More than 6 months after the release of his beautiful Ep called Potentiodub , Full Dub is back with a brand new project.
Addicted by samples and by Eastern sounds, Full Dub develops a deep, personal and often minimal music. He has expanded his expertise in various formations such as Byos, Interface or Noise Motion. This new EP, called Brain Stage, is a deepening of his predecessor. It includes a captivating oriental atmospheres married to deep bass lines. The result is a Dub sound with a “french touch” driven by an uncompromising duo bass / drums thoroughly mixed.
With Brain Stage Full Dub subtly looks like the rebirth of the French electro dub.
Tracklist : 1 - Unknown 4.34 2 - Voltage 4.48 3 - India 6.17 4 - Wave spiritual 4.03 5 - Alien 5.20 6 - Over Dry 4.10
More than 6 months after the release of his beautiful Ep called Potentiodub , Full Dub is back with a brand new project.
Addicted by samples and by Eastern sounds, Full Dub develops a deep, personal and often minimal music. He has expanded his expertise in various formations such as Byos, Interface or Noise Motion. This new EP, called Brain Stage, is a deepening of his predecessor. It includes a captivating oriental atmospheres married to deep bass lines. The result is a Dub sound with a “french touch” driven by an uncompromising duo bass / drums thoroughly mixed.
With Brain Stage Full Dub subtly looks like the rebirth of the French electro dub.
Tracklist : 1 - Unknown 4.34 2 - Voltage 4.48 3 - India 6.17 4 - Wave spiritual 4.03 5 - Alien 5.20 6 - Over Dry 4.10
D Strong and Dave Sparkz just dropped this new album last week… definitely something to check out.
Unfold is a Combo of Gritty story telling, spiritual enlightment, aggressive emceeing, and nostalgic hip hop music. Los Angeles Emcee D Strong considers this some of his best work to date and after the first listen you might also agree. Dave Sparkz is a young producer from Switzerland whose production style lends big drums and a variety of ILL sounds that are seamlessly put together and show and prove quality. D Strong says of the producer: “He is my favorite producer right now out of anyone… Sparkz has a huge collection of beats.” Dave Sparkz also released an instrumental LP on Digi Crates Records entitled Ivory Lounge.
Tracklist : 1.Intro cuts by Chinch 33 00:46 2.Illiad 02:57 3.Invincible Sons All 02:51 4.Bogart cuts by Chinch 33 03:45 5.Golden 02:35 6.Invasion 02:20 7.Where'd the Devil go? cuts by Chinch 33 03:10 8.Gods Spark ft. Wildelux 03:34 9.Unfold 04:03 10.Reprisal Killings 02:43 11.Rich Man Poor Man 02:21 12.What Ya Heard 01:58 13.The Butterz 03:19 14.Outro cuts by Chinch 33 01:43
D Strong and Dave Sparkz just dropped this new album last week… definitely something to check out.
Unfold is a Combo of Gritty story telling, spiritual enlightment, aggressive emceeing, and nostalgic hip hop music. Los Angeles Emcee D Strong considers this some of his best work to date and after the first listen you might also agree. Dave Sparkz is a young producer from Switzerland whose production style lends big drums and a variety of ILL sounds that are seamlessly put together and show and prove quality. D Strong says of the producer: “He is my favorite producer right now out of anyone… Sparkz has a huge collection of beats.” Dave Sparkz also released an instrumental LP on Digi Crates Records entitled Ivory Lounge.
Tracklist : 1.Intro cuts by Chinch 33 00:46 2.Illiad 02:57 3.Invincible Sons All 02:51 4.Bogart cuts by Chinch 33 03:45 5.Golden 02:35 6.Invasion 02:20 7.Where'd the Devil go? cuts by Chinch 33 03:10 8.Gods Spark ft. Wildelux 03:34 9.Unfold 04:03 10.Reprisal Killings 02:43 11.Rich Man Poor Man 02:21 12.What Ya Heard 01:58 13.The Butterz 03:19 14.Outro cuts by Chinch 33 01:43
Evidemment, elle ne sortait pas de nulles part, Izia, lorsque du haut de ses 18 ans elle publiait un premier album rude et gras. Mais enfin, ce n’est quand même pas le fait d’appartenir à la grande famille Higelin qui l’a conduit à ouvrir pour Iggy Pop ou Mötorhead. Ce timbre de voix qui a si souvent été comparé à celui de Janis Joplin, cette furie scénique, Izia en a peut être hérité, mais ne l’a pas volé.
A peine deux ans plus tard, à peine âgée de 21 ans, Izia publie un second album plus en nuance, plus pop, plus mur. Toujours accompagné du guitariste Sébastien Hoog, elle prolonge avec So Much Trouble son répertoire vers des champs plus complexes.
Evidemment, elle ne sortait pas de nulles part, Izia, lorsque du haut de ses 18 ans elle publiait un premier album rude et gras. Mais enfin, ce n’est quand même pas le fait d’appartenir à la grande famille Higelin qui l’a conduit à ouvrir pour Iggy Pop ou Mötorhead. Ce timbre de voix qui a si souvent été comparé à celui de Janis Joplin, cette furie scénique, Izia en a peut être hérité, mais ne l’a pas volé.
A peine deux ans plus tard, à peine âgée de 21 ans, Izia publie un second album plus en nuance, plus pop, plus mur. Toujours accompagné du guitariste Sébastien Hoog, elle prolonge avec So Much Trouble son répertoire vers des champs plus complexes.
"Addiction" LP is a special release for Dusted Wax Kingdom by the mysterious multi-instrumentalist, beatmaker and producer Peach Stealing Monkeys. It's a pure trip-hop in its definition, with wonderful lo-fidelity sounds, old vinyl noises, heavy-weight drum breaks and powerful melancholic mellow atmopshere.
Tracklist : 01 - Addiction 02 - Bang-Bang (N. Sinatra, PSM-Mix) 03 - Summertime 04 - Trip Confessions 05 - Monster 06 - Streets Of Loneliness 07 - I Am (feat. Emily) 08 - Watermellon Art 09 - The Joy Is Gone 11 - Beautiful Life 12 - I Hate My Job 13 - Where Did You Sleep Last Night
"Addiction" LP is a special release for Dusted Wax Kingdom by the mysterious multi-instrumentalist, beatmaker and producer Peach Stealing Monkeys. It's a pure trip-hop in its definition, with wonderful lo-fidelity sounds, old vinyl noises, heavy-weight drum breaks and powerful melancholic mellow atmopshere.
Tracklist : 01 - Addiction 02 - Bang-Bang (N. Sinatra, PSM-Mix) 03 - Summertime 04 - Trip Confessions 05 - Monster 06 - Streets Of Loneliness 07 - I Am (feat. Emily) 08 - Watermellon Art 09 - The Joy Is Gone 11 - Beautiful Life 12 - I Hate My Job 13 - Where Did You Sleep Last Night
By JON GARELICK from http://thephoenix.com Since one of the first times I heard Christian Scott — at Sweet Lorraine's in New Orleans — he's always had an edge. It wasn't just his trumpet, but his band. They weren't playing jazz swing, but tricky groove patterns that built in intensity, driven by the gleaming, fierce sound of Scott's horn. It was well-considered and disciplined music, but not especially concerned with being polite. Now, six years later, Scott (who comes with his band to Scullers on August 10) is still riding that edge. His fourth studio release for Concord Records is a double-CD, an audacious move in its own right. Its title, Christian aTunde Adjuah, is Scott's adopted African name. And the titles of individual songs hint at the range of subject matter that Scott is referencing: from his New Orleans childhood and history with that city's Mardi Gras Indians ("Spy Boy/Flag Boy"), to the city's post-Katrina history ("New New Orleans-King Adjuah Stomp"), to further-flung topics like ethnic cleansing and rape in Sudan ("Fatima Aisha Rokero 400") and domestic violence in the US ("When Marissa Stands Her Ground"). Scott knows there are limits to what he can accomplish with instrumental music that was created with very particular topics in mind. In fact, when I get him on the phone at his home in Harlem, he bristles a bit when I suggest that some of his songs are "political." "I look at it more as a social thing. As I understand it, 'political' is about the dissemination of power among people. With the music that I make, I'm not telling anyone that they're supposed to be going against anything or choose sides. I'm just illuminating things that I've experienced or things I want people to think about." When you hear the album's first track, which begins with a piercing high-trumpet blast over roiling drums and unstable, rock-inflected guitar chords, you know that Scott is off about something, though you might not know what that is if you didn't see the title — maybe you know about the Rokero 400, maybe you have to look it up. Maybe you don't care and just want to listen. That's fine with Scott. "Of course, I want people to know what happened to those women in Rokero. But if someone comes up to me after a gig and says, 'I got the new album, and when I heard the first song it made me think of the things I had to endure to beat cancer,' I'm not gonna tell that person, 'That's not what it's about." Not every song deals with social strife. "Spy Boy/Flag Boy" harks back to the roles he and his twin brother Kiel played in his grandfather Big Chief Donald Harrison Sr.'s Mardi Gras Indian tribe, and the cover shows Scott in full regalia, surrounded by the peach-colored feathers of his Indian "suit." The album mixes hip-hop beats, African rhythms, and rock, informed by drummer Jamire Williams's encyclopedic vocabulary of beats and Matthew Stevens's ability to shift between rock-guitar edge and jazz flow. There are cinematic "interludes" throughout, marked by pianist Lawrence Fields's harmonic drifts. Perhaps the most telling title is "Who They Wish I Was." On it, Scott's muted trumpet converses in short, eloquent musical sentences with the relentless patter and hum of Williams's snare and Fields's piano. That Harmon-muted trumpet, the sound of those lines, are the only musical hints that this piece has to do with some people's "wish" that Scott pattern himself after Miles Davis. Scott's dense liner notes take specific issue with the desire of his elders that he — or jazz — be any one thing. "Scott's still my name," he tells me on the phone. "I'm just adding on to the name so it reflects a more global idea of what my history is." Hey, no argument from me. But I'm enjoying the enlightening and spirited debates Scott is having with his bandmates and the world at large. Tracklist : CD 1 01. Fatima Aisha Rokero 400 02. New New Orleans (King Adjuah Stomp) 03. Kuro Shinobi (Interlude) 04. Who They Wish I Was 05. Pyrrhic Victory of aTunde Adjuah 06. Spy Boy Flag Boy 07. vs. the Kleptocratic Union (Ms. McDowell’s Crime) 08. Kiel 09. Of Fire (Les Filles de la Nouvelle Orleans) 10. Dred Scott 11. Danziger CD 2 01. The Berlin Patient (CCR5) 02. Jihad Joe 03. Van Gogh (Interlude) 04. Liar Liar 05. I Do 06. Alkebu Lan 07. Bartlett 08. When Marissa Stands Her Ground 09. Cumulonimbus (Interlude) 10. Away (Anuradha & the Maiti Nepal) 11. The Red Rooster 12. Cara
By JON GARELICK from http://thephoenix.com Since one of the first times I heard Christian Scott — at Sweet Lorraine's in New Orleans — he's always had an edge. It wasn't just his trumpet, but his band. They weren't playing jazz swing, but tricky groove patterns that built in intensity, driven by the gleaming, fierce sound of Scott's horn. It was well-considered and disciplined music, but not especially concerned with being polite. Now, six years later, Scott (who comes with his band to Scullers on August 10) is still riding that edge. His fourth studio release for Concord Records is a double-CD, an audacious move in its own right. Its title, Christian aTunde Adjuah, is Scott's adopted African name. And the titles of individual songs hint at the range of subject matter that Scott is referencing: from his New Orleans childhood and history with that city's Mardi Gras Indians ("Spy Boy/Flag Boy"), to the city's post-Katrina history ("New New Orleans-King Adjuah Stomp"), to further-flung topics like ethnic cleansing and rape in Sudan ("Fatima Aisha Rokero 400") and domestic violence in the US ("When Marissa Stands Her Ground"). Scott knows there are limits to what he can accomplish with instrumental music that was created with very particular topics in mind. In fact, when I get him on the phone at his home in Harlem, he bristles a bit when I suggest that some of his songs are "political." "I look at it more as a social thing. As I understand it, 'political' is about the dissemination of power among people. With the music that I make, I'm not telling anyone that they're supposed to be going against anything or choose sides. I'm just illuminating things that I've experienced or things I want people to think about." When you hear the album's first track, which begins with a piercing high-trumpet blast over roiling drums and unstable, rock-inflected guitar chords, you know that Scott is off about something, though you might not know what that is if you didn't see the title — maybe you know about the Rokero 400, maybe you have to look it up. Maybe you don't care and just want to listen. That's fine with Scott. "Of course, I want people to know what happened to those women in Rokero. But if someone comes up to me after a gig and says, 'I got the new album, and when I heard the first song it made me think of the things I had to endure to beat cancer,' I'm not gonna tell that person, 'That's not what it's about." Not every song deals with social strife. "Spy Boy/Flag Boy" harks back to the roles he and his twin brother Kiel played in his grandfather Big Chief Donald Harrison Sr.'s Mardi Gras Indian tribe, and the cover shows Scott in full regalia, surrounded by the peach-colored feathers of his Indian "suit." The album mixes hip-hop beats, African rhythms, and rock, informed by drummer Jamire Williams's encyclopedic vocabulary of beats and Matthew Stevens's ability to shift between rock-guitar edge and jazz flow. There are cinematic "interludes" throughout, marked by pianist Lawrence Fields's harmonic drifts. Perhaps the most telling title is "Who They Wish I Was." On it, Scott's muted trumpet converses in short, eloquent musical sentences with the relentless patter and hum of Williams's snare and Fields's piano. That Harmon-muted trumpet, the sound of those lines, are the only musical hints that this piece has to do with some people's "wish" that Scott pattern himself after Miles Davis. Scott's dense liner notes take specific issue with the desire of his elders that he — or jazz — be any one thing. "Scott's still my name," he tells me on the phone. "I'm just adding on to the name so it reflects a more global idea of what my history is." Hey, no argument from me. But I'm enjoying the enlightening and spirited debates Scott is having with his bandmates and the world at large. Tracklist : CD 1 01. Fatima Aisha Rokero 400 02. New New Orleans (King Adjuah Stomp) 03. Kuro Shinobi (Interlude) 04. Who They Wish I Was 05. Pyrrhic Victory of aTunde Adjuah 06. Spy Boy Flag Boy 07. vs. the Kleptocratic Union (Ms. McDowell’s Crime) 08. Kiel 09. Of Fire (Les Filles de la Nouvelle Orleans) 10. Dred Scott 11. Danziger CD 2 01. The Berlin Patient (CCR5) 02. Jihad Joe 03. Van Gogh (Interlude) 04. Liar Liar 05. I Do 06. Alkebu Lan 07. Bartlett 08. When Marissa Stands Her Ground 09. Cumulonimbus (Interlude) 10. Away (Anuradha & the Maiti Nepal) 11. The Red Rooster 12. Cara
Here is the long-expected new album by the German meastro Impuls. "Leaf" (LP) is a spectacular fusion of high quality acid jazz, funky hip-hop rhythms, beautiful ambience and thrilling trancy vibes. To support/purchase/donate, feel free to visit Impuls bandcamp store.
Tracklist :
1.Bewegungen 01:20
2.Actinidia 06:52
3.Jam At The Werkstatt I feat. Ulle 00:57
4.Terra Furum 05:26
5.Fee Verte (Chopped Eartrolude) 01:36
6.Equals 04:11
7.Jam At The Werkstatt IV feat. Pascal & Flo 00:57
8.Choices 01:42
9.Haze Horizon feat. Dj Racy A.J 06:21
10.Jam At The Werkstatt III feat. Pascal & Flo 00:48
11.Looney feat. Ulle Kamelle 04:52
12.La chica que va de rojo (Rhodetrolude) 01:57
13.Missin 04:37
14.Jam At The Werkstatt IV feat. Pascal & Flo 01:12
15.Passed The Right Port 06:12
16.Jam At The Werkstatt V (Pascal & Flo) 00:22
17.Underground Vibes feat. Violent Public Disorderaz 04:22
18.Valerian Valley feat. HairyBo 03:04
19.Guess Where I Come From (Pastrolude) 00:59
20.Jam At The Werkstatt VI Outroskit feat. Pascal & Ulle 00:29
Here is the long-expected new album by the German meastro Impuls. "Leaf" (LP) is a spectacular fusion of high quality acid jazz, funky hip-hop rhythms, beautiful ambience and thrilling trancy vibes. To support/purchase/donate, feel free to visit Impuls bandcamp store.
Tracklist :
1.Bewegungen 01:20
2.Actinidia 06:52
3.Jam At The Werkstatt I feat. Ulle 00:57
4.Terra Furum 05:26
5.Fee Verte (Chopped Eartrolude) 01:36
6.Equals 04:11
7.Jam At The Werkstatt IV feat. Pascal & Flo 00:57
8.Choices 01:42
9.Haze Horizon feat. Dj Racy A.J 06:21
10.Jam At The Werkstatt III feat. Pascal & Flo 00:48
11.Looney feat. Ulle Kamelle 04:52
12.La chica que va de rojo (Rhodetrolude) 01:57
13.Missin 04:37
14.Jam At The Werkstatt IV feat. Pascal & Flo 01:12
15.Passed The Right Port 06:12
16.Jam At The Werkstatt V (Pascal & Flo) 00:22
17.Underground Vibes feat. Violent Public Disorderaz 04:22
18.Valerian Valley feat. HairyBo 03:04
19.Guess Where I Come From (Pastrolude) 00:59
20.Jam At The Werkstatt VI Outroskit feat. Pascal & Ulle 00:29
Has anyone ever sounded as joyous as Jimmy Cliff when expressing such deep concern for the state of the world? Now aged 64, the reggae superstar sounds as socially engaged as ever on this remarkably consistent set of mostly self-penned songs, which explicitly revisit the sonic terrain of his biggest 60s/70s hits.
What could've felt like an ageing artist desperately chasing past glories instead succeeds as a vibrant reconnection with what made him so great in the first place. The refusal to modernise that signature fusion of reggae, pop and soul is an astute decision on the part of Cliff and his producer, Rancid frontman Tim Armstrong.
These crisp, uncluttered arrangements are perfectly in tune with the instantly memorable, pleasingly familiar material Cliff’s made his name with. And much of it compares favourably with his best work.
He remains in tremendous voice, sounding fully engaged with a project that clearly means the world to him. Indeed, Rebirth is nothing if not his urgent state of the planet address.
And yet whether pointing his finger at corporate greed and expressing support for the Occupy movement in Children's Bread, or offering a heartfelt prayer to recession-hit families in Cry No More, he never sounds overly-earnest. Instead, the sheer exuberance and grace that he brings to these universal protest anthems more than makes up for the occasional lyrical lapse.
So, while a line like “Rebel, rebel, rebel, take it to the next level” is rather nebulous – a clarion cry generalised into meaninglessness – it's the spirit of Cliff's performance that matters most, rather than any specific meaning.
Which is why a song like World Upside Down – essentially a mirror-image sequel to his exultant 1969 hit Wonderful World, Beautiful People – doesn't sound as trite as it might in the hands of, well, practically anybody else. Even when ploughing through his rhyming thesaurus for broadsides against everything from “ecological calamity” to mere “vanity”, Cliff undoubtedly believes in every word.
The title of this delightful album is no idle boast: this is the sound of a great artist fully re-engaged with his muse.
Tracklist : 01 – World Upside Down 02 – One More 03 – Cry No More 04 – Children’s Bread 05 – Bang 06 – Guns Of Brixton 07 – Reggae Music 08 – Outsider 09 – Rebel Rebel 10 – Ruby Soho 11 – Blessed Love 12 – Ship Is Sailing 13 – One More
Has anyone ever sounded as joyous as Jimmy Cliff when expressing such deep concern for the state of the world? Now aged 64, the reggae superstar sounds as socially engaged as ever on this remarkably consistent set of mostly self-penned songs, which explicitly revisit the sonic terrain of his biggest 60s/70s hits.
What could've felt like an ageing artist desperately chasing past glories instead succeeds as a vibrant reconnection with what made him so great in the first place. The refusal to modernise that signature fusion of reggae, pop and soul is an astute decision on the part of Cliff and his producer, Rancid frontman Tim Armstrong.
These crisp, uncluttered arrangements are perfectly in tune with the instantly memorable, pleasingly familiar material Cliff’s made his name with. And much of it compares favourably with his best work.
He remains in tremendous voice, sounding fully engaged with a project that clearly means the world to him. Indeed, Rebirth is nothing if not his urgent state of the planet address.
And yet whether pointing his finger at corporate greed and expressing support for the Occupy movement in Children's Bread, or offering a heartfelt prayer to recession-hit families in Cry No More, he never sounds overly-earnest. Instead, the sheer exuberance and grace that he brings to these universal protest anthems more than makes up for the occasional lyrical lapse.
So, while a line like “Rebel, rebel, rebel, take it to the next level” is rather nebulous – a clarion cry generalised into meaninglessness – it's the spirit of Cliff's performance that matters most, rather than any specific meaning.
Which is why a song like World Upside Down – essentially a mirror-image sequel to his exultant 1969 hit Wonderful World, Beautiful People – doesn't sound as trite as it might in the hands of, well, practically anybody else. Even when ploughing through his rhyming thesaurus for broadsides against everything from “ecological calamity” to mere “vanity”, Cliff undoubtedly believes in every word.
The title of this delightful album is no idle boast: this is the sound of a great artist fully re-engaged with his muse.
Tracklist : 01 – World Upside Down 02 – One More 03 – Cry No More 04 – Children’s Bread 05 – Bang 06 – Guns Of Brixton 07 – Reggae Music 08 – Outsider 09 – Rebel Rebel 10 – Ruby Soho 11 – Blessed Love 12 – Ship Is Sailing 13 – One More
