Origine du Groupe : Germany
Style : Trip Hop , Downtempo , Alternative
Sortie : 2000

This cd was picked up for me by a friend and I not only find it truly relaxing but amazingly done. It reminds me slightly of Portishead, Mono.....it's very trip hop and the lyrics are really good. Track 10 is amazing...throughout the whole cd it is female vocals but on Track 10 (Try) it is male vocals and I would have to say it's my favorite song on the album. I would totally suggest picking this up. It's wonderful to relax to.

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Tracklist :   
1.Rebirth Part One
2.Killing Time
3.Immature
4.Weak Sense
5.Lsd 23
6.You
7.Caprivi
8.Divination
9.Barcodes
10.Try
11.Waterfalls
12.Endeavor

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http://www.myspace.com/nobodyelvin

 

Origine du Groupe : North America
Style : Alternative , Downtempo , Electro
Sortie : 2005

I’m relieved that, as bad as things seem to be, people are still making desert island discs in America. By desert island discs, I don’t mean Signals, Calls and Marches. As writer Jeff Koyen noted back in the ‘90s: what the fuck would one need punk rock for on a desert island? Good, angry rock is the sound of mainland claustrophobia. Under our sad circumstances, it makes for an easy emotional attachment. But it’s all context. If you’re on a desert island and you’ve got an adequate food supply, you may as well relax and recall certain aspects of the mainland fondly, if at all.

Somebody makes perfect music for that, and that good soul employs the handle Nobody. The first record was good. This one’s better. It’s got a more refined musical palate and a more defined sense of humor.

Within the first 10 minutes, you’ve already got a blasé cover of the Flaming Lips’ “What Is The Light?” In Elvin Estela’s hands, W. Coyne’s prog-rock Bic flicker becomes a rickety mix-‘n’-match that rattles toward its conclusion seemingly by coincidence. The beat drops hard, and his sometime-colleagues in Beechwood Sparks and the Aislers Set pop in to help out.

“Wake Up and Smell The Millennium” takes a tack even less conceptually aggressive, running Curt Boettcher’s music over an unassuming beat and pretty much leaving it be. It works because Estrella is smart, smart enough to know when he needn’t flash his skills. He reminds us by counterexample why so many “turntablist” records are so unlistenable.

The balance runs the gamut, from the delightfully askew “Poor Angular Fellow” to the Spanish toast “Con Um Relampago” to the stomping “Go Go Interlude Go” to the wistfully Nico’d “You Can Know Her” (which features the understated vocals of forever up-and-coming balladeer Mia Dia Todd).

“Beat science” has been so thoroughly integrated into every corner of popular music, one barely notices it here. The rhythms that anchor And Everything Else are no more auspicious than gravity. For the most part, it sounds like giddy, faux-innocent psychedelia filtered through a kaleidoscope, moody but never mopey.

I’ll bring this to the island. You bring Everything Went Black. We’ll see who leaves with fewer unnecessary ulcers.

By Emerson Dameron
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Tracklist :
1. the coast is clear (for fireworks)
2. what is the light?
3. spin the bright sun rose
4. go go interlude go
5. poor angular fellow
6. tilijem's forrest
7. you can know her
8. jose de la rues!!!
9. con un relampago
10. wake up and smell the millennium
11. tori oshi
12. siesta con susana

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Note :

http://www.chandeen.com

http://www.myspace.com/chandeen

Origine du Groupe : Germany
Style : Electro Ambient , Downtempo
Sortie : 2008

Comment revenir sur le devant d'une scène Heavenly foisonnante consciemment quittée depuis une demi-décennie? Comment donner du sens au come-back franchement inattendu d'une formation fer de lance d'Hyperium pendant les grandes années ethereal voices? Ou trouver la pertinence, les ressources, le bon goût?
Simplement parce que Chandeen répond parfaitement à de telles problématiques dans son surprenant "Teenage Poetry", il mérite l'ovation. Il ne sera d'ailleurs nullement nécessaire de se forcer à plébisciter le nouvel essai en gardant à l'esprit les risques qu'un tel retour pouvait représenter. Au delà de tout questionnement musical superflu, Chandeen revient parce qu'il a la foi en ce qu'il fait.

On se souvient des albums tels que Jutland, petites perles candides d'une dreampop sensible et accessible, indispensables pour les amateurs d'heavenly il y a dix ans – relativement discrets pour les autres. Loin d'être un ersatz des Cocteau Twins, Chandeen développait une personnalité mélancolique et éthérée, touchant occasionnellement à l'électronique, et exploitant allègrement le chant sublime d'Antje Schultz.Chandeen qu'on croyait mort est, en 2008, de retour avec une nouvelle chanteuse, Julia. A vrai dire, on n'attendait pas vraiment le come-back d'une formation plus qu'agréable, mais connaissant de nombreux homologues stylistiques, et on avait finalement bien assez à faire en matière de musiques éthérées.

De tels soucis ont pu cerner l'esprit de Chandeen durant la composition de "Teenge Poetry", mais il est évident qu'ils ont vite laissé place à une sorte de contemplation créative, une transe émotionnelle continue et charnelle. Le titre, que l'on pourrait légitimement redouter avant d'avoir écouté l'album, sied parfaitement au climat. Les nappes de clavier, fluides et satinées, plutôt froides, jouissent de ce glissement délicat assimilable à un son New-Age revisité et cent fois plus humain. Le chant, au premier plan, est parcouru d'un écho subtil qui dessine les brumes du rêves dans les paysages mi-urbains, mi-oniriques. Chandeen, effectivement, c'est désormais la mise en musique d'une passion adolescente viscérale, entre larmes et espoir, et on ne se doutait pas qu'on pouvait rendre aussi bien la substantifique moelle d'un esprit tourmenté par la transition entre enfance et âge adulte. "Welcome The Still" et "New Colouring Horizon", à l'ouverture de l'album après une bonne introduction atmosphérique, laissent réellement pantois, c'est une véritable claque. La première joue d'une litanie percussive subtilement et efficacement électronique, laisse le chant exprimer des mélodies d'une grande sensibilité, et les nappes de clavier couler doucement comme un nuage. La seconde, plus surprenante encore, se montre Pop, avec son rythme soutenu entremêlé à une formation rock brumeuse et profonde. Une indéniable souffle candide suinte des mélodies, et la composition, totalement aboutie, joue non pas sur l'immaturité des structures et des sons, mais sur celle du fond. Le coeur de l'enfant qui ne sait plus où il en est.
La suite est quelque peu regrettable. "At The End Of All Days", convaincant mais pas transcendant, laisse place à un "From The Inside" manquant singulièrement de force d'impact, moins émotionnel. Certains y verront peut-être une volonté de mise à l'écart de la facilité. Difficile de passer après les sublimes deux premières vraies chansons de l'album, tout de même. C'est le défaut de "Teenage Poetry" : l'inégalité. On aurait aimé une constante émotionnelle, d'autant que les interludes n'ont pas une intérêt flagrant ("A Last Goodbye"), et l'impact s'amoindrit au fil de l'écoute. Sauf à la toute fin, avec un "Dreaming A Thousand Dreams" somptueux, très ambient et planant, triste et fantomatique (mentionnons la piste cachée chantée par la vocaliste des Lovespirals, autre grand nom Heavenly).

En dépit de ces reproches, Teenage Poetry a de très forts arguments. Le son du groupe, modernisé, soigné à l'extrême et rêveur, conjugue efficacement une Darkwave romantique et innocente, une électronique discrète et très à propos, et une dreampop toujours personnelle. L'essai est intéressant, attachant même s'il ne marquera pas l'histoire du genre, et le manque d'impact de certains titres donne finalement l'envie d'y revenir, pour retrouver celui des autres. Ce qui n'est pas plus mal, d'autant qu'on a des chances d'y arriver.

---

par

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Tracklist :
1 - Teenage Poetry
2 - Welcome The Still
3 - New Colouring Horizon
4 - At The End Of All Days
5 - From The Inside
6 - A Last Goodbye
7 - Looking Forward, Looking Back
8 - Clean The Traces
9 - The Coming Dawn
10 - The Sentiments Of An Old Love Story
11 - Dreaming A Thousand Dreams (+Bonus)

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

 

 

Note :

http://www.sweetback.net

http://www.myspace.com/sweetbackpowertrio

Origine du Groupe : France

Style : Electro , Downtempo , Trip Hop

Sortie : 1996

Tracklist :
1. Gaze. 5:26
2. Softly softly. 4:29
3. Sensations. 4:29
4. Au natural. 4:14
5. Arabesque. 3:36
6. You will rise. 6:28
7. Chord. 3:30
8. Walk of Ju. 4:06
9. Hope she’ be happier. 6:16
10. Come dubbing. 4:41
11. Cloud people. 5:28
12. Powder. 5:21

Apparently fans aren't the only ones getting tired of waiting for Sade to release another album: her band -keyboardist Andrew Hale, bassist Paul Denman, and guitar/sax man Stuart Matthewman, collectively redubbed Sweetback- decides to burn a little creative energy between Miss Adu's efforts, and the result is far more satisfying than you might expect. Instead of merely being an instrumental Sade record, "Sweetback" is an exciting foray into a world where lounge meets electronica, ending up in places a Sade record will never take you.

Of course, the boys are quite used to backing a singer, so there's no shortage of vocals onhand. Groove Theory alum Amel Larrieux lends some sexy, wordless vocals to the groovy etherealism of "Gaze," and offers a self-help lyric to "You Will Rise." Leroy Osbourne, frequent background vocalist for Sade (most notably on "Never as Good as the First Time" and "Nothing Can Come Between Us") makes the most of his time in the spotlight here on a stunning rendition of Bill Withers' "Hope She'll Be Happier," while rapper Bahamadia lays down a smooth spoken-word vibe on "Au Natural." And since Sweetback played a significant part of soul master Maxwell's debut, it's only natural he should lend a hand on the silky "Softly Softly," a song he co-wrote with Mathewman and offers the best elements of both Sweetback's and Maxwell's music.

But luckily, Sweetback doesn't need a mouthpiece to shine. "Sensations" is a smooth retro number with a gently percolating beat, and "Arabesque" is all down-and-dirty seduction; the muffled, sampled beat paired with heavy guitars is sexy as hell, and "Arabic synth" (as is credited, anyway) adds a unique twist. "Walk of Ju" mesmerizes between its sultry sax and World Music overtones, while "Come Dubbing" offers a atmospheric cross between World Music and Trance at a mellow tempo.

In fact, only the last two numbers -"Cloud People" and "Powder"- are unnecessary exercises, plodding along with minimum melody and treading dangerously close to the realm of New Age wallpaper. But the bulk of this record is as exciting and innovative as the band's missing singer, and Sweetback proves they have enough atmosphere and style to last them between Sade releases...and considering her recording timeline thus far, that's a good thing.

By John Jones "Musician"

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