Slackeye Slim - El Santo Grial: La Pistola Piadosa

http://www.slackeyeslim.com

http://www.myspace.com/slackeyeslim





Origine du Groupe : North America

Style : Alternative Rock , Psychedelic Country , Folk

Sortie : 2011



By Adam Sheets from http://www.cdbaby.com



Imagine for a moment that instead of becoming a visionary film director, Sergio Leone had chosen to be a record producer. Imagine that all of the vast, meticulously detailed landscapes painted
within the frames of his films were constrained to your mind's eye as you heard only the sounds and the vision of a great artist. Imagine that the music he produced told an epic, violent, but
ultimately human saga of a mythic West that never really existed anywhere, not even in Hollywood. A West stuck somewhere between hard, brutal realism and blatant fantasy, between the costly
mistakes of our past and our apocalyptic future. And while you're at it, imagine that Ennio Morricone wanted to be Link Wray when he grew up.



That's what Wisconsin artist Slackeye Slim's sophomore album El Santo Grial: La Pistola Piadosa sounds like. A concept album about a gun, this was recorded at junkyards and museums throughout the
state of Montana and it represents one of the most visionary, unique, and just plain badass albums to be released in years and it hardly comes as a surprise that Farmageddon Records, this
generation's premier country-punk-roots-rock label, is behind it.



Opening with the spoken word "No One Knows My Name," band leader Joe Frankland sets the tone as one of freedom from the rules and constraints of a dying, corrupt society, but slavery to the dark
side of your own mind and to the tortured thoughts of loneliness. This is a theme throughout the rest of the album- and in Leone's films for that matter. In a sense, this album is reminiscent of
The Wall thematically and while the storyteller here is winning all of his outward battles, he is losing the battle within himself.



On the next track, the brief "Come One! Come All!" Slackeye Slim invites us to "listen to a tale of a gun that came from Heaven." Following this, on "Introducing Drake Savage," we get a
full-fledged lo-fi psychobilly number with plenty of distortion, Duane Eddy-like twang, and semi-supernatural lyrics about "The Chosen One." (I'm not sure if it means anything, but Drake Savage
was also the name of an insane Vietnam veteran portrayed by Gary Busey in the 1996 Chris Farley comedy Black Sheep.)



For the remainder of the album, Slackeye Slim delivers a series of rockers and ballads rooted in guys like Tom Waits, Johnny Cash, Nick Cave, Leonard Cohen and The Cramps alongside melancholy
spoken word vignettes and although there are definite highlights (such as "Vengeance Gonna Be My Name"), this is music that is best appreciated in the context of the record.



Like the best concept albums, El Santo Grial: La Pistola Piadosa offers no definite answers, just more hints laid on top of deepening caverns of doom, destruction, and death. This record has
something important to say about our music, our society, our lives, and our myths. In the end, I think that 20 or 30 years from now critics will look back and see this album, like Honky Tonk
Heroes and Fervor before it, as one of roots music's defining moments; when the metal and punk kids who grew up despising country music until they heard Johnny or Hank or Waylon perfected the
recipe that had been brewing for a decade and finally brought it all together in a seamless blend of traditions old and new, original innovations, and, most importantly, undeniable talent. This
is an album as fierce as it is literate, as punk as it is country, and as good as anything I've heard in years.





Tracklist :

01. No One Knows My Name

02. Come One! Come All!

03. Introducing Drake Savage

04. The Chosen One (Part I)

05. Prayer

06. Vengeance Gonna Be My Name

07. El Mundo, Mi Enimigo

08. El Santo Grial: La Pistola Piadosa

09. The Chosen One (Part II)

10. Judgment Day

11. Make It Right

12. Tomorrow Morning's Gonna Come

13. The Chosen One (Part III)

14. A Song Called Love

Slackeye Slim - El Santo Grial: La Pistola Piadosa

http://www.slackeyeslim.com

http://www.myspace.com/slackeyeslim





Origine du Groupe : North America

Style : Alternative Rock , Psychedelic Country , Folk

Sortie : 2011



By Adam Sheets from http://www.cdbaby.com



Imagine for a moment that instead of becoming a visionary film director, Sergio Leone had chosen to be a record producer. Imagine that all of the vast, meticulously detailed landscapes painted
within the frames of his films were constrained to your mind's eye as you heard only the sounds and the vision of a great artist. Imagine that the music he produced told an epic, violent, but
ultimately human saga of a mythic West that never really existed anywhere, not even in Hollywood. A West stuck somewhere between hard, brutal realism and blatant fantasy, between the costly
mistakes of our past and our apocalyptic future. And while you're at it, imagine that Ennio Morricone wanted to be Link Wray when he grew up.



That's what Wisconsin artist Slackeye Slim's sophomore album El Santo Grial: La Pistola Piadosa sounds like. A concept album about a gun, this was recorded at junkyards and museums throughout the
state of Montana and it represents one of the most visionary, unique, and just plain badass albums to be released in years and it hardly comes as a surprise that Farmageddon Records, this
generation's premier country-punk-roots-rock label, is behind it.



Opening with the spoken word "No One Knows My Name," band leader Joe Frankland sets the tone as one of freedom from the rules and constraints of a dying, corrupt society, but slavery to the dark
side of your own mind and to the tortured thoughts of loneliness. This is a theme throughout the rest of the album- and in Leone's films for that matter. In a sense, this album is reminiscent of
The Wall thematically and while the storyteller here is winning all of his outward battles, he is losing the battle within himself.



On the next track, the brief "Come One! Come All!" Slackeye Slim invites us to "listen to a tale of a gun that came from Heaven." Following this, on "Introducing Drake Savage," we get a
full-fledged lo-fi psychobilly number with plenty of distortion, Duane Eddy-like twang, and semi-supernatural lyrics about "The Chosen One." (I'm not sure if it means anything, but Drake Savage
was also the name of an insane Vietnam veteran portrayed by Gary Busey in the 1996 Chris Farley comedy Black Sheep.)



For the remainder of the album, Slackeye Slim delivers a series of rockers and ballads rooted in guys like Tom Waits, Johnny Cash, Nick Cave, Leonard Cohen and The Cramps alongside melancholy
spoken word vignettes and although there are definite highlights (such as "Vengeance Gonna Be My Name"), this is music that is best appreciated in the context of the record.



Like the best concept albums, El Santo Grial: La Pistola Piadosa offers no definite answers, just more hints laid on top of deepening caverns of doom, destruction, and death. This record has
something important to say about our music, our society, our lives, and our myths. In the end, I think that 20 or 30 years from now critics will look back and see this album, like Honky Tonk
Heroes and Fervor before it, as one of roots music's defining moments; when the metal and punk kids who grew up despising country music until they heard Johnny or Hank or Waylon perfected the
recipe that had been brewing for a decade and finally brought it all together in a seamless blend of traditions old and new, original innovations, and, most importantly, undeniable talent. This
is an album as fierce as it is literate, as punk as it is country, and as good as anything I've heard in years.





Tracklist :

01. No One Knows My Name

02. Come One! Come All!

03. Introducing Drake Savage

04. The Chosen One (Part I)

05. Prayer

06. Vengeance Gonna Be My Name

07. El Mundo, Mi Enimigo

08. El Santo Grial: La Pistola Piadosa

09. The Chosen One (Part II)

10. Judgment Day

11. Make It Right

12. Tomorrow Morning's Gonna Come

13. The Chosen One (Part III)

14. A Song Called Love

Pepe Deluxé - Queen Of The Wave

http://www.pepedeluxe.com

http://www.myspace.com/pepedeluxe





Origine du Groupe : Finland

Style : Alternative , Psychedelic

Sortie : 2012

By Mike Diver  from http://www.bbc.co.uk



The Finnish ensemble Pepe Deluxé, ostensibly fronted by James Spectrum and Paul Malmström, are the kind of collective that piles its plates high come a turn at the buffet table. For these
characters, spread across an album sold on its packaging as “an esoteric pop opera in three parts”, there is no fear in the coronation chicken spilling into the prawn cocktail: the more flavours,
and the more mixed they become, the better. It’s a commendable approach, one borne by creative freedom and a refreshing ignorance of boundaries. But the results of such creative concocting can go
down awkwardly – while it’s certain this album will win countless admirers, how many will still be playing Queen of the Wave in a few months is questionable.



The cornucopia of compositional characteristics on display is blinding – and Queen of the Wave isn’t backwards in delivering its message of everything-goes within its first moments. Opener
Queenswave – an introduction to the revivalist sci-fi tale that unfolds across these three chapters, in turn spread over 12 tracks – begins by skirting technicolour-gone-sepia psychedelica,
cleverly avoiding turning into a Kula Shaker mush of meaninglessness. It’s followed by A Night and a Day, which could pass for Sharon Jones collaborating with Super Furry Animals (a bloomin’
great idea) as heard through the earholes of big-in-the-late-90s indie-dance-crossover sorts Lionrock. Go Supersonic is bubblegum at its core but flexes some bulging rock’n’R’n’B muscles – it’s
The Pipettes dragged through a hedge by Rocket from the Crypt while a wicked harpsichord dances atop the orchestrated chaos. And that’s the first three songs – what follows is just as hyperactive
of behaviour, and never stalls short of providing compelling entertainment.



The problem with Queen of the Wave is also its USP: it’s simply so haphazard of design, however deliberately so, to stick in the head and the heart in the manner of truly great albums. Spectrum
and Malmstöm conduct a merry cast that crams more creativity into these dozen cuts than most bands exhibit over the course of entire careers; but not once is the listener struck by magic
manifesting a lasting impression. Several listens in and it’s a beautiful interlude, In the Cave, that’s the highlight, purely due to its elegant simplicity. The cacophony silenced, here is a
chance for reflection; and, on it, there’s just too much noise here, and not enough cohesion, for a singular identity to sing clearly.





Tracklist :

01. Queenswave [4:53]

02. A Night And A Day [4:03]

03. Go Supersonic [4:44]

04. Temple Of Unfed Fire [2:48]

05. Contan Thyself [3:52]

06. Hesperus Garden [4:08]

07. Grave Prophecy [4:33]

08. In The Cave [1:51]

09. My Flaming Thirst [3:48]

10. Iron Giant [2:22]

11. The Storm [3:42]

12. Riders On The First Ark [7:17]

 

 

Pepe Deluxé - Queen Of The Wave

http://www.pepedeluxe.com

http://www.myspace.com/pepedeluxe





Origine du Groupe : Finland

Style : Alternative , Psychedelic

Sortie : 2012

By Mike Diver  from http://www.bbc.co.uk



The Finnish ensemble Pepe Deluxé, ostensibly fronted by James Spectrum and Paul Malmström, are the kind of collective that piles its plates high come a turn at the buffet table. For these
characters, spread across an album sold on its packaging as “an esoteric pop opera in three parts”, there is no fear in the coronation chicken spilling into the prawn cocktail: the more flavours,
and the more mixed they become, the better. It’s a commendable approach, one borne by creative freedom and a refreshing ignorance of boundaries. But the results of such creative concocting can go
down awkwardly – while it’s certain this album will win countless admirers, how many will still be playing Queen of the Wave in a few months is questionable.



The cornucopia of compositional characteristics on display is blinding – and Queen of the Wave isn’t backwards in delivering its message of everything-goes within its first moments. Opener
Queenswave – an introduction to the revivalist sci-fi tale that unfolds across these three chapters, in turn spread over 12 tracks – begins by skirting technicolour-gone-sepia psychedelica,
cleverly avoiding turning into a Kula Shaker mush of meaninglessness. It’s followed by A Night and a Day, which could pass for Sharon Jones collaborating with Super Furry Animals (a bloomin’
great idea) as heard through the earholes of big-in-the-late-90s indie-dance-crossover sorts Lionrock. Go Supersonic is bubblegum at its core but flexes some bulging rock’n’R’n’B muscles – it’s
The Pipettes dragged through a hedge by Rocket from the Crypt while a wicked harpsichord dances atop the orchestrated chaos. And that’s the first three songs – what follows is just as hyperactive
of behaviour, and never stalls short of providing compelling entertainment.



The problem with Queen of the Wave is also its USP: it’s simply so haphazard of design, however deliberately so, to stick in the head and the heart in the manner of truly great albums. Spectrum
and Malmstöm conduct a merry cast that crams more creativity into these dozen cuts than most bands exhibit over the course of entire careers; but not once is the listener struck by magic
manifesting a lasting impression. Several listens in and it’s a beautiful interlude, In the Cave, that’s the highlight, purely due to its elegant simplicity. The cacophony silenced, here is a
chance for reflection; and, on it, there’s just too much noise here, and not enough cohesion, for a singular identity to sing clearly.





Tracklist :

01. Queenswave [4:53]

02. A Night And A Day [4:03]

03. Go Supersonic [4:44]

04. Temple Of Unfed Fire [2:48]

05. Contan Thyself [3:52]

06. Hesperus Garden [4:08]

07. Grave Prophecy [4:33]

08. In The Cave [1:51]

09. My Flaming Thirst [3:48]

10. Iron Giant [2:22]

11. The Storm [3:42]

12. Riders On The First Ark [7:17]

 

 

Bonobo - Black Sands Remixed + Bonus

http://www.bonobomusic.com

http://www.myspace.com/sibonobo





Origine du Groupe : U.K

Style : Electro , Electronic , Trip Hop , Remix

Sortie : 2012



From http://ninjatune.net



Black Sands came out in 2010 to almost universal critical acclaim and worldwide commercial success. Si Green aka Bonobo moved from being an underground producer of impeccable credentials to a
poster boy for a new take on electronic music – contemporary and edgy but also soulful, song-based, sometimes lush but always emotional.



Black Sands Remixed gathers together a group of like-minded musicians and producers to interpret this classic album. Most of the material here has never been heard before (versions of a couple of
the pieces were used as part of Ninja’s 20th anniversary XX campaign) and has been gathered with assistance from renowned DJ and label-head Alexander Nut. Recent Brainfeeder signing Lapalux kicks
things off with a meticulous, sensuous re-work of “Prelude”. Banks fills “The Keeper” with spooky atmospherics. Cosmin TRG re-imagines “Kiara” as delicate heartbeat-house. Floating Points spaces
“Eyesdown” out and adds to the groove, while ARP101 (better known as D&B producer Alix Perez) gives the tune an electronic re-lick and DELS adds heartfelt lyricism to the original.



Later in the record, Machinedrum turns the same tune into hyperactive percussion and echoed loops of sound. FaltyDL shows a subtle, understated exercise in rhythm and atmosphere for his re-work
of “All In Forms”. Mark Pritchard lets in the air on “Stay The Same”, to create delicate, dub-soul. Mike Slott fiddles with the pitching on “All In Forms” to create robot emotion. Blue Daisy cuts
up and plays with Andreya Triana’s vocals until “Stay The Same” really is “Not Quite The Same”. Duke Dumont finishes the record with an incredible use of ambience and orchestral build on his
‘reconstruction’ of “Grains of Sand”. Bonobo himself makes two contributions. “Ghost Ship” (originally given away to promote the XX celebrations) reminds the world of Si Green’s obvious talents,
combining as it does a classic Motown shuffle with lashings of wobbling bass. “Brace Brace” is, quite simply, beautiful, showcasing once again his grasp of instrumentation and tone.





Tracklist :

01 – Prelude (Lapalux’s Finger On The Tape Remix)

02 – The Keeper (Banks Remix)

03 – Kiara (Cosmin TRG Remix)

04 – Eyesdown (Floating Points Remix)

05 – Eyesdown (ARP 101 Remix)

06 – Eyesdown (ft. Andrea Triana & DELS)

07 – All In Forms (FaltyDL Remix)

08 – Ghost Ship

09 – Stay The Same (Mark Pritchard Remix)

10 – Eyesdown (Machinedrum Remix)

11 – All In Forms (Mike Slott Remix)

12 – Stay The Same (Blue Daisy ‘Not Quite The Same’ Remix)

13 – Brace Brace

14 – Black Sands (Duke Dumont’s ‘Grains Of Sand’ Reconstruction Edit)



Bonus Remixes:

01 – Nightlite (Zero dB Reconstruction)

02 – Pick Up (Fourtet Remix)

03 – Between The Lines (Nostalgia 77 Remix)

04 – The Keeper (Grasscut Bitter Peace Remix)

05 – Nightlite (Bonobo Remix)

06 – The Keeper (Redeyes Remix)

07 – Eyesdown (Appleblim & Komonazmuk Remix)

08 – Recurring (Mice Parade Remix)

Bonobo - Black Sands Remixed + Bonus

http://www.bonobomusic.com

http://www.myspace.com/sibonobo





Origine du Groupe : U.K

Style : Electro , Electronic , Trip Hop , Remix

Sortie : 2012



From http://ninjatune.net



Black Sands came out in 2010 to almost universal critical acclaim and worldwide commercial success. Si Green aka Bonobo moved from being an underground producer of impeccable credentials to a
poster boy for a new take on electronic music – contemporary and edgy but also soulful, song-based, sometimes lush but always emotional.



Black Sands Remixed gathers together a group of like-minded musicians and producers to interpret this classic album. Most of the material here has never been heard before (versions of a couple of
the pieces were used as part of Ninja’s 20th anniversary XX campaign) and has been gathered with assistance from renowned DJ and label-head Alexander Nut. Recent Brainfeeder signing Lapalux kicks
things off with a meticulous, sensuous re-work of “Prelude”. Banks fills “The Keeper” with spooky atmospherics. Cosmin TRG re-imagines “Kiara” as delicate heartbeat-house. Floating Points spaces
“Eyesdown” out and adds to the groove, while ARP101 (better known as D&B producer Alix Perez) gives the tune an electronic re-lick and DELS adds heartfelt lyricism to the original.



Later in the record, Machinedrum turns the same tune into hyperactive percussion and echoed loops of sound. FaltyDL shows a subtle, understated exercise in rhythm and atmosphere for his re-work
of “All In Forms”. Mark Pritchard lets in the air on “Stay The Same”, to create delicate, dub-soul. Mike Slott fiddles with the pitching on “All In Forms” to create robot emotion. Blue Daisy cuts
up and plays with Andreya Triana’s vocals until “Stay The Same” really is “Not Quite The Same”. Duke Dumont finishes the record with an incredible use of ambience and orchestral build on his
‘reconstruction’ of “Grains of Sand”. Bonobo himself makes two contributions. “Ghost Ship” (originally given away to promote the XX celebrations) reminds the world of Si Green’s obvious talents,
combining as it does a classic Motown shuffle with lashings of wobbling bass. “Brace Brace” is, quite simply, beautiful, showcasing once again his grasp of instrumentation and tone.





Tracklist :

01 – Prelude (Lapalux’s Finger On The Tape Remix)

02 – The Keeper (Banks Remix)

03 – Kiara (Cosmin TRG Remix)

04 – Eyesdown (Floating Points Remix)

05 – Eyesdown (ARP 101 Remix)

06 – Eyesdown (ft. Andrea Triana & DELS)

07 – All In Forms (FaltyDL Remix)

08 – Ghost Ship

09 – Stay The Same (Mark Pritchard Remix)

10 – Eyesdown (Machinedrum Remix)

11 – All In Forms (Mike Slott Remix)

12 – Stay The Same (Blue Daisy ‘Not Quite The Same’ Remix)

13 – Brace Brace

14 – Black Sands (Duke Dumont’s ‘Grains Of Sand’ Reconstruction Edit)



Bonus Remixes:

01 – Nightlite (Zero dB Reconstruction)

02 – Pick Up (Fourtet Remix)

03 – Between The Lines (Nostalgia 77 Remix)

04 – The Keeper (Grasscut Bitter Peace Remix)

05 – Nightlite (Bonobo Remix)

06 – The Keeper (Redeyes Remix)

07 – Eyesdown (Appleblim & Komonazmuk Remix)

08 – Recurring (Mice Parade Remix)

The Kilimanjaro Darkjazz Ensemble - Live I Forsee the Dark Ahead If I Stay

http://www.tkde.net

http://www.myspace.com/tkde





Origine du Groupe : Netherlands

Style : Electronic , Trip Hop , Dark Jazz

Sortie : 2011





By Holly Dicker 
from http://www.residentadvisor.net



As I found out last November there is far more to Jason Köhnen than crude sarcastic humour and blistering metal-referencing "dance" music. Though Bong-Ra may well be his more familiar alias, The
Kilimanjaro Darkjazz Ensemble has been around for just as long. Initially conceived in 2000 with fellow Utrecht School of Arts graduate, Gideon Kiers, as a cinematic compositional project—writing
new soundtracks for silent films like Nosferatu and Metropolis—by 2007 TKDE had grown into a seven-piece outfit, complete with live improv sibling The Mount Fuji Doomjazz Corporation. Given away
for free via their own digital label, I Forsee the Dark Ahead, If I Stay is an excellent introduction to those yet to discover this exceptional collective.



The album presents a series of tracks recorded from shows over the last five years, doubling as essentially a "best of" and insight into the live TKDE experience. Though piecing together
components of previous concept albums, narrative is ultimately embedded in all of TKDE's work, which makes this as much a thematic soundtrack as Here Be Dragons or From the Stairwell. Köhnen
admitted to disappearing into a "fantasy world" whenever he writes music—Bong-Ra stuff included—but it's through TKDE where the visual bedrock of his compositions are most potent. Each track
alludes to its own melancholic tale, though what that is exactly is for you to decide. Here this is exemplified by the LP's sprawling closer, "The MacGuffin." Clocking in at over 15 minutes it
depicts a saga in three parts, of a wandering figure—played by a wailing trumpet—grappling electronic demons across the pitchy moors of drone.



Despite the title, I Forsee the Dark Ahead, If I Stay isn't all bleak and full of dread. For the most part it is lyrical to achingly beautiful. "Black Wings" is jazz-infused post-rock bliss,
again softly kissed with electronica to conjure a cross-pollination of say Explosions in The Sky with The Album Leaf—without the twinkles. "Adaptation of the Koto Song" is as upbeat as it gets
with woozy keys that lead into a samba-like pattering of drums. Track six is in fact the assemblage of three songs, with "Senki Dala" borrowed from Venetian Snares' renowned Rossz Csillag Alatt
Született album—the first time breakcore and classical music collided. And it is exactly this weaving of disparate threads, often in an unexpected and chaotic fashion, that make TKDE so
fascinating. Compositions can—and do—traverse through multiple genres, as one would expect from a pooling of such eclectic backgrounds: the polar Bong-Ra and Telcosystems projects of its
founders, coupled with free jazz, post-punk, drone, metal, funk, glam rock, and classical influences from its other five members. And yet, somehow, it works.



While TKDE are foremost a band, it's the little FX touches from Kiers and the group's vocalist Charlotte Cegarra that have tipped them into the electronic—albeit fiercely abstracted—arena, though
really they are on an entire plane of their own. Take "Lobby," where Cegarra's smoky operatic voice has been synthesised into a ghoulishly plaintive cry that wafts amongst the instrumentation.
Moves such as this litter the LP without ever taking away from its "organic" musicianship, nudging it instead into an eerie third dimension that is compellingly self-indulgent. But don't take my
word for it; find out for yourself—it's free, what have you to lose?





Tracklist :

01 – Celladoor

02 – Lobby

03 – Mists of Krakatoa

04 – Adaptation of the Koto Song

05 – Symmetry of 6′s

06 – Nothing Changes Senki DalaEmbers

07 – Black Wings

08 – Goya

09 – The MacGuffin

The Kilimanjaro Darkjazz Ensemble - Live I Forsee the Dark Ahead If I Stay

http://www.tkde.net

http://www.myspace.com/tkde





Origine du Groupe : Netherlands

Style : Electronic , Trip Hop , Dark Jazz

Sortie : 2011





By Holly Dicker 
from http://www.residentadvisor.net



As I found out last November there is far more to Jason Köhnen than crude sarcastic humour and blistering metal-referencing "dance" music. Though Bong-Ra may well be his more familiar alias, The
Kilimanjaro Darkjazz Ensemble has been around for just as long. Initially conceived in 2000 with fellow Utrecht School of Arts graduate, Gideon Kiers, as a cinematic compositional project—writing
new soundtracks for silent films like Nosferatu and Metropolis—by 2007 TKDE had grown into a seven-piece outfit, complete with live improv sibling The Mount Fuji Doomjazz Corporation. Given away
for free via their own digital label, I Forsee the Dark Ahead, If I Stay is an excellent introduction to those yet to discover this exceptional collective.



The album presents a series of tracks recorded from shows over the last five years, doubling as essentially a "best of" and insight into the live TKDE experience. Though piecing together
components of previous concept albums, narrative is ultimately embedded in all of TKDE's work, which makes this as much a thematic soundtrack as Here Be Dragons or From the Stairwell. Köhnen
admitted to disappearing into a "fantasy world" whenever he writes music—Bong-Ra stuff included—but it's through TKDE where the visual bedrock of his compositions are most potent. Each track
alludes to its own melancholic tale, though what that is exactly is for you to decide. Here this is exemplified by the LP's sprawling closer, "The MacGuffin." Clocking in at over 15 minutes it
depicts a saga in three parts, of a wandering figure—played by a wailing trumpet—grappling electronic demons across the pitchy moors of drone.



Despite the title, I Forsee the Dark Ahead, If I Stay isn't all bleak and full of dread. For the most part it is lyrical to achingly beautiful. "Black Wings" is jazz-infused post-rock bliss,
again softly kissed with electronica to conjure a cross-pollination of say Explosions in The Sky with The Album Leaf—without the twinkles. "Adaptation of the Koto Song" is as upbeat as it gets
with woozy keys that lead into a samba-like pattering of drums. Track six is in fact the assemblage of three songs, with "Senki Dala" borrowed from Venetian Snares' renowned Rossz Csillag Alatt
Született album—the first time breakcore and classical music collided. And it is exactly this weaving of disparate threads, often in an unexpected and chaotic fashion, that make TKDE so
fascinating. Compositions can—and do—traverse through multiple genres, as one would expect from a pooling of such eclectic backgrounds: the polar Bong-Ra and Telcosystems projects of its
founders, coupled with free jazz, post-punk, drone, metal, funk, glam rock, and classical influences from its other five members. And yet, somehow, it works.



While TKDE are foremost a band, it's the little FX touches from Kiers and the group's vocalist Charlotte Cegarra that have tipped them into the electronic—albeit fiercely abstracted—arena, though
really they are on an entire plane of their own. Take "Lobby," where Cegarra's smoky operatic voice has been synthesised into a ghoulishly plaintive cry that wafts amongst the instrumentation.
Moves such as this litter the LP without ever taking away from its "organic" musicianship, nudging it instead into an eerie third dimension that is compellingly self-indulgent. But don't take my
word for it; find out for yourself—it's free, what have you to lose?





Tracklist :

01 – Celladoor

02 – Lobby

03 – Mists of Krakatoa

04 – Adaptation of the Koto Song

05 – Symmetry of 6′s

06 – Nothing Changes Senki DalaEmbers

07 – Black Wings

08 – Goya

09 – The MacGuffin

Andra Dare - Epic Lifestyle

http://andradare.com

http://www.myspace.com/andra_dare





Origine du Groupe : North America

Style : Electronic , Trip Hop , Industrial

Sortie : 2011





From Official Site :



Andra Dare is an American singer / songwriter. She started performing in Sacramento, CA, where she shared the stage with many well-known performers, including Cake and Far.



Her first two albums, Mythshackles and Cut, garnered critical praise in the local press, inspired comparisons to Sinéad O'Connor, Kate Bush, and Laurie Anderson, and brought her national
attention.



Dare’s most recent release, Epic Lifestyle (2011), incorporates elements of gothic, industrial, ambient, and ethereal musical styles and lyrically explores the darker side of human nature.





Tracklist :

01 Sublimations [05:12]

02 Lilith [04:06]

03 Cruel [06:20]

04 Forest [04:53]

05 Kyanos [04:41]

06 Swan [05:02]

07 Ourania [05:54]

08 Dacryphilia [05:00]

09 Fury [03:49]

10 Metis [05:45]

11 Horses [03:52]

12 Iatromantis [04:37]

13 Inhale [04:38]

Andra Dare - Epic Lifestyle

http://andradare.com

http://www.myspace.com/andra_dare





Origine du Groupe : North America

Style : Electronic , Trip Hop , Industrial

Sortie : 2011





From Official Site :



Andra Dare is an American singer / songwriter. She started performing in Sacramento, CA, where she shared the stage with many well-known performers, including Cake and Far.



Her first two albums, Mythshackles and Cut, garnered critical praise in the local press, inspired comparisons to Sinéad O'Connor, Kate Bush, and Laurie Anderson, and brought her national
attention.



Dare’s most recent release, Epic Lifestyle (2011), incorporates elements of gothic, industrial, ambient, and ethereal musical styles and lyrically explores the darker side of human nature.





Tracklist :

01 Sublimations [05:12]

02 Lilith [04:06]

03 Cruel [06:20]

04 Forest [04:53]

05 Kyanos [04:41]

06 Swan [05:02]

07 Ourania [05:54]

08 Dacryphilia [05:00]

09 Fury [03:49]

10 Metis [05:45]

11 Horses [03:52]

12 Iatromantis [04:37]

13 Inhale [04:38]