Archive for octobre 2nd, 2010

octobre 2, 2010

Patates Rats – Où Est La Sortie ?

Origine du Groupe : France

Style : Ska , Punk , Rock , Hip Hop , Dub

Sortie : 2008

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From Official Site :

 Explosif, fougueux, bouillonnant tels sont les résonances de Patates Rats. Formation de 5 musiciens, amis de lycée, née fin 2002 entre les Hautes Alpes et Grenoble.

Après avoir gratté leurs premiers morceaux sur l’asphalte, c’est en 2003 que le groupe délaisse l’acoustique et s’arme d’un trombone pour rejoindre les scènes amplifiées. Une formation rock dopée
par la chaleur du reggae. En 2005 le groupe autoproduit son premier album « Fuite des Sens » et l’écoule en quelques mois. Depuis sa naissance, Patates Rats a donné plus de 240 concerts en France,
en Suisse et en Belgique.

En 2008, ils remettent le couvert avec « Où est la Sortie ? ». Un second opus au mix explosif porté par un chant aux aspirations hiphop, des textes acides, bien trempés, une musique mélodique,
cuivré, tranchante.


Tracklist :

1. Hang à l’air de cordes

2. Blog

3. En décalage

4. Ta gueule!

5. Les jours passent

6. Debussy Dub

7. Tomber dans l’panneau

8. C’est du propre

9. Chanson d’amour

10. En manque d’R

11. Utopie Active

12. Un trot

13. Secret Track



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octobre 2, 2010

Spangle Call Lilli Line – Purple

Origine du Groupe : Japan

Style : Alternative , Electo Pop , Electro Acoustic , Downtempo

Sortie : 2008

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Tokyo’s Shimokitazawa district has continually been one of the hot spots for indie rock action, and over the past several years, numerous groups sporting a laid-back style have come to the
forefront of the scene. Amongst these musicians (loosely grouped under downtempo), Spangle call Lilli line has arisen as one of the flagship bands.

In keeping with Spangle call’s standard rock instrumentation, their style reaches well beyond downtempo, a relaxed and heavily electronic genre. While the band is often described as post-rock,
their sound is more of a compromise between the two. Songs are not bound by verse-chorus convention, but drift lazily, guided by a light melody. The guitars and varied percussion together with
numerous (and frequently spacey) electronic additions weave a sound that, while complex, flows very evenly. Otsubo Kana’s wispy vocals contribute an organic piece to the melody as well, while
adding to the relaxed atmosphere.

Spangle call Lilli line’s beginnings trace back to Otsubo and Fujieda, friends from art school, who began playing together in December of 1998. Sasahara and drummer Kabasawa, also friends from
university, joined in 1999 and 2000, respectively. The band was christened “Spangle call” (the “Lilli Line” to come later), derived from a Japanese pronunciation of “spangle” (“supankooru,”
chosen for its sound), while the “call” was a continuation from the “kooru” of “supankooru.” Their self-titled debut was issued in March of 2001 on P-Vine, a label known for electronic and jazz
units including Date Course Pentagon Royal Garden and Otomo Yoshihide.

The band continued their trademark style through their third album, 2003’s or, in which they aimed to consummate their established sound. The trying studio work leading up to or proved to be the
band’s breaking point, causing mental breakdowns in Otsubo and the February 2003 departure of their drummer, who had provided much of the creative direction for the album. With Kabasawa gone from
the lineup, Spangle call was free to indulge in influences such as R&B, soul, and Motown that their drummer, who had an affinity for lo-fi and post-rock, did not favor.

These changes surfaced in Spangle call’s April 2005 album Trace, which was nearly two years in the making (excluding their live release 68SCLL). With Trace, the members recount that they were
looking to remove the excess from their music and sound like a new band, as if the album was their debut. The new release was indeed different from its predecessors, with a poppier, R&B style
and tracks that were, on the whole, shorter than the usual Spangle call fare.

Shortly after Trace, the release of For Installation, more in tune with the band’s classic style, ensued in June. The tracks are mostly comprised of studio outtakes, but according to Fujieda,
“the feeling of the album will be clearly different” from that of Trace. Though nothing has been formally announced, the enterprising trio is gearing up for another release in the future.



Tracklist :

01. mai

02. unknown

03. nm

04. rio

05. cast a spell on her

06. a portrait

07. sea

08. shell for mew

09. early monsoon

10. when we were

11. screen



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octobre 2, 2010

Poodleplay Arkestra – Conversations With Ice Cream Men

Origine du Groupe : U.K

Style : Electro Ambient

Sortie : 2010

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From :

The second release on BFW recordings by Manchester’s Poodleplay Arkestra is another fantastic EP. And again, hard to define. This is warm ambience – the Jon Hassell/ Brian Eno influence is there,
but there is something else that gives this EP a unique character.

Get it downloaded!

Tracklist :

01 – A God Stepped Down From The Mountain

02 – Conversations With Ice Cream Men

03 – Red Birds In Yellow Flowers

04 – Happy Dog Barking

05 – Postcards From A Civilised World


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octobre 2, 2010

V.A – The Very Best Of Ethiopiques


Origine du Groupe : V.A Ethiopia

Style : World Music , Jazz World , Ethio-Jazz

Sortie : 2007

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From Official Site :

Over the last 10 years, music aficionados across the world have become familiar with Francis Falceto’s remarkable work re-releasing vast quantities of modern Ethiopian music as
‘The Ethiopiques series’ on Buda Musique. But now this enthusiasm has spread to infect another top re-issuing label, as Union Square Music have taken it upon themselves to assemble an Ethiopian
music collection with a different slant. An enormous undertaking, drawing from all 21 volumes of the original ‘Ethiopiques’ series, ‘The Very Best of Ethiopiques’ (2CD) represents a new take on
Ethiopian Music as compiler and sequencer Iain Scott (assisted by Steve Bunyan and Francis Falceto) has made the first ever compilation of modern Ethiopian music specifically for the contemporary
western ear.

CD1 breaks new ground by focusing on modern Ethiopian tracks able to shake dance floors as much as any world music connoisseur’s mp3 headphones. Aimed at all those who were
dazzled by re-issue releases such as Russ Dewbury’s ‘Africa Funk’ 1998 (exposing Fela Kuti and Manu Dibango to a club audience for the first time), this does the same for ‘Ethiopian Groove’,
offering a sparkling collection of songs bursting with Ethiopia’s unashamed and open enthusiasm for absorbing the influences of 1960-70s Afro-America. Throw into this mix a few more tunes made
popular by the soundtrack for Jim Jarmush’s ‘Broken Flowers’ and you have the ultimate Ethiopian cross-over selection.

CD2 is a little different. A real delight for those slightly more accustomed to the exotic differences of World Music, as here the groove is hidden more deeply within,
requiring time to grow but then emerging more with each listening. If CD1 is the Ethiopian ‘Master Cuts’, then CD2 is the Ethiopian ‘Buena Vista Social Club’ selection, defining a unique modern
music scene at its discernible peak.

With ‘The Very Best of the Ethiopiques’ (2CD) perhaps the last great hidden treasure troves of modern African music has finally been made available to the mainstream
A very special occasion indeed.



Tracklist :

1. Tesfa Maryam Kidane — Heywete

2. Mulatu Astatqe — Yekermo Sew

3. Mulatu Astatqe — Yekatit

4. Girma Beyene — Enken Yelelebesh

5. Bahta Gebre Heywet — Ewnet Yet Lagegnesh

6. Mulatu Astatqe — Gubelye

7. Mahmoud Ahmed — Ere Mele Mele

8. Mahmoud Ahmed — Metcha New

9. Alemayeha Eshete — Tchero Adari Negn

10. Alemayeha Eshete — Telentena Zare

11. Wallias Band — Muziqawi Silt Play

12. Ayalew Mesfin & Black Lion Band — Gedawo

13. Tlahoun Gessesse — Tchuheten Betsemu

14. Menelik Wesnatcher — Tezeta

15. Tsegue Maryam Guebrou — Mother’s Love

16. Tlahoun Gessesse — Sema

17. Tewelde Redda — Milenu

18. Beyene Habte — Embi Lla

19. Mulatu Astaqe — Tezeta

20. Girma Beyene — Set Alamenem Play

21. Muluqen Mellesse & Dahlak Band — Bene Mote

22. Getatchew Mekurya — Antichi Hoye

23. Tlahoun Gessesse — Kulun Mankalesh

24. Getatchew Mekurya — Shellela

25. Seyfu Yohannes — Mela Mela

26. Mahmoud Ahmed — Atawurulegn Lele

27. Mahmoud Ahmed — Fetsum Denq Ledj Nesh

28. Alemu Aga — Abatatchen Hoy


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octobre 2, 2010

Little Axe – Bought for a Dollar, Sold for a Dime


Origine du Groupe : North America

Style : Blues , Alternative , Soul

Sortie : 2010

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After nearly two decades of blues re-invention, singer/guitarist Skip McDonald has perfected his particular and peculiar metamorphosis of the form. Is Little Axe a band or an
alternative name for McDonald himself? It’s quite possibly both, as every live appearance possesses a very strong group vibration. McDonald now prefers the stance of grizzled bluesman from
Dayton, Ohio, but his prime breakthrough came as a member of Sugar Hill Records’ in-house band, and had formed Tackhead by the time the mid-80s arrived.

Regardless of whether his assumed ‘authenticity’ is similar to that sought by born-again bluesman Keb’ Mo’, it’s not really an issue when McDonald clearly embraces the
form with authority, creativity and innovation. A massive part of the already massive Little Axe sound has always been provided by dub-king producer Adrian Sherwood, his influence so sonically
pervasive that he counts as an equal collaborator. The old master-crew is assembled for these sessions in
Peter Gabriel‘s Real World studio: bassist Doug Wimbish, drummer Keith
LeBlanc and soaring singer Bernard Fowler. There are also two guest vocal spots from Jamaican veteran Ken Boothe. Less familiar, but still crucial to this album is harmonica player Alan Glen,
whose stinging trills lift up nearly every song.

The feedback avenues are now beyond easy tracking, as old blues elements are channelled through fresh techniques. There are even versions of two Tackhead songs, further
confusing the lineage between old-timey rural foot-clumping and shining 1980s funk-hop beats. There’s a reading of the song popularised by long-departed down-home bluesman
Son House: his Grinnin’ In Your Face is shortened to Grinning.

The album opens and closes with 50-second mini-songs, their gospel traits swirling into the heavens. Most of the remaining bulk favours a much longer six-minute average within
which to slink and saunter, emanating a spellbinding aura. The distinctive Little Axe sound is a dreamy miasma, creaming up elements of funk, rock, soul and gospel. It’s perpetually intertwining
into a genre weave. The vocal layers build up a call-and-response thickness, and a couple of tunes even hint at ska and reggae rhythms. The cumulative slowness begins to take on the feel of an
Funkadelic ballad collection.

The guitars are always draped in exotic echo, held in perpetual slow motion, except for when Hammerhead gets to sludge-truckin’ and Return proves itself the hardest and
heaviest track. By this time, there’s a beautifully sustained flotation in place.


by Martin Longley


Tracklist :

01 – Guide My Feet

02 – Soul of a Man

03 – Grinning

04 – Take a Stroll

05 – Hands Off

06 – Can’t Sleep

07 – Hammerhead

08 – Can’t Stop Walking Yet

09 – Hear Me Cry

10 – Too Late

11 – Another Friend Gone

12 – Tell Me Why

13 – Return

14 – When the Sun Goes Down


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