Par DJDemonAngel le 29 Mai 2011 à 11:00
Origine du Groupe : Germany
Style : Electro Acoustic , Dub , Experimental , Psychedelic
Sortie : 2011
By themilkman from http://www.themilkfactory.co.uk
The partnership between German electronic musician Burnt Friedman and legendary Can drummer Jaki Liebezeit, established almost ten years ago, is back in action once more, following the 5 7 EP released last year. This fourth instalment in the Secret Rhythms series continues on a similar path to its predecessors by bringing together rich rhythmic tones and rarefied electronic formations. More than ever centered around Liebezeit’s hypnotic drumming, Secret Rhythms 4 sees the pair move into more minimal, stripped down terrains, the rhythmic patterns forever more cyclical, repetitive and fluid, layered with fragments of electronics and guitars, themselves set into loops of varying intensity and length.
Four of the six tracks here go over the ten minute mark, with 182-11 clocking at just under sixteen minutes. This leaves the pair plenty of time to set their rhythmic structures in motion and work on the trance-like aspect of the groove of each track until it starts distorting the perception of its very nature. So bare is the surrounding soundscapes created by Friedman around Liebezeit’s overwhelming rhythms that, as tracks progress, it becomes difficult to identify with precision at which exact point one is. For the most of 128-05 for instance, the scope is divided between Liebezeit’s alternating set of toms and bass drums and a recurring electronic two-tone bass which appears so tightly stuck to the drum patterns that it blends in almost entirely in the background. Later, the bass is taken up a couple of octaves as Friedman progressively introduces sweeping textures, but this barely affects the hypnotic nature of the piece.
Before it, 204-07 shows a richer sonic space around the core rhythmic structure, although Friedman seems to remain slightly towards the back here, leaving long term collaborator Joseph Suchy, a member of his Nu Dub Players, on E-Fuzz guitar to occupy the fore. Equally, 182-11 is a much more elaborate and complex piece, which grows over its all course from sparse drum inputs placed over hazy soundscapes to much drier forms later on as treated guitars are introduced, while 120-05 later is once again criss-crossed with E-Fuzz guitar fragments, this time supplied by Tim Motzer, giving it a more abrasive feel as the pace picks up.
On the two short tracks, 131-07 and 120-11, the sonic scope is considerably concentrated, which induces an element of urgency other absent of this record. The hectic pace of the former contrasts with the more subtle progressive tempo of previous pieces, while the latter provides Friedman with the opportunity to develop miniature melodic forms and let them roam free for a moments before they are ultimately brought back under the implacable control of Liebezeit’s percussions.
It appears that the further Burnt Friedman and Jaki Liebezeit develop their collaboration the more fascinating it gets. Secret Rhythms 4 is a less immediate record than its predecessors, perhaps due to its barer overall aspect, yet the pair have reached here another level of development here, their understanding and respect of each other’s space allowing them both to perform as equal whilst occupying very different roles, ultimately making this record their more compelling release yet.
01 204-07 (10:44)
02 128-05 (10:21) mix by Mark Ernestus
03 182-11 (15:40)
04 131-07 (05:33)
05 120-11 (04:17)
06 120-05 (10:20) mix by Rashad Becker and Burnt Friedman
Par DJDemonAngel le 13 Mai 2011 à 15:30
Origine du Groupe : France
Style : Electro Jazz , Electro Acoustic
Sortie : 2002
Alors les Nojazz , c'est un bouillon de musique mixer dans le grand checker des genres musicaux !!
C'est ce qu'on peux retrouver dans leur musique , total écléctisme nous balançandt de la Drum & Bass à la Jungle au Funk et j'en passe des meilleures ..
Toujours accompagner de cette fabuleuse trompette qui vient relever la sauce de leurs musique , les Nojazz offre un moment de pur plaisir et délire en les écoutant " Le K du Q " en est un brave exemple eh eh !!! (hommage à Claudio lool)
Sur scène puisque j'ai eu l'occasion d'assister à une de leur préstation , et bien c'est encore mieux voila tout !!
Si dans Nojazz y'a pas de Jazz la dedans alors je veux bien me faire producteur de maison de disque à énorme budjet et sponsorisé Johnny Hallyday !! à bon entendeur tchaoooooooo !!!
by DJ DemonAngel
- Zooland (2009)
- Have Fun (2005)
- NoLimits (2004)
- NoJazz (2002)
02/ Candela feat. Mangu
03/ Nojazz song
05/ Blz & timike-interlude
10/ Nojazz song "unplugged"-interlude
11/ What time is it
12/ One muscle-interlude
13/ Jazz attack feat. Skratch action hiro
14/ El primero
15/ C & C-interlude
16/ Candela feat. Mangu-club version
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
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