• http://3.bp.blogspot.com/_sdz3uwXUCC4/S9nFBj-x3JI/AAAAAAAACmY/_EfRuFnsNjI/s320/%5B+totokoko+003+%5Dcover.jpg



    Origine du Groupe : Tailand
    Style : Electro Ambient , IDM , ElectroAcoustic
    Sortie : 2010

    Very nice electronica of Kraffa ( Thailand ). Deep and hypnotic tunes for your ears...About his music, Kraffa said : '' My music is like a craft work starting from concept then thing about materials and main purpose and then do itlittle by little until it done. '' Once again, this is a Totokoko netlabel release !

    by rajsank permalink

    Tracklist :
    01. 24:00 PM
    02. Ther
    03. Fold
    04. Sunrise In Rainy Day feat.Yusuke Nishiyama


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  • http://tranceparty.org/wp-content/uploads/2009/07/Rena-Jones-Indras-Web-2009.JPG



    Origine du Groupe : North America
    Style : Electro , Electro-Acoustic , Glitch , IDM
    Sortie : 2009

    It's not so uncommon to see classically trained pianists turn to electronic music production. After all, it's not a huge stretch from the piano to a midi controller keyboard. It's considerably rarer to find producers who are actually cellists and violinists by training. But Rena Jones is certainly not your garden variety producer. She's a multi-instrumentalist and sound engineer with more than 20 years of classical violin study and 12 years of the cello behind her. That background is reflected in Indra's Web, her fourth solo album and the first on her newly established label, Cartesian Binary Recordings.

    Indra's Web weaves together weighty downtempo electronica with swooning modern classical, with Jones backed up on more than half of the album by three string players from the New Millennium Orchestra. Jones is also credited with vocals, mixing, programming and Rhodes, and the album also features a live drummer, a clarinetist and a vocalist.

    In addition to the graceful strings, the album is marked by a hefty bottom end and gently skittering percussion. And the intricate and spellbinding compositions, which do full justice to the album's name. Indra's Web is a metaphor found in Buddhism and Hinduism for "the structure of reality, representing the interconnectedness and interdependency of all things, describing a rich and diverse universe where infinitely repeated mutual relations exist between all its elements and entities."

    That's as good a way as any to describe the music. It immediately grabs hold of you and sucks you in but the songs are not so easily digested on first listen. They're subtle and, like elaborate labyrinths, they take time to reveal themselves. You need to explore the nooks and crannies before you can find your way out. But they're beautiful, enchanted labyrinths, green and flowery, and time moves in hazy slow motion inside them.

    I will resist the urge to discuss individual songs (except to say that the one-two punch of On the Drift and Point of Existence is a knockout). Suffice it to say that Indra's Web is an extremely rewarding album and unique in the way it combines beat-driven electronic music with classical moods. It's seamlessly done, blurring completely the lines between genres. It's as good an illustration as any of the inevitable futility of categorizing art. This is simply beautiful music that will endure.

    by Tigon World

    Tracklist :   
    01. The Awe And The Wonder
    02. Helix
    03. Indra's Web
    04. A Lullaby For Corvis
    05. Ordinary Day
    06. On The Drift
    07. Point Of Existence
    08. The Webs We Weave
    09. What Once Was Will Be Again
    10. The Problem Of Time
    11. Helix (EVAC Remix)


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  • http://3note.com/blog/wp-content/uploads/2009/11/Man-With-A-Movie-Camera-by-The-Cinematic-Orchestra_pFcav0IgXF0x_full.jpg



    Origine du Groupe : U.K
    Style : Ambient , Electro-Acoustic , Trip Hop , Nu-Jazz , Downtempo
    Sortie : 2003

    quand la bande orchestre...
    C'est l'histoire d'un film qui n'avait pas de son et d'un groupe qui se cherchait une image. La rencontre entre The Cinematic Orchestra ( une musique accrochée à l'âme d'un autre art - le cinéma) et man with a movie camera de Dziga Vertov ( documentaire de 1929 au montage audacieux pour l'époque et à la prosodie innovante) se devait d'avoir lieu lors d'un happening au Portugal, forcément inédit et forcément original. Cette performance se devait de pousser le groupe sur le terrain d'un disque (everyday, sorti en 2002) et d'un autre aujourd'hui. Ainsi on découvre les esquisses de Everyday en deuxième lecture. Le DVD, man with a movie camera qui sort sur Ninjatune met davantage en avant la musique des chouchous du label que le cinéma assez "conceptuel" de Vertov. Jouant à fond sur la mythologie du cinéma muet Work it, Voyage , Odyssey et même si l'expérience n'est pas neuve mais on ne se lasse pas de Jason Swinscoe et de son indéniable génie à mettre en scène et en sons de grande émotions Dawn. Il y a presque dix ans, Aphex Twin, en sonorisant 'Nosferatu' de Murnau au Barbican Center a peut-être lancé le mouvement qui aujourd'hui voit toute une génération s'approprier non plus les ambiances cinématographiques de leurs pairs mais littéralement coloniser les pellicules en 35mm et autres (cf. les séances de cinémixing qui abondent, l'excellente collection cinémix' sortie chez Universal Jazz). A ce jeu-là The Cinematic Orchestra, de par la qualité de la production très organique ici, conforte sa place de chef de rang.

    par Take8

    Tracklist :
    1. The Projectionist
    2. Melody
    3. Dawn
    4. The Awakening of a Woman (Burnout)
    5. Reel Life (Evolution II)
    6. Postlude
    7. Evolution (Porto Edit)
    8. Work It! (Man with the Movie Camera)
    9. Voyage
    10. Odessa
    11. Theme De Yoyo
    12. The Magician
    13. Theme Reprise
    14. Yoyo Waltz
    15. Drunken Tune.
    16. The Animated Tripod
    17. All Things



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  • http://i586.photobucket.com/albums/ss305/ninitijger/PURPLE.jpg



    Origine du Groupe : Japan
    Style : Alternative , Electo Pop , Electro Acoustic , Downtempo
    Sortie : 2008

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    Tokyo’s Shimokitazawa district has continually been one of the hot spots for indie rock action, and over the past several years, numerous groups sporting a laid-back style have come to the forefront of the scene. Amongst these musicians (loosely grouped under downtempo), Spangle call Lilli line has arisen as one of the flagship bands.

    In keeping with Spangle call’s standard rock instrumentation, their style reaches well beyond downtempo, a relaxed and heavily electronic genre. While the band is often described as post-rock, their sound is more of a compromise between the two. Songs are not bound by verse-chorus convention, but drift lazily, guided by a light melody. The guitars and varied percussion together with numerous (and frequently spacey) electronic additions weave a sound that, while complex, flows very evenly. Otsubo Kana’s wispy vocals contribute an organic piece to the melody as well, while adding to the relaxed atmosphere.

    Spangle call Lilli line’s beginnings trace back to Otsubo and Fujieda, friends from art school, who began playing together in December of 1998. Sasahara and drummer Kabasawa, also friends from university, joined in 1999 and 2000, respectively. The band was christened “Spangle call” (the “Lilli Line” to come later), derived from a Japanese pronunciation of “spangle” (“supankooru,” chosen for its sound), while the “call” was a continuation from the “kooru” of “supankooru.” Their self-titled debut was issued in March of 2001 on P-Vine, a label known for electronic and jazz units including Date Course Pentagon Royal Garden and Otomo Yoshihide.

    The band continued their trademark style through their third album, 2003’s or, in which they aimed to consummate their established sound. The trying studio work leading up to or proved to be the band’s breaking point, causing mental breakdowns in Otsubo and the February 2003 departure of their drummer, who had provided much of the creative direction for the album. With Kabasawa gone from the lineup, Spangle call was free to indulge in influences such as R&B, soul, and Motown that their drummer, who had an affinity for lo-fi and post-rock, did not favor.

    These changes surfaced in Spangle call’s April 2005 album Trace, which was nearly two years in the making (excluding their live release 68SCLL). With Trace, the members recount that they were looking to remove the excess from their music and sound like a new band, as if the album was their debut. The new release was indeed different from its predecessors, with a poppier, R&B style and tracks that were, on the whole, shorter than the usual Spangle call fare.

    Shortly after Trace, the release of For Installation, more in tune with the band’s classic style, ensued in June. The tracks are mostly comprised of studio outtakes, but according to Fujieda, “the feeling of the album will be clearly different” from that of Trace. Though nothing has been formally announced, the enterprising trio is gearing up for another release in the future.

    by http://www.thesirenssound.com

    Tracklist :
    01. mai
    02. unknown
    03. nm
    04. rio
    05. cast a spell on her
    06. a portrait
    07. sea
    08. shell for mew
    09. early monsoon
    10. when we were
    11. screen



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  • http://www.secteur7.net/site/wp-content/uploads/2009/11/NICK-CAVE-WARREN-ELLIS-White-Lunar.jpg

    Note : ++


    Compagnons de route, depuis de nombreuses années, au sein des Bad Seeds, Nick Cave et le barbu Warren Ellis signent ensemble des musiques de films intenses et passionnantes regroupées pour la première fois sur un double CD : "White Lunar".
    Ceux qui ont vue le film "The Assassination of Jesse James by the Coward Robert Ford" (2007) ne pourront pas oublier la somptueuse partition écrire par le duo qui venait parfaitement bien accompagner les images, non moins superbes, du réalisateur Andrew Dominik pour un western d’une intensité et d’une beauté remarquable.
    En plus de la bande originale de "The Assassination of Jesse James…", figurent sur "White Lunar" des composition écrites pour le film" The proposition" (2005), mais également pour l'adaptation au cinéma de roman de Cormac McCarthy "The Road" ainsi que des documentaires ("The English Surgeon", "The Girls of Phnom Penh") qu’une poignée d’inédits. Au total près de 1h45 de musiques contemplatives, dépouillées et fantomatique, aux tonalités claire-obscures, et à vrai dire totalement captivantes… que l’on ai vu les images ou pas.

    Par Pop , Revue , Express

    Origine du Groupe : Australia
    Style : Electro Acoustique , Ambient , Experimental
    Sortie : 2009

    Tracklist :
    CD 1
    1. Song For Jesse
    2. Moving On
    3. What Must Be Done
    4. Song For Bob
    5. Happy Land
    6. The Proposition 1
    7. The Road To Banyon
    8. The Rider 2
    9. Martha's Dream
    10. Gun Thing
    11. The Rider Song
    12. The Road
    13. The Mother
    14. The Father
    15. The Beach
    16. The Journey
    17. The Boy

    CD 2
    1. Srey Leak       
    2. Me Nea                      
    3. Rom       
    4. Halo        
    5. Zanstra                        
    6. Black Silk (Suture)       
    7. Brain Retractor            
    8. Dandy Brain Cannula   
    9. Rat’s Tooth Forceps            
    10. Kerrison’s Punch                
    11. Micro Sucker                                           
    12. Window                     
    13. Daedalus        
    14. Magma           
    15. Cheata                      
    16. Sorya Market



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