http://www.myspace.com/peaumusic

Origine du Groupe : France
Style : Eelctro Pop , Alternative
Sortie : 2010

Il n'est pas facile pour un jeune artiste de proposer un univers fort et cohérent dès ses débuts. Peau qui sort son premier album, le bien nommé « première mue » hésite encore entre l'anglais dans lequel elle semble timide et moins convaincante et le français. Pour le reste, elle propose une musique intimiste sur lequel elle pose une petite voix, un peu comme celle qui fit la gloire de Birkin à son époque. Ses chansons tiennent la route. Mais au détour de cet album se cache un ovni. Un titre, « Litanie du coup de foudre » dont les paroles sont signées Jacques Rebotier et qui jouent avec intelligence et créativité avec les images, les oppositions et les ruptures. Un peu comme le fait de son côté Claire Di Terzi. Et tout de suite, on change de catégorie. On ne peut que conseiller à Melle Peau de continuer à s'entourer aussi bien. C'est sa musique qui y gagnera.

par http://www.musiciens.biz

 

Tracklist :
01. Premiere mue 02:19
02. Kyle 02:33
03. Enola Gay 03:42
04. Weather 03:12
05. An Apple a Day 03:33
06. Litanie 05:33
07. Guerre longue 03:46
08. Sensuelle 03:42
09. Breath 04:23
10. Une petite pluie 04:35
11. A Few Things 03:50

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http://www.myspace.com/radiocitizen

Origine du Groupe : Deutschland
Style :Alternative Fusion , Electro Jazz , Nu-Jazz
Sortie : 2010

Derrière le nom de cette radio citoyenne se cache en fait Niko Schabel, un artiste allemand présenté au label Ubiquity par un certain Quantic.  Son nom, Radio Citizen lui permet de laisser libre court à ses nombreux amours musicaux : du jazz au funk, de la soul au dub, du reggae au hiphop, de l'afrobeat à l'electronica, de la musique arabe à la musique latine, sans même parler de John Coltrane qu'il idolâtre. Pour son 2ème album, qui arrive 5 ans après «  Berlin Serengeti », Schabel propose une sculpture sonore à partir de nombreuses heures d'enregistrements de musiciens. Il a aussi convié deux chanteuses d'exception à venir poser leur voix : Ursula Rucker, américaine, reine du spoken-word, déjà entendu sur l'album « Hope & Sorrow » de Wax Taylor notamment mais aussi la globetrotteuse Bajka aujourd'hui basée à Berlin, et remarquée pour son album « In Wonderland » en début d'année ainsi que par ses nombreuses collaborations avec Bonobo ou Whitefield Brothers sur « Earthology ». L'ensemble offre une musique passionnante, qui fait fi des barrières entre jazz, hip-hop et dub, un peu à la manière des Propellerheads dans les années 90. On est souvent proche d'une musique de film noir, sombre et hypnotique, mais « Summer Days » écrit et interprété par Bajka, un reggae-dub véritablement étincelant, illumine le tout.

par Paco  pour http://delaluneonentendtout.blogspot.com

 

Tracklist :
1. Test Me (ft. Ursula Rucker)
2. Skyscrapers
3. Summer Days (ft. Bajka)
4. World
5. Isarwellen
6. Hope (ft. Bajka)
7. Home
8. Therma
9. Move
10. Stop Or Go (ft. Bajka)
11. Last Exit
12. Midnight

 

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http://www.scubaroots.com

http://www.myspace.com/scubaroots

Origine du Groupe : U.K
Style : Alternative Fusion , Reggae , Funk , Electro
Sortie : 2010

Scubaroots is the remedy. Desperately hanging on to the last days of summer... (yes it was a while ago) avoiding at all costs getting real jobs, under the guise that they're still students (which they aren't....apart from Len who is learning to make guitars) and blissfully ignoring the brutality of reality. The Scubaroots repertoire is defiantly more high grade than highbrow. With tales of debauched wreckage, saucy doctors, dodgy bankers, mary jane and dub star hotels... they play what they feel and feel what they play with their collective tongue firmly in cheek. Escape from planet earth, England, Shepherds Bush...Shepton Mallet........stop by @ Babylon Pharmacy....out soon!

After a long summer of ripping up the festival circuit with their live 10 piece show, Scubaroots have headed down to Shepherds Bush to record their much anticipated new album 'Babylon Pharmacy' (Out 2010). Currently working on their new record with Morgan Nicholls (former bass player of The Streets, Gorillaz, Lily Allen, The Senseless Things) they are looking forward to returning to the stage for more festival action in the UK and abroad.

"One of Bristol's hottest club secrets, and championed by the likes of Mr. Scruff, The Scratch Perverts and DJ Derek, are the prodigious party boys and girls, Scubaroots."

"At its core are Richard De Rosa and Richard Cox who write and produce the tracks. Live the group consists of a ten piece band that on occasion swells to include gospel choirs, record geek DJs, Latin percussion outfits and a ton of other party-kinds up for a party. Expect high energy, disciplined and soulful music that nods to the best kinds breakbeat, funk, reggae and roots influences. The band forged on the South West college circuit and now has an ardent following in Bristol, and wherever they have gigged around the country. Taste beyond their years this is killer stuff. Crowds forming. Let the word spread."

by Daddy Vegas - Monkey Funk   from http://www.cdbaby.com

Tracklist :   
1.Dr Love 04:05
2.Another Time Another Place 03:41
3.Good Shoes 03:23
4.Vibrate 04:56
5.Give It Up Son (before your head explodes) 06:05   
6.Ska Man 04:20
7.Welcome To Paradise 03:36
8.Half Baked 04:35
9.All Down To You 05:33   
10.Deep Inside 02:51

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http://www.ingridchavez.com

http://www.myspace.com/ingridchavez

Origine du Groupe : North America
Style : Alternative , Pop , Easy Listening
Sortie : 2010

Since the musical output of Ingrid Chavez has been far and few between these last two decades, it’s something of a task to track her musical growth. Those who are in the know about Chavez’s work will remember her from her days with the Paisley Park production team (one of the many side projects of Prince), resulting in her 1991 debut release, May 19, 1992. That album was a judicious mix of skeletal dance beats, understated pop hooks, and hushed poetry. Hearing that album today, it now betrays the trappings of early ‘90s production values and seems to suffer from the too-many-cooks syndrome, with Chavez fighting for space to accommodate her artistry.

On the other hand, you also get the sense that Chavez was on to something in the way of musical language, being that she was one of the earliest female artists to merge spoken word with a dance floor sensibility. She is, after all, credited with co-penning Madonna’s sultry slice of musical eros, “Justify My Love”, a tone-poem of love, sex, and controversy that reshaped the public’s idea of a pop lyric. Following the release of her debut and a few moderately successful singles, Chavez seemed to recede from public view and little was heard from her. In reality, she would marry art-pop trailblazer David Sylvian, on occasion contributing to his oeuvre of work while holding down the fort maternally and quietly making designs on a follow-up album, which would finally see fruition after 19 years.

A Flutter and Some Words is the combined effort of Chavez and Italian composer Lorenzo Scopelliti, who initially sent Chavez a composition a couple years back, which kick-started their collaborative song-writing process. Much of this album was pieced unhurriedly together, mostly over the Internet, with the two artists emailing their contributions back and forth between the US and Italy. This transatlantic exchange is apparent on the album; there is strain of European jazz that underscores the music. This influence in particular is what expunges all preconceptions that might exist in lieu of Chavez’s dance-pop flirtations of yore. Given that many of the songs on this album are working within the structures of jazz (though not exclusively), the more confining borders of the pop format are removed, allowing Chavez to invite more space into her designs and experiment freely with other sonic textures. It also allows her voice, cool and clear like fresh water, to breathe easier in the airy spaces of the music.

In fact, Flutter is all about spaces, both private and open, yielding to an array of live instruments (brass, woodwinds, and strings). These sounds collide and ribbon around the centre from which the singer’s voice emanates, but they never threaten to overtake it. The album, in addition, is mainly devoid of the dance beats that featured heavily on her debut, excepting first single “By the Water”, a delicate, crisp hip-hop number sparsely coloured by the soft cries of a trumpet and the digital ripples of a synthesizer.

What really opens up Flutter, in fact, are the far more expansive numbers that show off Chavez’s growth as a songwriter. In “Mine”, a lone violin threads its way through the meditative, circular guitar lines and swirls in the rhythm of some lightly tapped percussion. It works to create a sense of solitude and resignation, sentiments that are echoed in other tracks—like the heavy heart of “No Goodbyes”, made heavier by the contemplative, forceful strokes of a piano and found-sound samples of falling pennies (perhaps from heaven?). There is also a suggestion of other musical flavours that factor into the sonic mix; the title track appropriates a classic jazz riff by way of an electronic beat and harkens back to the days of fossa, the smoky nightclub take on ’50s Brazilian jazz that was made popular by the likes of Maysa Matarazzo and Nora Ney. Trading in standard jazz fingerings for treated woodwinds and sly snatches of DJ scratching, the song still retains the lush romanticism that fossa is noted for while being performed from a contemporary standpoint.

Elsewhere, Chavez explores more gritty terrain, such as on the earthy, fractured rhythms of “Tightrope”, a scrap-metal opus of clanks, creaks, and groans drowning in a wash of ethereal blues. Here, we get an idea of the kind of invention that took place behind the scenes; there isn’t so much a sense to prove any sort of musical technique as there is to introduce the listener to alternative modes of music-making. Though intricate and artfully crafted, we never feel like we are being schooled on the M.O. of art-pop.

This comes down to the interplay between Chavez and Scopelliti; an interaction, challenge, and acceptance of musical ideas that ultimately distinguish the more mannered and restrained approach of Scopelliti from the spontaneity and abandonment of Chavez’s. And somehow the work manages an elegant balance of imagination and discipline. This attitude is openly voiced in “Back Roads”. The track features a buzzing synth that sounds as if it is being transmitted from somewhere outside the song, imprinting it with a sense of urgency. The clarinet that cuts its way through the bells and chimes orbiting in the airy mix is a nice and curious touch. In the song, Chavez sings of opportunity at the expense of comfort, leaving for the back roads and more importantly, the power to leave and affirm an identity.

A Flutter and Some Words arrives this winter. It seems justly suited for a season that respires with an alternating sense of stillness and flurry. It arrives with assuredness but not without a feeling of turbulence—something not quite excised in the past 19 years that it took for this album to materialize. A compass in the midst of rhythm and song, Chavez navigates around emotions of misgiving and desire, equal components in the routines of life. It is an album not of reborn love, but of seductions, old and new, taking place in troubled air.

by Imran Khan   from http://www.popmatters.com

 

January 26th from Ingrid Chavez on Vimeo.

 

Tracklist :   
1. Wing Of A Bird
2. Mine
3. Exhale
4. A Flutter And Some Words
5. The First Darshan (Song For Ameera)
6. Back Roads
7. By The Water
8. Path Of Rain
9. Returning To Seed
10. Tightrope
11. No Goodbyes
12. Terrible Woman
13. Isobel
14. A Flutter Coda
15. Dreamland (Bonus Track)

 

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http://madwaltz.net

http://www.myspace.com/homelife

Origine du Groupe : U.K
Style : Alternative , Experimental , Funk , Pop
Sortie : 2004

Un nouvel album du collectif Homelife chez Ninja Tune est toujours un évènement pour nous, auditeurs curieux de vent nouveau chez Ninja Tune, Homelife étant tellement en marge du label, un peu à l'image de la tribu Jaga Jazzist.

Les collaborateurs du collectif présents sur cet album ont l'air d'être un peu moins nombreux autour de Paddy Steer et Tony Burnside cette fois à en croire la photo intérieure du disque. Cette impression se confirme à l'écoute, on constate une section de percussions non plus acoustique mais electro davantage binaire qui donne l'impression d'un album dancefloor... La section de cordes elle aussi a disparu. Ce son neuf s'avèrera davantage Funk avec des grosses basses, un jeu de guitare rythmique simple et super efficace, du sax et toujours de la clarinette basse! On y côtoit cette fois des tendances swing, des jolies voix, des sonorités farfelues, une recherche de sons expérimentale plus présente que sur l'album Flying Wonders avec des plages quasi entièrement électroniques, et un talent de métissage toujours aussi surprenant qui apporte une unité déconcertante à l'ensemble.

Le beau mélange est donc "ô grand bonheur" parfaitement inclassable tout en restant très simple et facile d'accès. Pas de doute, la recette envoûtante insufflée par derrière qui leur colle à la peau et qui fait le son Homelife est toujours bien là, de même que le puissant talent de multi-instrumentiste programmeur mixeur de Paddy Steer. La grande braderie féérique de Flying Wonders a muté et c'est en grande braderie groovy funk qu'elle nous revient en pleine face. Avec quand même un petit hic pour certains rares moments où "Monsieur Burnside" troque la guitare pour la voix, tintant le tout d'une manière pop banalisante. Un bon disque pour faire danser Papi et Mamie à Noël ou encore un beau cadeau à offrir à Mademoiselle.

Intense fraîcheur en marge du label Ninja Tune! En espérant que leur spectacle est toujours aussi magnifique et envoûtant en live. A voir!

Chroniqué par téton  pour http://www.dmute.net

Tracklist :   
01 Roman Foam
02 Guru Man Hubcap Lady
03 A Casa (The House)
04 Harder
05 Banjo
06 Windytreehouserollerdisco
07 Heaven Knows
08 The Lantern
09 April Sunshine
10 Lowdell Is Missing
11 Big Tree
12 Strangers

 

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