Archive for octobre 8th, 2010

octobre 8, 2010

Bluetech – Love Songs To The Source


Origine du Groupe :

Style : IDM , Electro Dub , Downtempo

Sortie : 2010

After a steady stream of releases on the Waveform, Aleph Zero, Thoughtless Music and Somnia labels over the last 7 years, the next phase of Bluetech’s sonic trajectory plots new and intrepid
coordinates via Canadian imprint Interchill.

In this unique full length release, listeners familiar with the Bluetech sound are presented with an inviting point of departure into the warm, spacious realms of his signature mid and downtempo
electronica. Employing a more dub-wise and organic sound palette than on previous albums, Bluetech brought several collaborators on board in the making of Love Songs To The Source including;
featured vocal contributions from the likes of Dr. Israel, Katrina Blackstone, Mari Boine, Lady K, Tina Malia and Lynx; and musical input from Jamie Janover, KiloWatts and members of The March
Fourth Marching Band’s horn section. Rounded out with a distinguished selection of instrumentals, this innovative, genre-bending chapter in the evolving Bluetech chronicles is ripe with emotive
vistas, reflective passages and all the evocative depth that one has come to expect of this highly talented US based producer.

In Evan’s words, ‘Love Songs To The Source is an audio exploration of the spark of divine light that oscillates in the heart of every being’, and with this intent, one finds music that is both
uplifting and devotional as it passes seamlessly through a lush digital expanse of infinite expression. To embark upon this listening experience is to travel down an illuminated path beyond all
stylistic bounds.



Tracklist :

01. Seed To Soil

02. Green Sophia(Gnosis Mix)

03. Change(Featuring Katrina Blackstone)

04. Dread Inna Babylon(featuring Dr. Israel)

05. Two River Sisters

06. Lay Your Sorrows Down(Featuring Katrina Blackstone)

07. Hanuman

08. Waiting For Initiation

09. Counting Out Stones(featuring Dr. Israel)

10. Polychrome Petroglyph(Featuring KiloWatts)

11. Three Worlds

12. Big Medicine(Mari Boine Track Remixed By Bluetech)

13. To Mend(Featuring Lynx & Janover)


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octobre 8, 2010

Clinton Fearon & Boogie Brown Band – Live At Reggae Bash (Full Concert)


Live : Lyon (France)

Origine du Groupe : North America

Style : Reggae

Sortie : 2004

Dix-huit années de basse et de vocales derrière ses deux potes Errol Grandison et Albert Griffiths. Troisième Gladiators devant l’éternel, c’est durant les années 80 que Clinton Fearon reprend sa
liberté. Il part aux Etats-Unis pour s’attaquer au devant de la scène, crée son Boogie Brown Band, mais reste toujours de la même école de son. Ce dvd restitue l’ambiance du concert au Reggae
Bash de Lyon en 2004. Même s’il ne contient que la prestation scénique accompagnée d’une interview, le tournage est plutôt de bonne facture et le moment d’une belle intensité. Un document qui
pallie le manque qui pouvait exister dans la discographie de Clinton Ferron.

par Arnaud Cabanne


Tracklist :

01 – One More River

02 – Conqueror

03 – Brother Music

04 – Rocky Road

05 – What a System

06 – On The Other Side

07 – Rich Man Poor Man

08 – Chatty Chatty Mouth

09 – Parable Sound

10 – Feel The Spirit

11 – Love Light

12 – Show Me Some Love

13 – One Destiny

14 – Wages Of Love

15 – Amen

hd dvd rw

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octobre 8, 2010

Rhythm & Sound – W/ The Artists


Origine du Groupe : Germany , U.K , Jamaica

Style : Minimal , Electro Dub

Sortie : 2003

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Like writer Thomas Pynchon, Berlin producers Mark Ernestus and Moritz von Oswald notoriously maintain an invisible media profile by refusing to allow photos of themselves and direct quotations to
be published. This self-effacing stance is, however, indirectly proportional to the degree of influence they’ve wielded over the past ten years, as their work has single-handedly transformed the
electronic dub landscape since the early 90s. In addition to their landmark series Basic Channel, the other label projects with which they’ve been involved include M (Maurizio), Main Street,
Chain Reaction, Rhythm and Sound, and Burial Mix. To therefore state that Ernestus and von Oswald have had a profound impact upon the evolution of electronic music styles and production methods
over the past decade would be an absurd understatement. Basic Channel and Chain Reaction releases fashioned magnificent takes on Detroit-influenced Berlin techno heavily inflected with 70s reggae
and dub elements that must now be considered seminal.

In recent years, Ernestus and von Oswald have shifted their focus to a purer invocation of reggae dub, one that overtly resuscitates a 1970s style but reanimates it by infusing it with modern
electronic production techniques. In terms of CD releases, the 1998 Burial Mix album Showcase featured Tikiman’s (Paul St. Hilaire) vocals, and was followed by 2001’s Rhythm & Sound, a
sublime collection of ten tracks highlighted by a single vocal cut, ‘Smile,’ featuring Savage. Fans of those releases will be overjoyed by the joint release of Rhythm & Sound w/ the artists
and Rhythm & Sound the versions, with each offering eight stunning tracks of electronic reggae-dub. The hook here is that the first recording deploys the talents of seven different singers
(Lloyd Barnes adopting The Chosen Brothers guise appears twice) while the second presents the same set of songs as dubbier instrumentals with only ghostly echoes of the vocals retained. As in the
past, Rhythm & Sound w/ the artists compiles tracks released on vinyl over the past three years and recorded in New York, Berlin, and Jamaica. It features Paul St. Hilaire again, but now
joined by reggae legends like Cornel Campbell, Shalom, The Chosen Brothers, Love Joy, Jennifer Lara, and Jah Batta.

Typically, huge textural waves of hiss envelop and surge amongst the tracks’ elongated, supple grooves. Classic echo and dub treatments infuse the songs alongside submersively deep bass, snare
hits, basic hi-hat patterns, and offbeat keyboard accents. Ernestus and von Oswald restrainedly use minimalistic arrangements which thereby make the subtlest enhancements (like Paul St. Hilaire’s
guitar on ‘Jah Rule’ and the saxophones on ‘Mash Down Babylon’) assume greater significance. ‘King In My Empire’ begins things on a stunningly high note with Cornel Campbell’s gorgeous, often
multi-tracked vocals paired with a majestic backing track. ‘Queen In My Empire’ follows, essentially a variation of the first song with its faster arrangement offset by Jennifer Lara’s laconic
delivery. At times, the vocals resonate through waves of echo and delay; the ominous ‘We Been,’ for example, features Shalom’s vocal lines not merely doubled but tripled, even quadrupled, while
the multiple layers of Love Joy’s sublime vocals form a veritable chorus on ‘Best Friend.’ Certainly the seven singers possess different styles and timbres yet the unifying instrumental
conception, so consistently maintained throughout, tends to underemphasize those differences.

The two Rhythm & Sound recordings fascinatingly testify to a stunning convergence of Berlin electronica and Jamaican reggae which comes off sounding completely natural. The lyrical content
covers familiar reggae territory (with repeated mentions of Jah, suffering, prophecy, and Babylon) and consequently firmly anchors the sound, distracting the listener’s attention away from the
seductively subtle instrumental touches. While the compelling presence of its vocalists makes Rhythm & Sound w/ the artists understandably register as the more distinctive of the two
releases, Rhythm & Sound the versions is strong too. Naturally the focus shifts to the production and engenders a greater appreciation thereof. With the vocals removed, the literal connection
to reggae recedes and the Berlin electronic dimension moves to the forefront, tension thereby generated by the tracks subsisting in a suspended interzone between the two. One’s attention fixates
more clearly upon the blurred, aquatic density of the sound and its rippling, atmospheric depths, and suddenly the distance separating Rhythm & Sound the versions from Chain Reaction releases
like Porter Ricks’ Biokinetics and Fluxion’s Vibrant Forms II begins to seem small indeed. How strange and wonderful it is that in 2003 two Berlin producers should prove so adept at breathing
such incredible new life into a decades-old style whose roots are so deeply embedded in Jamaican culture.

by: Ron Schepper


Tracklist :

01. King In My Empire – w/ Cornel Campbell

02. Queen In My Empire- w/ Jennifer Lara

03. Jah Rule – w/ Paul St. Hilaire

04. We Been Troddin – w/ Shalom

05. Mash Down Babylon – w/ The Chosen Brothers

06. Music Hit You – w/ Jah Batta

07. Best Friend – w/ Love Joy

08. Making History – w/ The Chosen Brothers


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octobre 8, 2010

Robert Randolph and The Family Band – Walk This Road


Origine du Groupe : North America

Style : Blues Soul , Alternative Rock , Funk

Sortie : 2010

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Hot, young guitarists spring have sprung forth every few years for more decades than I can be bothered to count. Each generation spawns a new crop and while many are momentarily interesting,
“guitar god” is a cannibalistic business and very few have much shelf life. There are exceptions and Robert Randolph has taken a bold step forward, daring to join the few and the proud.

Randolph is a unique talent as anyone who has listened to the work of his first three albums with his Family Band or his collaboration with John Medeski and the Dickinson boys of North
Mississippi Allstar fame can attest. There is more to Randolph than a dazzling command of the steel guitar, or Sacred Steel as it is referred to in the Church Of God where he first learned the

There are a host of things that set Randolph apart and one of them becomes obvious in the liner notes he wrote for We Walk This Road. After completing the tour for the Colorblind album, he went
in search of a producer with special ears and knowledge; someone who understood the connections of his rock and gospel roots and who would, as Randolph puts it, “help us put those things in their
most compelling context.” He found that producer in T Bone Burnett.

I’ve heard people described as having “old souls.” It’s an expression I’ve never much liked but it is an effective bit of shorthand for Randolph. He is still a very young man but his musical
upbringing is quite old, having learned his instrument through the traditions of his church. The crafty, versatile Burnett was able to speak Randolph’s language, having studied an impossibly vast
scope of American and world musics. When artist and producer got on the same page, they brewed something special blending blues, roots, gospel, soul, and spirit into a potent, magical

“If I Had My Way” incorporates a portion of Blind Willie Johnson’s “If I Had My Way” into an original composition Randolph co-wrote with Burnett and an assist from, Ben Harper and it is a
magnificent, soaring piece of music fusing gospel and blues with folk. Randolph uses Johnson’s original as a jumping off point and actually “samples” a piece of that original and uses it to segue
in and out of his own composition. The segue concept is one used throughout the record with the idea being to tie the music Randolph is making in the present with its roots. There are times these
segues are effective bridges between songs but there are times when they do more to distract than connect.

Randolph’s re-imagining of Bob Dylan’s « Shot of Love » hits with the weight and force of a heavyweight’s fist. Dylan is so easy and obvious to cover that nearly everyone does it but so few capture
the essence and power of his songs, settling to merely sing them « better” or “prettier.” This version takes the power of the Dylan original and amplifies and magnifies.

The beautiful “I Still Belong To Jesus” opens with more than a passing feeling of Fleetwood Mac’s “Dreams.” The airy, ethereal intro gives way to a more substantive, anthemic song that not only
proclaims Randolph’s devotion but also delivers a unifying message of social justice. This is another of Randolph’s achievements in the material on this record, both the songs he wrote and those
he’s chosen to interpret on the record. There is a theme and a message on this record but it’s one that uplifts rather than preaches. Even John Lennon’s “I Don’t Wanna Be A Soldier,” which can be
delivered as scathing, anti-war screed, is a plea for peace and understanding rather than heated rhetoric in Randolph’s hands.

We Walk This Road is soul music in nearly every connotation of the word and its title is instructive. This is the kind of deep, rich, authentic music the world needs and the music contained
therein should be experienced as a journey from beginning to end; he wanted his music to have context and We Walk This Road exquisitely provides that. With this album Randolph has made a record
worthy of his immense gift and that is cause for celebration and repeated listens.

by Josh Hathaway


Tracklist :

01.Segue 1 (0:25)

02.Traveling Shoes (3:48)

03.Segue 2 (0:10)

04.Back To The Wall (3:31)

05. Shot Of Love (5:36)

06.I Still Belong To Jesus (6:02)

07.Segue 3 (0:27)

08.If I Had My Way (5:35)

09.Segue 4 (0:22)

10.Don’t Change (4:47)

11.I Don’t Wanna Be A Soldier Mama (5:50)

12.Walk Don’t Walk (4:06)

13.Segue 5 (0:20)

14.Dry Bones (3:42)

15.Segue 6 (0:17)

16.I’m Not Listening (5:03)

17.Salvation (5:59)



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octobre 8, 2010

Ali Farka Toure & Toumani Diabate – Ali and Toumani


Origine du Groupe : Mali

Style : Africa Blues , World  Music , Folk

Sortie : 2010


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Après avoir enregistré un premier album en duo (In the heart of the Moon), Toumani Diabaté et Ali Farka Touré étaient retournés en studio quelques mois après, pour une nouvelle session
d’enregistrement à Londres. Une intimité artistique entre les deux hommes, rendue vivante grâce à l’album qui sort ces jours-ci, Ali & Toumani.

eux prénoms, deux sons, deux visions qui racontent une même histoire : les grandes épopées du Mali que ces deux musiciens, Ali Farka Touré et Toumani Diabaté, ont largement contribué à diffuser
au-delà de la sous-région depuis les années 1980. C’est cela que célébrait In the heart of the moon, un disque né de leur rencontre autour d’un classique, Kaira. Ce ne devait être qu’un duo, ce
deviendra un enregistrement mythique, le symbole de l’entente parfaite entre le guitariste et le joueur de kora, un dialogue instruit, le temps de trois séances improvisées.

Tant et si bien que le producteur Nick Gold les conviera à Londres un an plus tard, en 2005, afin de creuser au plus profond ce sillon. « Je crois que cet album est plus fort, plus sage et
meilleur… », analyse après-coup Toumani, unique survivant de cette session de trois après-midis londoniens où était également convié le contrebassiste cubain Cachaito Lopez, décédé l’an passé.

Du coup, on ne peut s’empêcher d’écouter Ali & Toumani comme un document-testament musical de la première importance. Certes, mais ce serait réduire la portée de ce moment de grâce que de
l’écouter de cette oreille-là, à savoir le circonscrire à une qualité d’hommage posthume.

Car, au-delà de la mort, Ali & Toumani est une vibrante ode à la vie, l’émouvant témoignage pour l’éternité de moments partagés en toute intimité et sérénité acoustiques où les cordes
sensibles de ces trois maîtres de musiques se mêlent pour ne formuler plus qu’un seul message de paix et de sagesse.

par Jacques  Denis



Tracklist :

1. Ruby

2. Sabu Yerkoy

3. Be Mankan

4. Doudou

5. Warbe

6. Samba Geladio

7. Sina Mory

8. 56

9. Fantasy

10. Machengoidi

11. Kala Djula


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