Archive for ‘Electro Dub’

octobre 14, 2010

Roots Manuva Meets Wrong Tom – Duppy writer

https://i1.wp.com/www.adnsound.com/wp-content/uploads/Roots-Manuva-Meets-Wrong-Tom-Duppy-Writer.jpg

http://www.rootsmanuva.co.uk

http://www.myspace.com/rootsmanuva

http://www.wrongtom.com

http://www.myspace.com/djwrongtom

Origine du Groupe : U.K

Style : Rap Fusion , Dub , Electro Dub

Sortie : 2010

Figure de proue de l’écurie Big Dada, la division hip-hop de Ninja Tune, Roots Manuva lâche un nouvel album, deux ans après Slime & Reason. Alors que l’aura du pape anglo-jamaïcain du rap
british semble peu à peu s’essouffler, Rodney Smith signe avec Duppy Writer une collaboration avec le DJ et producteur reggae Wrong Tom. Ce dernier, notamment remixeur et tour DJ pour le goupe
d’indie rock Hard-Fi, avait auparavant livré une version dub du single Buff Nuff, et fourni le cd bonus qui accompagnait Slime & Reason.

Wong Tom se voit aujourd’hui confier un album entier. Le Londonien s’approprie une poignée de titres issus de la discographie entière du sieur Manuva, qu’il réarrange pour en offrir des versions
reggae dub. Certaines variantes développent l’aspect roots (The World Is Mine et Motion 5000 deviennent Worl’ A Mine et Moition 82), tandis que d’autres virent au digi-dub, rappelant souvent les
sons vintages du collectif Jahtari (Proper Tings Juggled, Chin Up, Rebuff, relecture – fatiguante – de Buff Nuff). L’objectif du projet était de faire oublier que certains des morceaux dataient
de plus de 10 ans, et de fondre l’ensemble avec cohérence sous une patine d’origine jamaïcaine. Pari qui ne réussit qu’à moitié. On trouve dans Duppy Writer quelques très bonnes choses.
L’introductif Butterfly Crab Walk, au skank engageant, diffuse de bonnes vagues ensoleillées, Worl’ A Mine renoue efficacement avec des ascendances caribéennes, et Jah Warriors, l’inédit du
disque, s’affiche comme la meilleure réussite. Mais par la suite, les divagations du dub digital de Wrong Tom perdent en originalité, le flow de Roots Manuva ne suffisant pas à capter l’intérêt.
La deuxième partie du disque décroit cruellement en qualité, le beats s’empêtrent dans des boucles trop répétitives, et on se voit zapper avec agacement certaines pistes.

Si la collaboration de Roots Manuva avec Wrong Tom demeure crédible et débouche sur quelques succès, Duppy Writer peine à convaincre dans sa globalité. Il est probable que les fans de la première
heure sortent déçus de cette nouvelle fournée. D’autant plus qu’elle n’en est pas vraiment une.

par Manolito

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Tracklist :

01. Butterfly Crab Walk

02. Chin Up

03. Duppy Writer (Skit)

04. Worl’ A Mine

05. Big Tings Redone

06. Jah Warriors

07. Proper Tings Juggled

08. Dutty Rut

09. Dub Decay

10. Lick Up Ya Foot

11. Rebuff

12. Son of Bodda

13. Motion 82

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octobre 13, 2010

La Caravane Electro – Tziganotronic

http://www.tire-laine.com/caravane.htm

http://www.myspace.com/lacaravaneelectro

Origine du Groupe : France

Style : Electro World , Electro Dub , Alternative

Sortie : 2008

From Official Myspace :

Le trio qui deviendra la Caravane Electro s’est formé vers 2000 à Lille autour de la pratique de la musique classique indienne : Jean Bernard Hoste aux tablas, par ailleurs batteur (Taraf Borzo),
Ambroise Yon, jeune tablaiste pakistanais, et Benjamin Collier au sitar, guitariste dans des formations electrofunk ou dub comme DaTaz ou Dubians.

À l’époque JB Hoste fait déjà partie de la Compagnie du Tire Laine, collectif qui gère plusieurs projets musicaux influencés par les musiques tziganes. L’idée germe alors au sein de la Compagnie
de confronter musiques traditionnelles indiennes et tziganes aux programmations electro, dans le cadre de concert d’un nouveau genre. La Caravane Electro donne son 1er concert en mars 2001 avec
le Taraf Borzo.

Sans finalité discographique au départ, la formation étoffe son répertoire, et sort en 2003 avec l’aide de Cyrille Brugère, ingénieur du son du groupe, un mini album 7 titres qui suscite
l’intérêt de nombreux professionnels et musiciens. On trouve sur ces morceaux un contrebassiste de l’ONJ (Nicolas Mahieux), des membres du Taraf Dekalé, le bassiste des Dubians (Marcos Cunat)

Parallèlement, le live s’enrichit de l’arrivée de la danseuse Manjushree et de Bergast, artiste plasticien, qui crée une installation de projection d’images innovante et originale, outre la
présence de Lord Bitum au micro. En 2004, La Caravane Electro écume les festivals en France et à l’étranger (Sziget Festival de Budapest), se fait remarquer au Printemps de Bourges et aux
Transmusicales de Rennes, invite Jamalski, Sista Scotie ou encore Mahabub Khan (Transglobal Underground) pour quelques concerts mémorables.

2005 voit la sortie attendue de l’album « tziganotronic », qui réunit 14 titres où l’on trouve à nouveau des musiciens invités : le Taraf Borzo, la chanteuse Norig, DJ Ill de Waz recordz. Mister
Samy a désormais remplacé Lord Bitum sur scène. La Caravane Electro travaille sur de nouveaux projets live avec la fanfare Panika, et prépare déjà pour son prochain album quelques remix du Taraf
Dekalé.

 

Tracklist :

01. Dehka

02. Fanfarelectro

03. Nu Gin

04. Gypsy Princess

05. Neil’s Interlude

06. Ballad of Haïdouk

07. Klezmatik

08. Neil’s Theme

09. Street number

10. Immense reward

11. La roulotte

12. Romane Tzigane

13. Radio

14. Farkass

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octobre 8, 2010

Bluetech – Love Songs To The Source

https://babylonburnradi0.files.wordpress.com/2010/10/00-bluetech-love_songs_to_the_source-28ichillcd03929-web-2010-shelter.jpg?w=300

http://www.bluetechonline.com

http://www.myspace.com/iambluetech

 

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.

by psyshop.com

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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

Rhythm & Sound – W/ The Artists

https://i0.wp.com/www.kompaktkiste.de/cd/_label/maurizio/bmd2cd1.jpg

http://basicchannel.com

http://www.lastfm.fr/music/Rhythm%2B%2526%2BSound

 

Origine du Groupe : Germany , U.K , Jamaica

Style : Minimal , Electro Dub

Sortie : 2003

media player

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

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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 7, 2010

V.A – Crooklyn Dub Outernational – Certified Dope 4 Babylon’s Burning

https://babylonburnradi0.files.wordpress.com/2010/10/certified_dope.jpg?w=300

http://www.sacreddub.com

 

Origine du Groupe : V.A World

Style : Electro Dub

Sortie : 2004


media player


Nine years ago, a loose collective of rebel souljahs calling themselves the Crooklyn Dub Consortium launched a new movement in sound with the seminal Certified Dope, Volume 1 (WSCD003), a
compilation which defined a burgeoning style from the underground dubbed « Illbient » by the press. Once again, one-upping the downtempo dummies, the crooked knights–including Spectre, Scotty
Hard, HIM, and Bill Laswell– return to prove that good music will always outlive the hype. Certified Dope, Volume 4 (WSCD048) stands as a testament to the awesome power of the Sound. Count on
the expanded Crooklyn Dub Outernational to define these crucial times with this latest slate of dubwise illtronica. Babylon’s Burning, ya heard? Or do the powers that be want you to party and
bullshit till oblivion? Crooklyn Dub has the sonic cure to get you through the commercial blues. And as always, all styles and flavors represented here ripple with originality. French dub powers
Brain Damage and Lab lead the charge with the haunting collabo, « Ph neutre, » sounds from the Other Side. From the deviant dub-hop of Philosophy Major’s « The Soundless Hum of Prayer » to the
digital roots of Zion Train’s « Modimo, » the kaleidoscopic mix is seamless yet unpredictable. Twilight Circus suprises us with the world class dub-funk of « Twlight Circus Meets WordSound Inna
Crooklyn 2003 Style, » while Bill Laswell takes it back to the old school with Sly & Robbie riding shotgun on « Finite State Machine Dub. » Roots Control rides the crushing backbeat of
« Boombastic » to dubwise glory. And Doug Scharin’s HIM outfit has grown in leaps and bounds as they display adept musicality on « Disco Lips. » Meanwhile, left coast assassin King Fader treats a
Systemwide beat like Adrian Sherwood on « Eyupsultan » as bonny Prince Charming treats us to his delightful dub rendition of « A Touch of Romance. » For the hard stuff, look no further than Scotty
Hard, who’s coughing up chunks of suspicious dub matter on « Smoke Damage. » Teledubgnosis, too, lends some earth-shaking dub-rock to the set with « Ladies &Gentlemen…. Always. » World famous
DJ/Rupture represents with the tweaked out madness of « Pleasure Ruin Dub, » and bass terrorist Spectre never disappoints with the all out low-end assault of « Al Quaida. » Always light years ahead
of the pack, the genre-bending, boundary-breaking WordSound proves, once again, that Crooklyn keeps on making it HOT. Much more than music, this is a sonic tonic for survival as Babylon
burns.

by http://www.wordsound.com

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Tracklist :

01      Ph Neutre

Brain Damage and Lab°     4:31

02     The Soundless Hum Of Prayer (Remix)

Philosophy Major     4:04

03     Finite State Machine Dub

Bill Laswell     4:49

04     Modimo

Zion Train     5:08

05     Eyupsultan (The King Fader Mix)

Systemwide     6:55

06     Disco Lips

HIM     5:32

07     Twilight Circus Meets WordSound Inna Crooklyn 2003 Style

Twilight Circus     4:02

08     Boombastic

Roots Control     4:25

09     A Touch Of Romance

Prince Charming     3:28

10     Smoke Damage

Scotty Hard     7:52

11     Ladies and Gentlemen… Always

Teledubgnosis     4:01

12     Al Qaida (The Bass)

Spectre     4:51

13     Pleasure Ruin Dub

DJ /rupture     3:24 

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octobre 7, 2010

Pulshar – Babylon Fall Collection

https://babylonburnradi0.files.wordpress.com/2010/10/babylonfallcollectionix4.jpg?w=300

http://avantroots.com

http://www.myspace.com/pulshar

http://pablobolivar.wordpress.com/pulshar

Origine du Groupe : Spain

Style : Electro Dub , Deep Dub

Sortie : 2007

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Hypnotic And Deep Soundscapes, A Bass-Line Full Of Soul And Sensuality, Contemporary Ambient-Dub… Highly Addictive Music From The Very First Listen. Pulshar Is Influenced By Hip-Hop And Blues,
Dub Reggae And Psychedelic Rock, Showing Exquisite Taste Playing With Loops And Samplers, And Great Skill In Creating Distinctive Catchy Melodic Rhythms. The Music And Voice Of Pulshar Are
Unique. Layers Of Evolving Sounds And Rich Ancestral Textures That Take Us On A Journey Where Space And Time Become Intertwined And Confused. Are Pulshar A Divine Revelation? The Foundations Of A
New Era Where Soul And Electronic Music Stay Together Thanks To This Solid And Advanced Musical Performance.

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Tracklist :

1. Mr Money Man

2. Ashmatic

3. No Meditation

4. KMS (Pablo Bolivar Space Edit Remix)

5. KMS

6. Dub By The River

 

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septembre 25, 2010

Dub Terror – Dub Terror

https://i0.wp.com/www.wobblyweb.com/uploads/1549b62ff4e443d484955117.jpg

http://www.dubterror.co.uk

http://www.myspace.com/dubterror

Origine du Groupe : U.K

Style : Electro Dub , Reggae

Sortie : 2009


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Projet expérimental, Dub Terror nous emmène aux confins d’un univers entre electro dub, trance et dubstep. Après trois EP confidentiels et quelques singles en éditions limitées, Dub Terror a
sorti en mai 2009 son premier album, éponyme, sur le label Universal Egg. Ce premier essai né de la folie d’une unique producteur est une belle découverte.

Derrière Dub Terror on retrouve Simone Lombardi, un étudiant italien en production sonore. Après avoir été introduit au sein des milieux dub et converti au son des sound system anglais par King
David Warriors, Simone Lombardi va rencontré les principaux leaders de la scène anglaise (Iration Steppas, Channel One, Aba Shanti-I, Alpha & Omega, Mad Professor …). Le jeune étudiant décide
alors de poursuivre ses premières expérimentations sonores à Londres. Il remixera les productions du pionnier de l’electro dark John Foxx, d’Adrian Sherwood ou de Zion Train

Inspiré par les artistes roots, Dub Terror mélange tout en subtilité les sonorités traditionnelles avec les beats massifs de l’electro moderne. Dub Terror s’est d’ailleurs entouré de Warrior
Queen, Echo Ranks et Brother Culture pour renforcer les instrumentations electro de parties vocales reggae. Ce premier album est captivant et se laisse écouter du premier au dernier titre sans
interruption. Le single « Shinobi » nous invite dans un voyage avec Echo Ranks vers des contrées lointaines. « Reload Warrior » exprime tout à fait ce mix parfait entre chant roots et rythmique
massive avec le featuring de Warrior Queen. Sur « Digital Terror » King Tubby rencontre Coki Killer dans une confrontation de sound systems où les basses font vibrer l’ensemble du corps. « 31st
century » capte l’attention grâce à une succession de breaks electro hypnotiques. Puis l’album se termine sur une dernière expérimentation, un enivrant remix du thème de Tetris, « Tetradis dub
».

Ce premier essai de Dub Terror est un album essentiel pour tous les steppers à la recherche de sonorités dubstep londoniennes originales !

par Cap’tain Planet,

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Tracklist :

1. Final Judgement

2. Shinobi

3. Digital Terror

4. Stormloop Lightning

5. Mr Terror

6. Technology

7. 31st Century

8. The Plucky Italian

9. Reload Warrior

10. Push The Tempest By

11. Supa Dupa Style

12. Turn The Tide

13. Tetradis Dub

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septembre 6, 2010

The Red Earth Collective Ft Soothsayers Horns – Red earth dub

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Note :

http://www.redearthmusic.co.uk

http://www.myspace.com/soothsayers

Origine du Groupe : U.K

Style : Electro Dub , Dub

Sortie : 2010

With their outstanding third album One More Reason, rootsjazzical south London horns-men Soothsayers and musical spars the Red Earth Collective gave us authentic-sounding, vintage roots reggae
with enough of their jazz, funk and afrobeat influences to avoid stale nostalgia. Now, their follow-up set of dub versions supplies that record’s ideal companion.

Rest assured, the group has far too much exuberance to make the kind of sparse repetitive dub that’s incomprehensible to the sober mind. Comprising six remixes from the One More Reason sessions,
one from second album Tangled Roots and some unreleased material (all mixed live by UK dub eminence Manasseh), these dubs are as busy and melodic as those of Treasure Isle and Tuff Gong’s Errol
Brown, with the power and UK moodiness of reggae-jazzmaster Dennis Bovell.

The repositioning of Red Earth Collective before Soothsayers on the cover is no accident. For while the horns are prominent – check Robin Hopcraft’s militant trumpet and Idris Rahman’s swooping,
eddying sax on new track The Brixton Pound – the other players have a lot more room to be heard. This is particularly true of Idris’s sister Zoe, who was quite low in the mix last time but whose
electric piano and organ runs now take on a new life amid the spacious grooves.

There’s an instrumental to the Johnny Clarke-inspired Music (shorn of its English Capital Letters-style harmonies to reveal its Aggravators-based structure) and a more traditionally one-drop
retool of the Clarke collaboration Bad Boys.

Conversely, the flip to another fresh tune, Hard Times, is suffused with guest violinist Sami Bishai’s strings (a big no-no in traditional UK roots) encapsulating the philosophy of a band who,
unlike many non-Jamaicans, know exactly how to play reggae yet want something more. Meanwhile, West African-tinged efforts such as Benin City Dub and a timely cover of Fela Kuti’s Africa (with
spoken word by percussionist Adesose Wallace) pick up the pace as and when required.

Few modern dub albums can sustain interest across an entire disc. Red Earth Dub, the work of a group still on the rise, is a member of that exclusive club.

by Angus Taylor

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Tracklist :

01 Intro 01:24

02 Bad Boys Dub (Manasseh Remix) 03:34

03 Cant Live Without IT (Music) 04:27

04 Hard Times Dub 03:28

05 Benin City Dub 01:54

06 Heavymore 03:47

07 We Better Dub 05:24 [–split–]

08 The Brixton Pound 04:54

09 Dubirie 03:43

10 Melodical Medicine (Interlude) 01:37

11 Never Give Up (Manasseh Dub Remix) 03:02

12 River Effra Dub 03:53

13 Cant Slow Down (Interlude) 00:58

14 Dub Africa 05:39

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août 31, 2010

Combat Wombat – Unsound $ystem

https://i1.wp.com/cover7.cduniverse.com/CDUCoverArt/Music/Large/superd_6860347.jpg

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 29, 2010

Up, Bustle & Out – Soliloquy

https://i2.wp.com/ecx.images-amazon.com/images/I/5186tElm7wL._SL500_AA300_.jpg

Note :

http://www.upbustleandout.co.uk

http://www.myspace.com/upbustleandout

From Official Site :

 Listening to the music of Up Bustle & Out, I feel each song is a testimonial, conveyed on timeless instruments full of grace, and modern electronic wizardry as well.

– Pablo Yglesias aka DJ Bongohead

Ever since setting out as one of the first and most prominent jazz – dance combos on the young Ninja Tune label, Up, Bustle & Out have come a long way since pioneering Ninja Tune’s global
reach. Their search for sounds, traditions, stories, allies and cultural change has lead them to places like South America: Cuba, Mexico, Jamaica, Europe, urban mega-cities like New York and
Tokyo and the Orient. Their studio base in Bristol, England is the place where they bring it all together, forging one colorful, authentic and truly revolutionary album after another, and, in
this collage process, relentlessy experimenting with sounds and styles to generating creative, new dubs, fusions and versions.

Up, Bustle, & Out have me mesmerized, intoxicated, enveloped in a process that takes the idea of collaboration and synthesis one step further to transform art through the alchemy of sound
waves.

– Pablo Yglesias aka DJ Bongohead

Soliloquy is full of moods, sounds, landscapes and even evokes the scents of foreign places. There is the Bosporus region, which was already celebrated on a double disc (Istanbul’s Secrets), and
where singer and actress Sevval Sam has long since become an extended family member. It’s her voice that dominates most of the album’s 13 tracks. We can also discover the voices of Bronagh Slevin
(ex- Crustacean), as well as Columbian singer Andrea Echeverri, and « Sally’s City Cats » appear on the studio rooftops of the Bristol production HQ.

Soliloquy album front cover by Up, Bustle and Out The Andalucian vibe on Waterfalls of Gold is provided by Benjamin Escoriza, singer of award-winning Radio Tarifa, while credit for most of the
other spanish moods must go to band member Cuffy « El Guapo » and his dreamatic and tense Flamenco guitar work. Fellow Bristolian Jim Barr of Portishead Band and The Blessing provides the
trustworthy foundation on his beloved double bass. Other U, B&O stalwarts from Bristol include trumpeter Andy Hague and the bucket-loads of percussion by the Eugenia Ledesma (Argentina)…
Again, founding member, Rupert Mould Medd made the musical journey across Europe to Instanbul to return with the recorded tapes of magical studio session work, while his partner « Clandestine » Ein
held out at the HQ composing and adopting the hands-on production approach that is now the U, B & O trademark.

A soliloquy conjures for me a single dream, a drop of water, a bubble, a violin solo: the spoken word recounts the inner feelings of one self among many.

– Pablo Yglesias aka DJ Bongohead

Let us not forget that the album title hints at moments of loneliness and inwardness. Powerfull club tunes, so much loved by DJs and dancers around the world, take a step back this time, giving
way to delicate arrangements, Eastern chords and contemplative moods that all contribute to the album’s common thread: the spirit of our environment, our concerns for a future, the very sounds of
nature.

Listen closely, you will hear the sound of beach surf, winds, animal and children, also a movie organ, a steam boat leaving the harbour, or a Gypsy carousel. These field recordings were captured
over the years by band founder and musical director Rupert Mould Medd.

With the addition of four dubs and versions as bonus tracks, this album, covers a wide range of the world. It is softer, deeper, introspective and certainly carefully crafted, skillful movements
as U, B & 0 strive for the next level. This release not only celebrates a unique and deeply humanistic vision of a globalized world, and its concerns, but also the leading role of Istanbul –
as an inspiration for the European Capital of Culture in 2010.

Origine du Groupe : U.K

Style : Electro Dub , Downtempo , Lounge , Abstract Hip Hop , Electro World Music

Sortie : 2010

Tracklist :

   1. Theme

   2. Absent Crowds

   3. Littered Dreams

   4. Silver Fish – An Ocean’s Dub Tale

   5. Waterfalls of Gold feat. Benjamin Escoriza

   6. Sho Beto’l Alreh feat. Amal Murkus

   7. Popcorn Delights – an unusual Waltz

   8. Beach Combing feat. Andrea Echeverri

   9. Soliloquy Theme

  10. Luminous Fragments feat. Bronagh Slevin

  11. Scratchy Aperture – Dub

  12. Sokak Cats feat. Sally’s City Cats, Bristol

  13. Satie’s Atelier

  14. bonus tracks Silver Fish – An Ocean’s Full Tale

  15. Waterfalls of Gold – Dub

  16. Satie’s Atelier – Dub

  17. Golondrinas Volando feat. Benjamin Escoriza

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