....στο The Land..οι Cerberus Shoal ακουγονται σαν ενα ενα μεταφυσικο τσιρκο που συνεθεσε
μια παραξενη φολκ οπερα για τους Residents και τον Tom Waits υπο την εποπτεια των
Ya Ho Wa 13....
..a carefully crafted long player and a testament to the pair's love affair with disco, pop, soul and house.
K & Q
...η salsa τσαχπινια του Iron Man,η surf ανεμελια του Crazy Train,το αλα Mel Torme crooning
δραμα του Shot In The Dark,η pseudo disco αναδομηση του I Don't Know και το jazzy lounge noir του Sabbath Bloody Sabbath συνθετουν το καλυτερο ισως tribute album στους Black Sabbath και τον Ozzy ....
It is one thing to make a clever record, it is quite another to make a clever record that could pass for a pop album, and which oozes humanity while simultaneously delivering a perfect snapshot of modern British life.NME
Jahbitat is the audio project of Simon Williams, who moved around Latin America as a young child but eventually ended up growing up in the valley located on the Venezuelan coastal range. This massive urban jungle known as Caracas, is surrounded by every aspect of nature (sky, mountain, jungle, ocean, etc..) and creatures both big and small. This fusion of man-made technology meets complete wildlife is what can be found at the core of the Jahbitat electronic yet highly organic sounds ...
... Compiled exclusively from their own re-edits, this collection shines with inspiring choices from dance music's past and present. The modern electronic boogie of Lindstrom & Prins Thomas sits next to Kitty Grant's well-pitched cover of Chas Kankel's "Glad To Know You." Etta James' fantastic "All The Way Down" synchs into Plantlife's cosmic Prince-isms on "Love Me Till It Hurts." A truly glorious selection.
a certain mr. green
.... that umpf-umpf, ohladi-dadi-dadi-dadi kinda things but with alphorns and some tight air combs.
Music A.M. is a collaborative effort between Luke Sutherland (Long Fin Killie, Bows, Mogwai) Stefan Schneider (To Rococo Rot) & Volker Bertelmann (Tonetraeger).
Skillfully walking a fine line between electronic, pop (& a few other things) with tiny fractured micro beats, Sutherland's soft, hushed vocals & minimal guitar work.
Where the album works the finest is in it's willingness to defy structures and focus on rhythms and mood. The use of sparse beats giving way for the bass, textures of the guitar & electronics to carry the melodies.
a heart & two stars
The debut by the Canadian four-piece LEN is a set of old-school tracks indebted to Sugar Hill Records and Afrika Bambaataa as well as more recent indie-rap agitators like the Beastie Boys. While the rapping is a bit stilted, the production is excellent and best heard on the first track, the monster hit "Steal My Sunshine," a bright slice of indie-pop with an old-school guitar loop and a suitably bumping bassline. For all of the great tracks here, it's difficult to escape the feeling that You Can't Stop the Bum Rush is a low-rent version of the Beastie Boys' 1998 album Hello Nasty -- Biz Markie makes a few appearances as he did with the Beasties, and master turntablist Mr. Dibbs takes the role of Mix Master Mike with major contributions to one (very short) track...
ενταξει οχι τιποτα το σπουδαιο...ενα αναλαφρο δισκακι οτι πρεπει για το καλοκαιρι...
you can't stop the bum rush
Warm, dreamlike electronics, combined with some beats, his and deep chords...this is ideal for the summer with a beautiful sunset as a backdrop...or for winter listening to warm yourself up by! Must for all Basic Channel freaks..
'The Debt Collection' is the debut album from London-based trip-hop revivalists The Shortwave Set. A beguiling mish-mash of influences ranging from Nancy Sinatra and Saint Etienneto Beck and Portishead, their unique sound has been described by some as 'Victorian Funk'.
DJ Krush is a leader in the downtempo electronic music movement, having released over six albums that explore the instrumental side of hip-hop, trance and jazz. He has even released a hip-hop mix tape showcasing rap artists from all over the world, from the US to Europe to his native Japan. Zen finds Krush settling into familiar territory, blending his signature mellow beats with flute and horn accompaniment, low and slow keyboard licks and multi-dimensional percussive tracks. Notable contributions come in the form of scratches by DJ Disk, drums and raps by The Roots’ ?uestlove and Black Thought (respectively), and the vocals of Zap Mama. Zen’s standout track, "Vision of Art," is anything but mellow, and features NYC’s hardest rapper, El P, who flows with wicked and deadly raps over a reversed bass bomb beat that hits with authority
In 1973 Tangerine Dream signed with Virgin Records, recorded Phaedra and embarked on the most commercially successful and critically lauded phase of their existence. What made Phaedra different from Tangerine Dream's earlier albums was the use of the sequencer (the band had used sequencers on their previous recording, Green Desert, but that album was not released until much later), a device that was a crucial component of the band's classic style. Take the sequencer patterns out and what you are left with — spacey phrases produced by Mellotron, organs and synthesizers — isn't tremendously different from what the band had already been doing.
With those patterns in place, though, the music takes on a whole different dimension. What had once sounded airy, atmospheric — even free-form — moved with significantly more purpose and drive once locked into that mechanical pulse; by contrast, the passages without sequencers are rendered all the more effective. Nowhere are these new developments more definitively on display than Phaedra's powerhouse title track. Almost as great is "Movements of a Visionary," a piece of similar style that packs in even more of the band's new hi-tech toys. Ironically, though, it's the sequencer-free "Mysterious Semblance at the Strand of Nightmares" that I think is the album's best. With an unexpectedly moving sense of grace, the piece absolutely perfects the "cosmic cathedral" atmosphere that recurred across the band's earlier records.
Phaedra is a landmark album of 1970s electronic music and was also Tangerine Dream's most accessible and "musical" to date. I think that it is the best of the band's first six albums and one of Tangerine Dream's two or three best overall
This apparently anarchic orchestra happily proceed through folk (Run For Cover), lullaby pop songs (Pray, Rock, Stone, Paper, Scissors), epic cinematic constructions (It’s A Fantasy / Everyone Has The Right To Protest…) and sweeping pastoral moments (Imagination Of A Watermelon) to reveal a truly inspired and somewhat unique atmospheric nature.BOOMKAT
Working in relative obscurity for much of his career, Bruce Haack crafted a slew of albums between 1963 and the mid 1980s. As with many artists doing something a little bit ahead of their time, his work was largely unrecognized at the time he was creating it (despite being released on Columbia Records), and he died after a somewhat turbulent life. With a small, but growing batch of admirers, he was reworked by modern artists a couple years back on the Dimension MixThe Electric Lucifer is considered by some to be one of the very first electronic pop albums. Working with an army of Moogs and other vintage synthesizers, Bruce Haack made himself know as a composer of "kids" music, but the weird (and sometimes dark) themes that propel this release forward found him pushing into different territory. compilation, and fortunately a good portion of his work has now been reissued into the market. Originally released in 1970,
As one can gather from the title, The Electric Lucifer deals with a litany of religious themes, touching on temptation, the fall of the devil, and ultimately salvation. Many of these ideas and reflections are then run through a sort of technological spin, with the Moog-based music and odd vocals only furthering the vibe. "Electric To Me Turn" kicks things off, and is honestly one of the most catchy songs I've heard this year, regardless of era. As a load of swarming melodies pump and squiggle away, vocodored vocals veer back and forth between sung melodies and a sort of robotic doo wop.
One of the beautiful things about the release is that although it's very pop and rock oriented, it's never completely smooth sailing. There's a remarkable amount of noise and distortion on the release, and it literally sounds decades ahead of its time. "Cherubic Hymn" is more epic, with heavily layered vocals and instrumentation that makes it sound like some sort of bizarro rock opera song, as choruses give way to short spoken word sections and buzzy synth layers keep things constantly moving. Elsewhere, "War" seems to pack both sides of conflict into just under four minutes as a marching, buoyant (almost overly so) first half gives way to a sour, haunting latter section.Like "War," "Song Of The Death Machine" takes darker lyrics and sets them to a slightly more playful music backdrop (with almost lullabye vocals in places), but as always there's something just not quite right about it all. In addition to the thirteen-track original release, a long interview with Haack is included on the reissue, as well as an alternate version of "Electric To Me Turn" (with sung vocals instead of vocodored ones). It's certainly not going to appeal to everyone, but those who enjoy strange pop music will wonder how they went so long without hearing it (I certainly did). It's a bit harsh at times, and does some completely unexpected things, but that's part of the joy of the release(almostcool)
So Many Dynamos represents the ever more beautiful evolution of common music into something inherently interesting and cool. Unlike other bands that are attempting the same metamorphosis, SMD succeeds in bridging the gap, maintaining singable and danceable material, while bringing so much more intelligent interplay to the table.
She creates an atmosphere of such intimate ease, you feel
as if she's singing for you alone.Entertainment Weekly
This is very personal music, switch the lights off and keep it very very close to your chest. Gorgeous.BOOMKAT
Anaïs Mitchell is going somewhere, and you’re invited to come along. Chances are it’s a trip you won’t soon forget.
Zombi is in love with that time-tested Goblin and Synergy sound, circa 1975-1982, and Moore and Paterra do an exceptional job of "musical remote viewing." Goblin and Synergy (along with Fabio Frizzi and Tangerine Dream, two other soundtrack icons) defined their niches in "giallo rock" and electronic prog
it’s a stunning fusion of Brazillian music, jazz and electronics, taking you into a world of seedy dimly lit bars, crumbling buildings and baking sun – upbeat and edgy through every track.
* If Betty were singing today she would be something like Madonna, something like Prince only as a woman. (Miles Davis)
* She introduced Miles to Hendrix's music and got him interested in the hardcore rock stuff. (Herbie Hancock)
* Betty was a G for real. (Ice Cube)
* When I first saw her album cover, I fell in love. (Rick James)
* Warning: She is pure uncut funk way ahead of her time. (Prince Paul) (De La Soul, Handsome Boy Modeling School)
* She was the first Madonna, but Madonna is more like Marie Osmond compared to Betty Davis. Betty Davis was a real ferocious Black Panther woman. You couldn't tame Betty Davis. (Santana)
Trout Mask Replica is Captain Beefheart's masterpiece, a fascinating, stunningly imaginative work that still sounds like little else in the rock & roll canon. Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 28-song double album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Atonal, sometimes singsong melodies; jagged, intricately constructed dual-guitar parts; stuttering, complicated rhythmic interaction -- all of these elements float out seemingly at random, often without completely interlocking, while Beefheart groans his surrealist poetry in a throaty Howlin' Wolf growl. The disjointedness is perhaps partly unintentional -- reportedly, Beefheart's refusal to wear headphones while recording his vocals caused him to sing in time with studio reverberations, not the actual backing tracks -- but by all accounts, the music and arrangements were carefully scripted and notated by the Captain, which makes the results even more remarkable. As one might expect from music so complex and, to many ears, inaccessible, the influence of Trout Mask Replica was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless future experiments in rock surrealism, especially during the punk/new wave era
As a suburban Californian kid, DJ Shadow tended to treat hip-hop as a musical innovation, not as an explicit social protest, which goes a long way toward explaining why his debut album Endtroducing... sounded like nothing else at the time of its release. Using hip-hop, not only its rhythms but its cut-and-paste techniques, as a foundation, Shadow created a deep, endlessly intriguing world on Endtroducing, one where there are no musical genres, only shifting sonic textures and styles. Shadow created the entire album from samples, almost all pulled from obscure, forgotten vinyl, and the effect is that of a hazy, half-familiar dream -- parts of the record sound familiar, yet it's clear that it only suggests music you've heard before, and that the multi-layered samples and genres create something new. And that's one of the keys to the success of Endtroducing -- it's innovative, but it builds on a solid historical foundation, giving it a rich, multi-faceted sound. It's not only a major breakthrough for hip-hop and electronica, but for pop music
The teen-band pride of San Jose, CA, the Syndicate of Sound scaled the heights of the rock & roll world for a very brief moment in the summer of 1966 with their Top Ten hit "Little Girl." With a catchy, jangly electric 12-string riff, a solid beat, a macho teen vocal, and a chord progression heavily influenced by "Hey Joe," the tune perfectly mirrored the sound of the times and was a can't-miss hit, a British sound played with American garage enthusiasm. But their success ride was short; within a year or two, their ranks were decimated from the draft, touring exhaustion, and the musically changing times. This reissue serves as their lasting legacy, combining the original 12-song album with four bonus tracks. Kicking off with a pair of souped-up R&B covers, the album casts a pretty wide net, with half of the tunes penned by various bandmembers. Of these, ballads sit alongside rockers like "Lookin' for the Good Times (The Robot)" and "Rumors" (complete with Yardbirds-style fuzz guitar rave-up in the middle), while the Kinks-style "That Kind of Man" is an imaginative British-sound knockoff. The outside material, however, is where the band shows their true chameleon-like strength. Covers of the Hollies' "I'm Alive," Louis Jordan's "Is You Is or Is You Ain't My Baby" (via Buster Brown's version), the Sonics' "The Witch," and Roy Orbison's "Dream Baby" show a band that could either play a song "just like the record" or bring their own twist to the proceedings