sexta-feira, 20 de outubro de 2017
"Haris Pilton and Gypsysoundsystem first met in Ljubljana in 2008. After an evening of fire onstage, they have kept in touch and played together several times in Europe. In 2011, the musical collaboration enriches the friendship of these three stage pyromaniacs."
This is the double album The Magic Winery that contains two (mini) albums: The Final Bottle and 12 Glasses. Haris Pilton comes from Celje as DJ Olga and Dr. Schnaps (Gypsy Sound System) come from Switzerland.
Lene Lovich (born March 30, 1949) is an English-American singer, songwriter and musician of Serbian and English descent based in England. She first gained attention in 1979 with the release of her hit single "Lucky Number", which peaked at number 3 on the UK Singles Chart and made her a leading figure of the new wave music scene.
Born in Detroit, Michigan, Lovich moved to England at the age of 13, where she met guitarist and songwriter Les Chappell, who later became her long-time music collaborator and life partner. She developed an interest in art and theater, enrolling at the Central School of Art and Design where she took saxophone lessons. In 1975, she joined the band the Diversions and shortly afterwards wrote the lyrics to Cerrone's single "Supernature". After the band broke up, Lovich started looking for another band that would let her join and contacted the radio presenter Charlie Gillett, who got her to record a demo of Tommy James and the Shondells' song "I Think We're Alone Now" and played it to Dave Robinson of Stiff Records, who decided to sign Lovich. The song was released as a single and appeared on her debut studio album Stateless (1978), which produced the single "Lucky Number".
She released two more albums, Flex (1979) and No Man's Land (1982), on Stiff Records. In 1989, she independently released the album March, before her 15-year hiatus. She focused more on her family but came back in 2005 with the release of her album Shadows and Dust.
quinta-feira, 19 de outubro de 2017
The Baby Grandmothers were a Swedish psychedelic rock band formed in Stockholm, Sweden, in 1967. Established after the dissolution of the R&B band, the T-Boones, the group enjoyed a cult following as the house band at the popular psychedelic music club Filips. Although the Baby Grandmothers rarely performed outside Sweden, the band did tour alongside Jimi Hendrix in 1968. In the same year, the group recorded an album's worth of material, which appeared years later on their self-titled album. The album is now considered an underground classic of experimental psychedelia.
Ingo Möll from Moers,Germany is the creative mind behind DeeLa. DeeLa is producing music since 2001 and what started as a four piece Band now is his own imprint for electronic music with a strong latin influence. It’s a funky fusion of Global Bass, Cumbia, House and Afrobeat. The Sound is the result of his experiments with traditional and modern music in a tight mix. Allways wearing his mask the colorful skull returns with a mash-up long player called “Ritmo De Las Calaveras”. It’s the opener of an ongoing series of mash-up releases in which Deela will take you on quests through diverse cultures and music styles from all over the world.
It’s a freeload – enjoy !!
Lands End biography (http://www.progarchives.com/artist.asp?id=198)
We could call LANDS END the first "aquatic progressive" band. The fact that they live on the shores of the Pacific Ocean seems like it has quite inspired these musicians and we find many allusions to the sea in their albums. Starting from rather simple neo Progressive rock, they built their own style made of energetic guitar assisted by keyboards, over which added vocals. Their music is very progressive, somewhere in the middle between PINK FLOYD, GENESIS and YES, and the musicians don't hesitate to adventure themselves into long instrumental jams.
On their second release "Terra Serranum", the band mixes beautiful calm melodies with more uptempo progressive rock which allows the talents of Fred Hunter keyboards and Francisco on guitars to shine. "Drainage" is a compilation of live performances in California and Mexico between 1996-98. On "Natural Selection", they perform a lyrical and elaborated Progressive rock with refined and powerful melodies. This is a release of 74 minutes of pure quality music. Their music appeals to fans of THE MOODY BLUES, RITUAL, STEVE HACKETT and PINK FLOYD.
quarta-feira, 18 de outubro de 2017
The 26 Excellent Estrus Spicey Sizzlers Sampler CD showcases the label's roster of mostly punk and garage revival groups, including the Coyote Men, Impala, the Insomniacs, Man or Astroman?, the Mono Men, the Nomads, the Untamed Youth, the Volcanos, and many others.
For the fans of jazz from the thirties and forty years. Incorporated from 78 tourneys. Remembers the "Deelder turns" triology. For music styles, the CD is divided into three chapters: Oriental Nitty Gritty (Middle Eastern), The Spanish Tinge & The French Connection (Carib) and Ritmo & Blues (South of the United States).
1. Blue Flamingo - Intro: Welcome To The Casbah
2. Sidney Bechet & His Circle Seven - Casbah
3. Duke Ellington And His Cotton Club Orchestra - Arabian Lover
4. Lil Armstrong And Her Swing Band - Oriental Swing
5. Mill's Blue Rhythm Band - Congo Caravan
6. Fats Waller & His Rhythm - Abdullah
7. John Kirby And His Orchestra - Dawn On The Desert
8. Morton, Jelly Roll - Intro: The Spanish Tinge
9. Alphonso Et Son Orchestre Typique Antillais - Mettezi I Dero
10. Don Azpiazu And His Havana Casino Orchestra - El Manicero
11. Lionel Belasco Y Su Orquestra - Juliana
12. W. Houdini & His Royal Calypso Orchestra - The Welcome Of Their Majesties
13. Alphonso Et Son Orchestre Typique Antillais - Chain La Lou
14. Lecuona Cuban Boys - Rumba Tambah
15. Brown, Charles - Hot Lips And Seven Kisses
16. Lloyd Glenn - Ugh
17. The Moonglows - Tempting
18. Blackwell, Otis - Daddy Rollin' Stone
19. Joe Liggins & His Honeydrippers - Going Back To New Orleans
20. Christine Kittrell - You Ain't Nothing But Trouble
21. Kid King's Combo - The Sneak
22. Big Maybelle - That's A Pretty Good Love
23. Vin Strong - Swinging The Mambo
Hiro Yanagida biography (http://www.progarchives.com/artist.asp?id=5556)
HIRO YANAGIDA, born in Japan in 1949, appeared on stage for the first time as one of members of The Floral in 1966 through the audition for the Japanese Branch of The Monkees Fan Club. In 1969 The Floral changed their name into Apryl Fool, famous as an improvised psychedelic rock band in Japan, and was disbanded soon after recording their eponymous album. Whilst playing in FOOD BRAIN and LOVE LIVE LIFE + ONE, he released four albums as a solo artist - 'Milk Time' (1970), 'Hiro Yanagida (Nanasai No Rohjin Tengoku)' (1971), 'HIRO' (1972), and 'Hirocosmos' (1973) - all of those could gain much approval of worldwide psychedelic progressive rock fans or reviewers. Recently Hiro, as a session musician, has composed various songs for TV jingles or commercials.
terça-feira, 17 de outubro de 2017
For the last 5 years, Sean Marquand and Greg Caz have built BBB a Williamsburg, Brooklyn party of Brazilian rare grooves, Tropicalia, funk, soul, samba-rock and all points in between. Although both are Americans, the event has been fuelled by the several years Sean spent in Bahia and Greg's complete immersion in Brazilian music in every and any form, from any era. The party has developed into a local legend with the help of several much-loved underground mix CDs, and their reputation continues to grow in all parts of the globe: Sean's personal and successful mission to resurrect Black Rio's legendary Uniao Black, while Greg's rocked the hottest Brazilian parties around the globe, in this year alone London Germany, Scotland,Hawaii, Vienna, Istanbul and LA. Brazlian Beats, Brooklyn-style. Features the father of Brazilian Soul, Tim Maia; the legend of forro Luis Gonzaga; possibly the greatest civil engineer turned singer/songwriter in the history of Brazilian popular music Joao Bosco; leaders of the 'Young Guard' of the1960's Brazilian pop-rock scene Erasmo Carlos and Os Incríveis and many more.
An international Jazzhop and fusion collective put together by Gadget of Millennium Jazz Music.The Jazz Jousters collective was formed in June 2012 by Millennium Jazz Music’s founding manager Gadget, who challenged the group to sample certain Jazz tracks while paying tribute to a different Jazz great in each session and releasing the submissions via the MJM label. This resulted in a new album consistently being released digitally every two weeks for the first two seasons, and then monthly in their third season in 2015. At this point all involved agreed that it was time to honor the listeners cries and attempt to put out some physical material in season four, The first of which was the 25 track compilation‘The Vault-Best of The Jazz Jousters ’double 12” managed by MJM & HHV.de to celebrate the past three years of tribute albums.
Season four was a ten part cassette series called ‘Locations’ which focused on Jazz from various countries such as, Japan, Brazil, Italy, Germany, France, Nigeria, Poland, Canada, Cuba and concluding with England.All volumes sold out and often had to be restocked.The success of the Locations series enabled MJM to press the Jousters first official 12” vinyl album entitled ‘Endurance’, released in May 2016.
After a well deserved break to focus on individual projects, the Jazz Jousters collective have returned for their fifth season to do another Locations series, but this time on vinyl. Locations: USA is the first of that series, and the saga continues!
A year of Jazz Jouting
The Next Chapter
Resense continues to bring the heat, this time with this flaming hot 45 that has some killer latin breaks with a unique touch that are perfect for the dancefloor !
Broken Beat - Nu Jazz
Two beautifully crafted breakbeat funk jams from party veterans Renegades Of Jazz. "Green Leaf Woman" takes a pinch of sixties psychedelia and blends it smoothly with Fatboy and Riva style big beat breaks. "Verano Del Corazon", meanwhile, looks to Cuba for inspiration. With warm vocal refrains, hip-shakingly loose percussion and a lovely lolloping double bass lick, it's ideal for any outdoor daytime bashes you've got lined up this season.
Broken Beat - Nu Jazz
The Bas Lexter Ensample is a project by acclaimed multi-instrumentalist Bas Lexter who combines a love of jazz, big band music, reggae, funk and of course sampling to create a unique multi-genre sonic world of his own. This eight-track mini album features a multitude of sampled jazz breaks, ragga and hip-hop MC flows, all married to tight funk grooves and reggae skanks. Party starting stuff!
segunda-feira, 16 de outubro de 2017
Anthony Phillips biography (http://www.progarchives.com/artist.asp?id=779)
MIX OF PROGRESSIVE CLASSICAL ROCK, NEW AGE & FOLK
Anthony PHILLIPS was one of the original founding members of GENESIS featuring Peter GABRIEL, Tony BANKS, and Michael RUTHERFORD. Following "Trespass", GENESIS' second album, PHILLIPS left (purportedly due to stage fright) and was replaced by Steve HACKETT. Nothing was heard again from Anthony until 1977, when he favored us with his first solo, "The Geese and the Ghost", although PHILLIPS wasn't the first member of the band to release a solo album (that honor goes to Steve HACKETT, by releasing "Voyage of the Acolyte", in 1975). A more commercial audience was courted on "Wise After The Event" and "Sides", to no avail, and PHILLIPS spent much of his time releasing instrumental pieces (both old and new) under the "Private Parts & Pieces" series. Steeped in classical, pre-Baroque, and folk influences, he was able to record entire albums featuring only his acoustic instrument. He is one of the world's masters on the twelve string guitar and piano compositions that hark back to GENESIS' original lost innocence. His studio recordings reveal a distinctive character to his compositions on those instruments as well.
Some of his albums are more "progessive" than others, especially "Sides" (INTERESTING CD), "Private Parts and Pieces II" (A MUST! for fans of early GENESIS), "PP&P IX", and "Wise After the Event" (A MASTERPIECE); others are more "classical" in style like "PP&P III", "PP&P V", "PP&P VI" or "poppy" like "Invisible Men" and a few tracks on "Sides". Anthony PHILLIPS' 1977 debut album is one of the best works, but all of them are excellent. This album (1977) by Ant is my second favorite PHILLIPS album after "Wise After the Event". Even more its a jewel for every Rock collection, but in its own particular genre (a mix of those quiet moments of "Trespass" of GENESIS+the medieval folkprog style by GRYPHON). As you well have gathered, "Anthology" (1995) is an album that has a compilation of tracks from his solo career. This album is the perfect introduction to the world of Anthony PHILLIPS.
Harvest Of The Heart_ An Anthology
domingo, 15 de outubro de 2017
For die-hard fans like myself, a new Devin Townsend release is nothing short of an event worthy of a national holiday, with so much of the anticipation coming down to not knowing what to expect. Townsend’s output has become increasingly genre-defying, with dark ambient, experimental noise, and even country, nestling alongside progressive and extreme metal. The latest release falls under the Devin Townsend Project banner and continues the epic progressive metal that started with Addicted, through to Epicloud and Z2 most recently, evolving the sound rather than completely reinventing it. Transcendence is a release that seems to look back, evidenced by opener ‘Truth’, a reworking of the same track that opened 1998’s Infinity. It may seem strange to open Transcendence with an old song, but I think it shows that we’re dealing with similar themes: the nature of the universe, human consciousness, and other similarly metaphysical and grandiose subjects. However, the key here is that Townsend is approaching these ideas with an entirely new frame of mind. This isn’t the post-mental breakdown, potentially drug-addled Townsend of 1998 – this is the sober and grown-up Townsend of nowadays, who examines the same questions with a view that is unclouded and grounded in a truth far more believable than the ‘Truth’ of Infinity. The song ends with Townsend softly singing “everything’s changed” and you get the impression he’s in a better place than he’s ever been before.
There are two other notable differences that jump out to me on listening to Transcendence’s opener, the first being the production. Townsend has always been known for a huge production style and while the scope of that sound hasn’t changed, it’s far tighter than it’s ever been before, with this probably being the best-produced Townsend album I’ve ever heard. This improvement seems to have come about from change in the way Townsend wrote and produced Transcendence. Instead of taking charge of all aspects of the making of the album, Townsend opened up and allowed greater input from the rest of the band, saying “I like to think after so many records with these guys that I don’t really have to be at the center of everything. I can trust a team of people – the right people – to help where I need help.” This help extended to the engineering, “I need an engineer who has better ears than me. My ears are getting tired after all these years.” The improvement a fresh pair of ears makes is evident and while Townsend is still directing the experience, more collaboration has led to more ideas and if this reduces the likelihood of burnout, I’m all for it.
The second of the two notable differences evident on ‘Truth’ is that the drumming is the best we’ve yet to hear on a Townsend release. For speed and sheer brutality Gene Hoglan’s your go-to guy, but Ryan Van Poederooyen has outdone himself on Transcendence, and you get the feeling he’s had greater creative control. Either that or he’s simply at the top of his game.
When ‘Truth’ finishes we’re left with the sparkling synth we became familiar with on Infinity, and no matter how many times I listen to it I can’t help but expect the snare rudiment of ‘War’ launching us into ‘Christeen’. Instead, we’re greeted by ‘Stormbending’, a song that brings to mind both 2003’s Accelerated Evolution as it does 1997’s Ocean Machine, the latter evoked in the echoey line, “I remember the rainy days in China Town”. ‘Stormbending’ is grand in scope, soundtrack-like in its evocative level of expression – if your soul is not lifted at the grand climax around 4 minutes in, you’ve got some searching to do.
The soundtrack level of spine-tingling doesn’t end on ‘Failure’. Three tracks in and we see that while Transcendence is instantly familiar, it manages to be refreshing and novel, with hooks so strong that they only improve with repeated listens. Also on display is some of the best singing yet from Townsend, with higher registers fearlessly explored. As I listen to this song, I cannot help picture in my mind the trailer to this album, hair-raising in its theatrical intensity.
Single ‘Secret Sciences’ hits all the right chords when it comes to positioning Townsend as the leader of “happy metal”, while ‘Higher’ reaches Strapping Young Lad levels of heaviness and is one of the best songs on the album: it begins gently with acoustic guitars and explodes halfway in, rapid double kick drum abound as do shouted vocals. At 8 minutes a choir-led crescendo supports the song’s transcendental theme. If Infinity was Townsend’s God-complex then ‘Higher’ shifts this perspective to something more mortal, looking down at himself rather than down at everyone else.
The rest of Transcendence continues to surprise and delight at every turn. Title track ‘Transcendence’ lives up to its name; ‘Offer Your Light’ is J-pop in its electro euphoria; while ballad ‘From The Heart’ slows things right down. The final track ‘Transdermal Celebration’ is a cover of the Ween original that ends things in typical arm-waving fashion.
Transcendence is certainly up there with the best of Devin Townsend’s albums and while it’s more evolution than reinvention, the increased collaboration hints at even greater experimentation to come in the future.