Par DJDemonAngel le 4 Mars 2011 à 19:06
Origine du Groupe : Norvegia , Tunnisia
Style : Nu-Jazz , Electro Jazz , Jazz Fusion , Electro Acoustic , Experimental
Sortie : 2004
Durée : 57:50min
A film by Emmanuel Pampuri
Line Up :
Bugge Wesseltoft - keyboards
Dhafer Youssef - vocals, oud
Jonas Lonna - DJ
Ole Morten Vaagan - bass
Andreas Bye - drums
Rikard Gensollen - percussion
Special guest :
Erik Truffaz - trumpet on the last track
2. Hi is ?
5. Film Ing
6. Oh Ye
Par DJDemonAngel le 17 Novembre 2010 à 16:00
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
01. 24:00 PM
Par DJDemonAngel le 26 Octobre 2010 à 11:00
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
01. The Awe And The Wonder
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
Par DJDemonAngel le 14 Septembre 2010 à 14:00
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.
1. The Projectionist
4. The Awakening of a Woman (Burnout)
5. Reel Life (Evolution II)
7. Evolution (Porto Edit)
8. Work It! (Man with the Movie Camera)
11. Theme De Yoyo
12. The Magician
13. Theme Reprise
14. Yoyo Waltz
15. Drunken Tune.
16. The Animated Tripod
Par DJDemonAngel le 6 Septembre 2010 à 12:00
Origine du Groupe : Japan
Style : Alternative , Electo Pop , Electro Acoustic , Downtempo
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.
05. cast a spell on her
06. a portrait
08. shell for mew
09. early monsoon
10. when we were
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