semente da Paz – Groove I Dub

Unitone – Flute Dub

Javelin – Flutey Flakes

 

High Quality: http://rapidshare.com/files/315075665/20_youdub_piperspan_flute_dub-2009.mp3

 

[PLAY]
août 31, 2010

Guano Padano – Guano Padano

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Note :

http://www.myspace.com/guanopadano

Origine du Groupe : Italia

Style : Alternative Rock , Country , Folk , Smooth Jazz , Instrumental Experimental

Sortie : 2009

Alessandro Steffana released his debut solo album to much acclaim on Important a few years back Since then he has worked as a member of Mark Ribot’s Ceramic Dog project as well as Mike Patton’s
Mondocane.

Guano Padano, assembled by Alessandro Stefana, features guests Alessandro Alessandroni (renowned whisteler of the immortal Ennio Morricone western soundtracks), Gary Lucas (Captain Beefheart/Jeff
Buckley guitarist), Chris Speed (clarinet player with Tim Berne, Uri Caine, John Zorn etc.) and, last but not least, the legendary Italian singer Bobby Solo

Guano Padano’s music is a kind of road movie, unfolding between the scorching asphalt of Highway number 4 and the juicy smells of the peasant festivals so common in the Pianura Padana. It’s a
dreaming mixture of rock, psychedelia, folk and country, jazz improvisations and Morricone hints. Alessandro « Asso » Stefana and Zeno de Rossi started to work together some years ago while playing
in Vinicio Capossela’s band, of which they are still steady members. For this trip they are joined by Danilo Gallo, a double bass player with a dark, meaty, gutsy style, who has shared with Zeno
various adventuresmerged in El Gallo Rojo collective, one of the most interesting experiences of Italian underground and independent jazz.

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Tracklist :

01. Guano Padano

02. A Country Concept

03. El Divino

04. Epiphany

05. Bull Buster

06. Ramblin’ Man

07. Jack Frost

08. Del Rey

09. Danny Boy

10. Tromp Valley

11. El Divino (alternate version)

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août 31, 2010

Takako Minekawa – Roomic cube

https://i2.wp.com/i161.photobucket.com/albums/t215/ptcs-photies/RoomicCube.jpg

Note :

http://www.polystar.co.jp/takako/index2.html

Origine du Groupe : Japan

Style : Alternative Fusion , Electro Pop

Sortie : 1996

From Wikipedia :

As an accomplished all-around musician, Minekawa’s musical skills set her firmly outside of the J-Pop « idol » tradition: she writes and composes most of her material, singing quirky lyrics about
subjects such as clouds, cats, and the color white (her personal favorite), with her love of Kraftwerk  and French Pop Music[1]  also showing through her unique experimental sound. She
often makes use of vintage Casio  keyboards[1]  and analog Moog synthesizers,[2]  as well as vocoders and other electronic instruments.

Her live debut was in 1990, calling herself Mamene Kirerie as a member of the group Fancy Face Groovy Name alongside Kahimi Karie and backed by Flipper’s Guitar. She was also a member of the band
L⇔R before releasing her solo debut, Chat Chat in 1994.[citation needed]

Although as a child Minekawa had a short acting career, this interest has not resurfaced in her adult life (aside from her voice exclaiming « PlayStation! » in a recent commercial for the
product).[citation needed]

She has written professionally, as regular columnist in the Japanese edition of Keyboard Magazine; she also contributed a serialized novel to the Japanese quarterly Bungei.[citation needed]

She married fellow musician Keigo Oyamada (aka Cornelius) in 2000.[3] The pair have collaborated on several projects. Cornelius remixed some of her songs, including the well-received « Milk Rock ».
He also produced her album Fun9.

Tracklist :

   1. « Sleep Song » – 3:01

   2. « Fantastic Cat » – 3:58

   3. « Never/More » – 4:17

   4. « Klaxon! » – 4:28

   5. « Wooooog » – 3:53

   6. « Dessert Song » – 2:59

   7. « Destron » – 3:57

   8. « Pop Up Squirrels » – 0:27

   9. « 1.666666 » – 6:24

  10. « Rainy Song » – 2:19

  11. « T.T.T. (Turntable Tennis) » – 2:05

  12. « Black… White » – 3:16

  13. « More Pop Up Squirrels » – 0:49

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août 31, 2010

Shawn Lee – Sing A Song

https://i0.wp.com/www.auralexploits.com/ebay_images/lp/LeeShawn_SingASong.jpg

Note :

http://www.shawnlee.net

http://www.myspace.com/shawnleemusic

Origine du Groupe : U.K

Style : Groove , Funk , Soul

Sortie : 2010

Shawn Lee records and releases albums at a pace that few beside Robert Pollard could match, but at least Lee tries to make each one distinctive. His latest, Sing A Song, features vocalists on
every track, and leaves aside Lee’s usual internationalist “soundtrack jazz” in favor of retro soul that wouldn’t sound too out of place on Daptone—that is, if Daptone were more interested in
psychedelic-ified ’70s R&B rather than the sweaty, rootsy ’60s kind. Not that Lee stays completely committed to the bit; “Fade Up” has a spacey, futuristic feel, while the oddball ballad
“I’ll Just Wait A While” shifts from acoustic moaning to wacked-out lounge music. But for the most part, Sing A Song leans more toward songs along the lines of the deeply funky Robert Bradley
collaboration “Fading Light” and the bongo-riffic, distorted “Who Are You?” Sing A Song relies too much on novelty numbers like the one-joke “Christopher Walken On Sunshine” and the doo-wop
piss-take “Swimming Pool,” but when Lee constructs a soul song as classic-sounding as “It Takes Two”—with its tin-can Marcus Malone vocals and bright chimes—he takes care to get the atmosphere as
correct as the orchestration.

By Noel Murray

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Tracklist :

01. Shut Up And Learn (ft. Fanny Franklin)

02. It Takes Two (ft. Marcus Malone)

03. Who Are You? (ft. Bing Ji Ling)

04. Fade Up (feat. The Superimposers)

05. I’ll Just Wait A While

06. Fading Light (ft. Lord Large & Robert Bradley)

07. Older (ft. Miles Bonney)

08. Swimming Pool

09. Don’t Let That Feeling (ft. The Superimposers)

10. Lucy Lucy (ft. Jeremiah)

11. Christopher Walken on Sunshine (ft. Princess Superstar)

12. Meadow in the Summer (ft. Paul Fryer)

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août 31, 2010

Lloyd Miller – Oriental jazz

https://babylonburnradi0.files.wordpress.com/2010/08/miller_lloy_orientalj_101b.jpg?w=292

Note :

http://www.myspace.com/366177194

http://fr.wikipedia.org/wiki/Lloyd_Miller

Origine du Groupe : North America

Style : Jazz World

Sortie : 1963 – 2002

From Wikipedia

Lloyd Miller ou Koroush Ali Khan est un jazzman multi-instrumentiste d’avant-garde américain s’étant intéressé dès les années 1960 aux musiques du monde, en les étudiant et en les intégrant au
jazz. En tant que pianiste, il a joué notamment avec Don Ellis et Eddie Harris.

Bien qu’originaire de Californie, et ayant débuté sa carrière aux États-Unis, il émigra rapidement en Europe en 1961. où il a appris la musique iranienne avec Darioush Safvat et Djamchid
Chemirani et la musique vietnamienne avec Tran Van Khe, en fréquentant le Centre d’étude de la musique oriental à Paris.

Dans les années 1970, il émigre en Iran et entreprend avec succès des études doctorales sur la musique iranienne. Il produira aussi des émissions télévisées de jazz oriental avec son ensemble
Oriental Jazz Quartet et aussi The Mike Johnson Quartet, the U Jazz Ensemble, et the Preston Kies Quartet.

Il devient vite expert au santûr et au zarb iraniens, mais aussi au oud arabe, en plus de pratiquer quelques autres instruments tels clarinette, contrebasse, violoncelle, yangqin, flugelhorn,
saxophone alto, cor, etc.

Tracklist :

1. Gol-e Gandom (BYU 67)

2. Amber Eyes (BYU 67)

3. Morning Mist (Paris 61)

4. Gol-e Gandom (SLC 87)

5. Perso Jazz Blend (U of U 68)

6. Cello al la Turque (Tehran 72)

7. Oud Blues (Tehran 72)

8. Amber Eyes (U of U 67)

9. Bhairava (BYU 67)

10. Bhairavi (U of U 68)

11. Njonja Mirah (U of U 68)

12. Kyoto Gardens (BYU 65)

13. Sakura (U of U 68)

14. Hue Wail (BYU 67)

15. Vietnam medley (SLC 93)

16. Chun Chiang Hua Yueh Yeh (BYU 65)

17. Yang chin solo (BYU 65)

18. Eastern Tour (Tehran 72)

19. Gol-e Gandom (Tehran 72)

20. Segah – piano (Tehran 73)

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août 31, 2010

Saravah Soul – Cultura Impura

https://babylonburnradi0.files.wordpress.com/2010/08/saravah.jpg?w=300

Note :

http://saravahsoul.org

http://www.myspace.com/saravahsoul

Origine du Grouepe : U.K

Style : World Music , Afrobeat , Funk

Sortie : 2010

Quand des musiciens brésiliens, avec à leur tête  Otto Nascarella, rencontrent à Londres des autochtones et décident de marier la musique brésilienne au funk, à la soul et à l’afrobeat, ça
donne Saravah Soul. Avec « Cultura Impura », le groupe réalise son 2ème album chez Tru Thoughts, deux ans après le 1er, en faisant exploser l’image qu’on peut avoir habituellement de la musique
brésilienne. Cet album dégage une énergie cuivrée issu d’un cross over inhabituel entre la musique traditionnelle brésilienne, celle des carnavals toute en percussions, ou celle plus
traditionnelle comme le bayo popularisé entre autre par Luiz Gonzaga, et la musique africaine, principalement l’afrobeat, ses cuivres et ses chœurs, mais aussi des petits airs d’inspiration
éthiopienne ici ou là. Mais il est inimaginable de parler de cet album sans évoquer le bon vieux funk à la James Brown tant cet album groove du début à la fin. C’est un peu comme si Seu Jorge se
retrouvait sur scène avec les JB’s et les Africa 70’s pour un répertoire bien loin de la douce mélancolie habituelle du crooner brésilien. Viva Brasil !

Par De la Lune on entend tout

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Tracklist :

1. Janaina

2. Funk De Umbigada

3. Cachorro De Igrejinha

4. Mussum

5. Milk And Mangoes

6. Alforria (Album Version)

7. Dá Ne Mim

8. Fire

9. Mestiço

10. Se Da Dó

11. Seu Problema

12. The Truth Is Hard To Come By

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août 31, 2010

Spuntic – Hybrid Source

https://i0.wp.com/bandcamp.com/files/46/70/467089936-1.jpg

Note :

http://www.archive.org/details/enrmp248_spuntic_-_hybrid_source

http://spuntic.bandcamp.com/album/hybrid-source

Origine du Groupe : Iran

Style : Electro Ambient

Sortie : 2010

Wow,this is truly what I mean by ambient. Dreamscapes you ‘ll not forget but keep in mind.

After Amir Baghiri comes Spuntic, my second discovery from Iran yet. Expect high quality soundarchitexture and be surprised..

Ofcourse,the highest rating here and a personal thanks for extending my musical library with those kind of treasures.

by  rumforskning

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Tracklist :

01 – Manifold

02 – Mineral Ages

03 – The Haze

04 – Winding

05 – Sings

06 – Outlined

07 – The Scene

08 – Orchid

09 – Composition

10 – Imagination

11 – Mouvement

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