FRIVOLVOL

Desde Tampere, Finlandia nos llega esta banda, muy recomendada por radio 547 la cual a ritmo desenfrenado disfruta y nos hace divertir con diversos estilos más allá de demostrar que su sonido es crudo y con mucho sobresalto teniendo como participación las guitarras desenfrenadas y el ritmo sin dudas muy agitado, así encontramos entonces a estos finlandeses tratando de encontrar un lugar en algún chart europeo o por qué no, americano donde seguramente existe un público tan heterogeneo como diverso.

http://www.myspace.com/frivolvol

KENT

Kent es una banda de rock sueca fundada en Eskilstuna en 1990, con el nombre Coca-Cola Kids, más tarde Jones & Giftet (Jones y el Veneno), y Havsänglar (Ángeles de mar). Ha tenido varios grandes éxitos en la radio sueca, desde el rotundo éxito de Kräm (så nära får ingen gå). En la actualidad, Kent es probablemente la banda de rock más popular en Suecia, pero son unos grandes desconocidos fuera de Escandinavia debido a que sus letras están en sueco. La banda ha intentado hacer carrera internacional con versiones en inglés y en sueco, de sus álbumes Isola y Hagnesta Hill, acompañados de giras en Estados Unidos, pero desistieron tras no haber logrado el éxito esperado, e incluso poniendo en peligro la estabilidad de la banda.

http://www.myspace.com/kentsweden

RITMIKA

«Ritmika» is a playing-n-singing Russian duet from the city of Rostov-on-Don, which performs music of the mixed type. «Ritmika» supports traditions of rock music and impulse electronic of the German style.

http://www.myspace.com/ritmikamusic

DASHBOARD CONFESSIONAL

Deluxe two CD edition includes a bonus CD that contains acoustic versions of thealbum's 12 tracks. 2009 release, the sixth studio album from this Alt-Rock outfit lead by Chris Carrabba. Alter The Ending is the official follow-up to 2006's gold Dusk And Summer. The album was produced by Butch Walker, noted for his work with Weezer, Fall Out Boy and Pink, and co-produced by Adam Schlesinger (Fountains of Wayne). Features 12 tracks including the first single 'Belle of
the Boulevard.

http://www.megaupload.com/?d=V9Q9LJCD

SMOKE SELLERS

Banda argentina de indie rock y electropop formada en 2008. A estas alturas en indudable el potencial de músicos que hay en Argentina y en general en Sudamérica, con una escena independiente digna de mención cada vez que se tiene oportunidad y así me lo hacéis saber muchos de vosotros. Smoke Sellers vienen de la ciudad de Córdoba, Argentina para darnos lo mejor de ellos en forma de canciones que van desde el rock más primitivo hasta el electro más contundente con influencias que llaman la atención como la de Bowie, T-Rex o Nirvana. Todo esto lo han metido en una batidora y ha salido un sorbete con destellos fluorescentes que seguro les hace llegar muy lejos.

http://www.myspace.com/smokesellerband

DJ ADRIAN GONZALEZ

DEEJAY TOPO GONZALEZ ::::::::: ARGENTINA

 

Nació en Saladas – Corrientes – Argentina y comenzó su carrera en el año 1989 tocando discos de vinilo en una emisora radial propiedad de su abuelo en dicha ciudad. A la edad de 15 años llegaría una productora de eventos “Mambo Producciones” interesada en contratarlo como dj para sus noches de sábado y en la cual empezó a tocar para mas de 1000 personas por fiesta. Luego fue contratado por una discoteca “La Cantina” y fue residente durante 2 años. En 1996 pasa a tocar sesiones para “Blaster Dance”, otra discoteca local y permanece en ella hasta el año 1999. Su calidad de mezcla así como su buen manejo de pista le daba la versatilidad de tocar en discos y pubs paralelamente como “el iglú”, “noctua”, también musicalizando eventos de jerarquía provincial. En el año 2003 proyecta su carrera en Buenos Aires donde empieza integrando el staff de dj’s de la empresa “Due” tocando por todo Capital Federal y alrededores. En el 2005 es contratado como remixer por el estudio High Remix haciendo remixes para varias editoras mundiales. En el 2007 el prestigioso electrobar de recoleta “The Spot” lo suma como residente y es ahí donde pudo experimentar sus creaciones como productor dentro de la pista obteniendo muy buenos resultados. Actualmente es uno de los integrantes de T&T Producciones, propietarios del exitoso programa radial “8k Música Inteligente”. El Topo ha sabido llevar su carrera desde un pueblo en el interior de la provincia de Corrientes hasta Capital Federal, cosechando éxitos con una mezcla exacta de esfuerzo, dedicación y talento. Reflejando que las metas se pueden alcanzar si uno trabaja para ello y sin bajar los brazos ante las adversidades. Ahora ha llegado a hardmusic para hacernos descubrir, con su exquisito gusto musical abarcado mayormente al progressive house, los sonidos mas elegantes y esteticos de la electronica mundial.

DJ Topo Gonzalez - Adamant (Original mix) by djtopogonzalez

ASOBI SEKSU - HUSH

“Sexo casual” o “sexo divertido” sería la traducción literal del japonés de este dúo estadounidense de indie rock, proveniente de la ciudad de Nueva York e integrado por la americana-japonesa Yuki Chikudate (teclados, voz) y James Hanna (guitarras y coros).Un sonido cristalino, guitarras delicadas y una voz extraordinaria. Es así como Asobi Seksu ofrece en este álbum claras referencias al género shoegaze en su variante más pop (Cocteau Twins, Lush, Pale Saints, Mahoganny y Chapterhouse). La producción de Chris Zane (Les Savy Fav, Ambulance LTD) aportó al sonido Asobi Seksu potencia y misterio. Las doce canciones que componen el disco son: Layers, Familiar Light, Sing Tomorrow’s Praise, Gliss, Transparence, Risky and Pretty, In The Sky, Meh No Mae, Glacially, I Can’t See, Me & Mary, Blind Little Rain. Sienten eso en el aire? Si! Es un nuevo álbum de Asobi Seksu, Yuki Chikudate y James Hanna vuelven al ataque con un nuevo álbum! Después del Citrus de 2006, el dúo proveniente de Nueva York nos presenta su producción mas reciente, titulada Hush. La mejor manera de describir el sonido del álbum es "Parecido Pero Distinto", en el sentido que sigue sonando y sintiéndose como un álbum de Asobi Seksu, pero la sensación se logra a través de medios distintos. Mientras que su álbum homónimo y la producción del 2006, Citrus destilaban guitarras distorsionadas que creaban un muro de sonido propio del shoegazer, combinado con arreglos menos espesos de guitarra y con la eterea voz de Chikudate, Hush nos presenta un sonido mas propio del Dream Pop, en el que el muro de sonido no se logra a partir de guitarras distorsionadas hasta el punto de quiebre, sino que se obtiene a partir de sucesivas capas de la voz de Yuki, como ocurre en Gliss, mientras que en In The Sky tal efecto se logra a partir de los arreglos de sintetizador, e incluso de percusión, presentando un hermoso efecto envolvente. Aun así, hay cosas que siguen recordandonos al anterior sonido de la banda, como es el caso de Me & Mary, el primer sencillo del álbum, con una guitarra mas distorsionada que aunque ciertamente no puede ser considerada como una canción menor, es demasiado parecida tanto en instrumentación como en estructura a otros temas de otros álbums de la banda. Con un sonido mas propio del Dream Pop que del Shoegaze, Hush de Asobi Seksu representa un sonido mas accesible para quienes se sienten abrumados por el género que popularizo My Bloody Valentine, y que se convierte en un buen punto de entrada para concoer a esta banda Neoyorquina.

GENERAL ELEKTRIKS

The sophomore release from General Elektriks (a.k.a. Honeycut/Blackalicious keyboardist Herve Salters’ solo project) is, much like Honeycut, a quirky mix of retro funk and New Wave-y indie rock with some sublimely orchestrated musical moments. Salters is no Serge Gainsbourg, but the passable falsetto he displays on “Take Back the Instant,” “Little Lady,” “Engine Kickin’ In,” and “You Don’t Listen” suggests he may have picked up some vocal tips from Honeycut bandmate Bart Davenport. His lyrics also prove compelling, especially when placed over a backdrop of consistently engaging rhythmic ideas. Swerving from moody, melancholy dirges to Stratocaster-like synth squeals to foot-stomping ragtime riffs to clap-happy uptempo tunes, Good City for Dreamers continues Quannum’s recent hot streak.

NEON INDIAN

In the realm of Neon Indian's Psychic Chasms, producer Alan Palomo is the wizard behind the curtain and his own personal Oz has no future, only memories of life and music past. Besides crafting the album's psychedelic electro sound and "check out these old tapes I found in the trunk of my car" aesthetic, Palomo finds time to muse on missed opportunities ("Should've Taken Acid With You") and lousy vacations ("Deadbeat Summer") while synth tones seemingly lifted from '80s sci-fi VHS and guitar licks pilfered from his parents' records dance around his slacker nostalgia. Throughout the album, Palomo doesn't want to take you anywhere, but rather sit with you, roll a joint, and talk about what was and what could've been.

THEMSELVES

A decade after two young Oakland transplants came together as Themselves, the now-seasoned artists, MC Doseone and producer Jel, have returned from their many projects to reinvigorate the seminal collaboration. The resulting album is a digestibly eclectic piece of psychedelic hip-hop that easily rivals their past work. Doseone's rhymes rarely sound more vehement and clearheaded than they do on vocal workouts "Oversleeping" and "You Ain't It," while "Roman is as Roman Does" and "Skinning the Drum" exhibit Jel's skill in fashioning both traditional beats and leftfield productions. Those who couldn't navigate the dense experimentation of the duo's debut, Them, but enjoyed traversing the more "accessible," atmospheric beats of Anticon supergroup Subtle, should find CrownsDown a greatly rewarding listen.

EL PERRO DEL MAR

Sarah Assbring (a.k.a. El Perro Del Mar) takes a break from the baroque Spectorian pop of her first two LPs on Love Is Not Pop, which was produced with assistance from Rasmus Hägg, one half of balearic duo Studio. Puffs of Ibiza air don't do much to remedy Assbring's permanently inconsolable mood, though the scenarios are less coded than in the past—"Gotta Get Smart" opens the album with Assbring setting up a lover for a dumping apparently long in the making. Wading through the responsibility of being the dumper rather than the dumpee means that the most fascinating moments here are the slighter ones. "Let Me In" is the album's most sublime moment, with Assbring's voice lurching ahead, wrapped in a zero-gravity production style that wouldn't be out of place on Arthur Russell's Calling out of Context.

OOIOO

OOIOO's superkinetic music is subject to the subtle changes and smart inconsistencies of a band with enough ideas to think three albums ahead, yet focused enough to remain totally committed to the present. Arminico Hewa follows in the densely percussive style of 2006's Taiga but initially sounds a little more cluttered—the earlier album's taiko-like floor-tom patterns move over in favor of rushing punk snares on AH. But when these four ladies slow their roll, as they do on Okinawa disco jam "Honki Ponki" and during the extended post-post-rock guitar breakdown of "Uda Hah," they reveal incredible vistas that develop Taiga's cosmic punk vibe even further.

DADA LIFE

Is it possible to cuddle an album? Because the new album from Swedes Stefan Engblom and Olle Corneér (a.k.a. Dada Life) is kind of adorable. The tongue-in-cheek house here combines acid, electro, and a certain mischievousness, with results that are simultaneously kitschy and polished. In the wrong hands, first single “Happy Hands & Happy Feet” could have devolved into saccharine tweaker-fest, but Dada Life uses darkly driving synths to keep the sugar in check. “Don't Snort the Yellow Snow” features slabs of thick distortion and “Cheap Thrills for a Lost Generation” is stutteringly implacable. One could even say that the music is actually good enough to forgive the wretchedly cheesy album title.

HUDSON MOHAWKE

Glasgow wunderkind Hudson Mohawke may have titled his debut full-length Butter, but that doesn't mean that the music from this LuckyMe affiliate goes down smooth. That's not to say the music and production isn't on point—it's just that HudMo's ADD cutting and splicing gives his 21st-century digital R&B a hyperactive feel that borders on overwhelming. That said, Butter's playful spirit and choppy crunk bounce are a real breath of fresh air, a sensation only heightened by soulful guest turns from Olivier Daysoul and Dam-Funk. And when he calms down a bit, the results are absolutely sublime—"FUSE" is in the running for song of the year and "Star Crackout" sounds like DJ Shadow's Endtroducing updated for Generation Twitter.

REDSHAPE

Out-of-control revelers at Berghain might disagree, but it seems like a lot of new techno has been greeted with a collective yawn from the dance music community in 2009. Enter Redshape, a mysterious masked man from Berlin whose debut full-length just might provide the techno world with the true north it so desperately needs. Sure, the album has its headier moments—see the slow burn of aptly named album opener "Seduce Me," the tape-hiss clicks and clacks of "Garage GT," or the synth-soaked trip-hop tumble of "Man Out of Time"—but The Dance Paradox never sounds aimless or without purpose. "Globe" and especially "Bound (Part 1&2)" turn up the intensity with sweaty Detroit undercurrents and sci-fi analog synths, while "Deep Space Mix (Edit)" tempers its shuffling backbone with foreboding alien squelches and a seriously sinister vibe. Many techno producers struggle with the album format, but The Dance Paradox is urgent, spooky, and absolutely essential.

WISSE OWL RECORDS

We love you. A lot. Like almost as much as your mother does. And that's why we give you free, high-quality, full-album downloads of every release we put out.
Wise Owl Records began its existence in a primitive form in late 2006. It was created by Jim Phillips for the primary purpose of exposing his own music to a wider audience via the internet. As time went on, several of his friends and acquaintances became interested in the project and Wise Owl became a community of like-minded artists. To this day, our most important principle is the freedom of creativity. We believe that art in all its forms is essential to the well-being of humanity and, as such, is priceless.

All Wise Owl Records releases will always be 100% free and legal to download

http://wiseowlrecords.com/

KAMERA

The first thing that sticks its head out on Kamera's debut album, Resurrection, is the revivalist production sound. Bjorn Öqvist's heavy handed 80's synthpop production doesn't do the band any favors. Next time, if there is one, this 5 piece should seek out someone who could roughen up their material a bit. The band is signed to the same label as Coldplay, Nettwerk Records, in the states so the suits there probably have the pop charts in their sights. It's a shame because they aren't really ready for the heights their label expect them to reach. Kamera have already been releasing music in their native Sweden for the past few years but US fans will probably lump them in with other new wave revisionists like The Bravery. While this might not be entirely fair, tracks like "Borderline" and "TV Lights" with their heavily keyboard laced hooks don't help the matter. Sure, moments like the dance floor ready "Fragile" would probably work well in a club setting but on your home speakers they'll just fade into background noise. Don't get me wrong, the band know how to craft their songs well enough but mere competence isn't enough this time around. For the Kamera to have any shot at longevity these Swedes will have to look past their influences next time around.

http://www.kamerastyle.com/

BOY CRISIS

Boy Crisis are an electro-emo-pop-rock band who seem to like their rhymes. In the first song, "Dressed to Digress", almost every line
rhymes, which gives quite a good effect to a song which I wouldn't expect myself to like, although I think it is alright.To be fair, it does have a catchy rhythm but the lyrics aren't very good. If you are into this genre of music you will like this song, but it's not really my kind of thing. The next song on the album, Bohemian
Grove is slightly different; it is slower and let dance, more electro. It isn't as good as Dressed to Digress. Sex & Violence starts slow again but once it gets going it has a good beat to it and it is catchy
again. The two final songs at the end of the album are similar again,
all of the songs are similar, but they don't have the same effect on
the listener as Dressed to Digress which is certainly the best song on
the album. They aren't as catchy. Dressed to Digress is a good song, it
isn't really for me but if they had more songs as good as this one
they'd have a decent album. I'd certainly recommend it for anyone who
is into electro or dance music.

ASOBI SEKSU PERU

 

 

 

 

 

 

 

 

 

 

 

 FOTOS EXCLUSIVAS !!!!

De vuelta a las andanzas urbanas -limeñas, aunque sea tan solo por unos días. De hecho que al mencionar “Lima”, no todas las cosas que confluyen por nuestras cabezas dan la idea de perfección, si no por lo contrario arrastran aspectos no favorables tales como el desorden, el stress o la polución, pero a pesar de todo ello se sobrepone mi rutinaria forma de vida. Tal vez no sea oportuna la mención, pero me he encontrado fuera de la ciudad (repetitivamente, por cuestiones laborales), es por eso que aprovecho la ocasión para explayarme aunque sea un poquito. Tenía presente hace ya buen tiempo la llegada de los newyorkinos de Asobi Seksu a la capital; agradable la idea, pero de igual forma se tejía (como es natural pensar acá) algún sentimiento de desconfianza de solo pensar que el proyecto se pudiera caer. Ya faltando menos tiempo confirmaron su presencia y consecuentemente pude programar una salida y darme una vuelta por acá. No quería que se repitiera la misma sensación como cuando Airiel toco por acá, y desde luego no era mala la idea de materializar en directo algunas de las canciones que musicalizaban mis días de hace un par de años atrás. Ya después del incomodo viaje (como todos) y del ajetreado día, pude llegar a tiempo para ver a la simpática nipona y compañía. Se puede decir que llegué algo tarde, puesto que Resplandor presentaba su última canción de la noche, y ni que hablar de Sonoradio quién fue la primera banda invitada. Con respecto a los teloneros de la noche, debería haber mejores ideas de compatibilidad e innovación, con la finalidad de crear un adicional aliciente para el público [uno: me parece que Sonoradio no es compatible con el plato de fondo; dos: porque no invitan a otra banda que ya no sea Resplandor, tal vez sea muy obvio pero hay otros proyectos como por ejemplo Orquidea] (no pretendo sembrar pesimismo, solo es una opinión en post-mejora de los bienvenidos Automatic-eventos). Música previa de fondo, cuando de repente se hizo presente en la plataforma, una chica de vestido celeste-turquesa-brillante, indudablemente se trataba de Yuki Chikudate (vocales), ella y sus compañeros acomodaban y afinaban sus instrumentos mientras se percibía en la sala, canciones de Jesus and Mary Chain o Soundpool. Fue de repente cuando se irrumpieron las melodías de unas ‘Corrientes Circulares en el Tiempo’, avisando de esta forma que el concierto empezaría ya. Aplausos ‘apesumbrados’ de bienvenida y un ‘Walk On The Moon’ que marcaba el inicio de la noche, buen performance del cuarteto y muy destacable la voz de Yuki. Seguidamente, como suele pasar en anteriores casos, es en la segunda canción del set list en la que se halla una de las razones por la cual asistí al concierto; un enérgico ‘New Years’ en el que Yuki se hacía ver muy extasiada con sus aleatorios movimientos de su melena y las manos siempre ligadas a su teclado, ella hacía relucir su aguda y tierna voz que se entreveraba con los toscos rasgueteos guitarreros, apabullados por la efervescente batería; toda aquella amalgama sonora era acompañada por múltiples y coloridas espirales concéntricas, proyectadas al fondo del escenario. Seguidamente surgía la mybloodynesca ‘Pink Cloud Tracing Paper’, tercera canción de la noche, canción en la que James Hanna hace de voz principal, mientras que Yuki pasa a hacer los coros. Más adelante se sumaba un infaltable ‘Strawberries’, en la cual Yuki entonaba vitalmente la canción con pandereta en mano. Pensé que el final llegaría con el clásico ‘Thursday’, equivocada intuición, equivocada sensación final al ver que el público no coreó a la banda después de su desaparición para su pronta reaparición. Memorables los instantes en el que Yuki Chikudate, en papel de chica mala toma la batería haciéndola estallar para el deleite del público espectador, o también cuando en el final del concierto, ella lanza al suelo su micrófono envuelto de luces rojas, haciendo estallar de esta forma, alguna de ellas.
Evidentemente el ‘Citrus’ ha sido el motivo de mi presencia; disco al cual califico de simpático o agradable, disco que en su momento lo escuché mucho sin llegar al empalague.

ALTOCAMET@EL OSO BAR LIMA-PERU (31/10/09)

 

 

 

 

 FOTOS EXCLUSIVAS!!

La banda estadounidense Asobi Seksu, los argentinos de Altocamet y los nacionales Resplandor participaron en el I Festival Shoegazing (estilo musical nacido en Inglaterra que se caracteriza por sus guitarras ruidosas y con retroalimentación) que se llevaró a cabo el 29 de octubre en Lima. Luego de encantar a toda la fanaticada local en su anterior visitaron el país con un extraordinario show y la hipnótica voz de Yuki Chukidate, Asobi Seksu, uno de los grupos con más arrastre de la escena neoyorquina, regresa al Perú para presentar su tercera producción, “Hush”, la misma que ha sido editada por el sello local Automatic Entertainment. Por su parte, Altocamet, banda de dilatada trayectoria que obtuvo recientemente el premio Gardel 2009 en la categoría Mejor Álbum de Música Electrónica, aprovechó este regreso a Lima para interpretar, sobre todo, los temas de su recientemente laureado "Mitad del viento. Remixes".
La oferta musical de la noche la completaron los peruanos de Resplandor. La banda liderada por Antonio Zelada, cuyo último disco fue producido y mezclado por el guitarrista de Cocteau Twins Robin Guthrie, aprovechó la ocasión para presentar su nuevo video, “Downfall”.

VRUCHTVLEES

Vruchtvlees got together with DJ Le Source (Musique Magnifique founder) and collected exclusive tracks from Holland and foreign countries. This resulted in the -already legendary- Vruchtvlees Mixtape no. 1. Expect a mix of Electro, House, Baltimore and Tech-house. A prestigious blend of high caliber, with delicious artwork and new exclusive tracks from Dutch upcoming talent like Beesmunt Soundsystem, Homework, Rubix, Blokgolf, Shook, Grand Jackson, RogerSeveSeventyTwo, Ravage! Ravage! and The Videoband. This is most definitely one cd to add to your collection.

Get em here including art work and tracklisting!

V.A. THE TOMORROW PEOPLE

‘The Tommorow People’ is our own definition for all of those forward-looking producers whose beats have changed the way hip-hop music is being perceived by creating a brand new outer space for it. As the twenty new planets were born inside we’d like to represent it.
This compilation is an encyclopaedia of the contemporary electronic sound, it is a digest of far-out musical constructions wrapped in a cosmic beats by the producers that’ve been already mentioned in our blog and many more. You will find the new guy Dalt Wisney with his drilling rapture ‘R2fux’, some hard-to-find tracks by Teebs, Loops Haunt and Ernest Gonzales, SamiYam’s freshness along with a Fulgeance’s nu-classic ‘Haggis’, Dimlite remixing Carlos&Gaby, LA favor Nosaj Thing and London-dandee Boxcutter, some exquisite collaborations and many more.‘The Tommorow People’ compiled by Sojitsu Nami special for Fly Glo and consists of two parts in a way from creation to destruction.We’re standing for the legal destribution so If you like what you hear you can download the tracks from digital stores or buy it as a physical unit at the nearest record shop. Peace!

DOWN http://rapidshare.com/files/300990042/VA-The_Tomorrow_People-WEB-2009-SOJ.rar

DORIAN CONCEPT

Supongo que ya mucho habreís oido hablar a estas alturas de este geniecillo austriaco que responde al nombre artístico de Dorian Concept. Son famosos ya sus videos en Yt freestyleando con su microkorg (WTF!), y ha dejado atonitos a los asistentes a la última Red Bull Music Academy en Barcelona, en donde participaba, gracias a la mezcla perfecta entre buena persona y virtuoso a las teclas. La gente de Kindred Spirits, que siempre tienen buen ojo para estas cosas, no han querido dejarle escapar, asi que para empezar el año con buen pie, preparan el lanzamiento en su serie Nod Navigators (plataforma desde donde se publicó el Megaplast) de The Fucking Formula, un 12" con 3 temas ENORMES de este mozalbete, y cuyos previews te harán querer pillártelo ayer ...No le llames ni wonky, ni glitch ni p....s en vinagre...esto es MUSICÓN y ya. atentos a este chaval, porque va a ser (aun más) grande.

http://www.myspace.com/dorianconcept

AUFGANG

 

DOWN http://rapidshare.com/files/300940906/A-A.rar

VIVA MACHINE

Viva Machine are a welsh rock band who started out in 2003 under the name Ipsofacto before changing their name and reinventing themselves in 2006 under the name Viva Machine. The band draw their influences from such bands as Clutch,Queens Of The Stone Age, Weezer, Jarcrew, Biffy Clyro, Radiohead and The Beach Boys.The band released their first single "My Jet Set Radio" on December 4, 2006,which whilst limitedly available, gained a small amount of radio play through BBC Radio 1, as well as being exposed through ITV show The Guest List where the band performed "My Jet Set Radio", "Robot Bodyrox" and "Earthquakers and Love
Shakers". Working with Future Of The Left and Duffy producer Richard Jackson the band
worked throughout 2007 on tracks for their debut, recording 15 tracks for the album, and then working on around 20 b-sides.[3][4] The band finished much of their album in mid-2008 and have since recorded further tracks for inclusion. Rough versions of some tracks that are believed to be on the album have appeared on the band's myspace page, including "Death Star Trucker", "Oxygen", "Futuristic Dracula", "Yo Ho" and "Robot Bodyrox".

ON THE GO

"Звуки.ру": «Если встречать тольяттинскую группировку по одежке – то записать их стоило бы немедленно в ньюрейв-батальон, но все же это было бы не совсем правильно. On-The-Go умудрились пройтись по всем стереотипам легковесного инди-рока последних пяти лет и ни разу при этом не выглядеть глупо. На стороне OTG педантично сформулированная стилистика: гибкий пост-панк на танцевальной платформе, плясовые ритмы и чистое англоязычное пение без надоевшего уклона в сторону кричалок и визжалок, как это свойственно коллегам. И умение подавать себя публике. Этим On-The-Go поразили даже непробиваемых любителей выбраться на зарубежные фестивали...»

DOWN http://sharebee.com/67b2742a

RYUICHI SAKAMOTO

DOWN  http://rapidshare.com/files/199406835/Ryuichi_Sakamoto_Live___Zepp_Tokyo__Tokyo__Japan__26-07-2005.rar

ELECTRIC SIX

DOWN http://rapidshare.com/files/301280127/ESK2F-By_Dr.Slanch.rar

BRING ME THE HORIZON

Suicide Season: Cut Up is a remix album recorded and produced by various musicians and producers for the British band Bring Me the Horizon, has been released on the November 2, 2009 in the UK. The album is a collection of tracks that are all remixes of songs featured on the bands previous album, Suicide Season. 2009 two CD release, a remixed version of the British Metalcore band's album Suicide Season. The idea for this release came about after the band asked a friend to remix one of their songs, and after being very pleased with the end result they decided to take it a step further and get the whole of Suicide Season remixed. On this double disc release, the whole album has been remixed by everyone from Utah Saints to Dillinger Escape Plan, Shawn Crahan (Slipknot) and Travis McCoy (Gym Class Heroes). Throw in L'Amour La Morgue (Ian Watkins of Lostprophets) and you have a seriously heavy hitting album! Visible Noise.

DOWN http://narod.ru/disk/14712934000/Bring%20M...(2009).rar.html
http://rapidshare.com/files/301516168/Brin...t_Up__2009_.rar

AXIOM 25 - Advanced 25-Key Semi-Weighted USB MIDI Controller

Top Features
25-key velocity-sensitive semi-weighted action keyboard with assignable aftertouch.
8 trigger pads, 8 rotary encoders, 6 reassignable transport buttons.
backlit LCD screen.
built-in USB bus-powered MIDI interface including standard MIDI In and Out jacks.
20 non-volatile memory locations; compatible with free Enigma librarian/editor software.

Don’t let the compact size of the Axiom 25 fool you. This advanced 25-key USB mobile MIDI controller features both semi-weighted action and assignable aftertouch, plus eight rubberized trigger pads that put drum programming and performance at your fingertips. Eight endless rotary encoder knobs let you get your hands on synth parameters, virtual mixer controls and more. Six transport controls can also be assigned to control other MIDI parameters. Virtually everything is freely MIDI-assignable—and the backlit LCD screen makes programming easy and intuitive. You get 20 memory locations for on-board storage, plus free Enigma editor/librarian software to manage an unlimited number of setups via computer.

 

Get Into the Action
The Axiom series of mobile USB MIDI controllers has everything it takes to get the most from your MIDI software and hardware. Semi-weighted action complete with aftertouch gives you great feel and expression for both synth parts and pianistic passages. Eight rubberized trigger pads put your drums at your fingertips for programming with feel—or easy fire samples or visual effects.

 

Total MIDI Control

Assign the eight rotary encoders to mixer controls like panning and effects sends, or to any synth parameters you want to control. Map the nine sliders to software mixer faders or drawbars on your virtual organ. 15 buttons*, pitch and mod wheels, and sustain and expression pedal jacks round out a tour de force of MIDI domination. Assigning controllers is simple, yet has the power to let you delve as deep as you want. Each controller can map to just about any applicable parameter in the MIDI spec, including independent channel addressing for each. The possibilities are limited only by your imagination. * six buttons on the Axiom 25.

 

Intuitive Front-Panel Programming

M-Audio Axiom MIDI controllers all feature a large backlit LCD screen for visual feedback—and the 61-key and 49-key models also place a 10-key pad right on the front panel for direct, intuitive programming. You’ll also find 9 dedicated front-panel function buttons to easily access common operations like preset / program change or MIDI channel +/-, octave +/-, and transpose +/-. Use the Controller Mute button to prevent parameters from jumping when you change them, for example, then press Snapshot to transmit all current settings. 20 non-volatile memory locations instantly save and recall your favorite presets—and you can manage an entire preset library on your computer via SysEx dumps and our free Enigma software editor/librarian for PC and Mac. 

Mobile Operation

The Axiom series is extremely compact and lightweight and all models are powered directly from your computer’s USB bus. Choose the size that’s best for your needs, then take your music anywhere you want to go.

ESTROE

En "elemental assets" Estroe define un sonido muy significativo y, a la vez, irónico, presentando características puras del minimal techno que atrapará a más de uno. No deja de sorprender sus diferentes sonidos y también su mixtura deja en claro que este disco tiene mucho para ofrecer, no solo porque significa un nuevo trabajo, sino porque a sus fans más basicos les encantará. Detrás de típicos sonidos minimal hay también que destacar la gran performance de este artista, ya sea bajo o en el escenario.

DOWN http://rapidshare.com/files/300123788/Estroe-Elemental_Assets-_CNS0032_-WEB-2009-320.rar

MORNINGWOOD

On their early EPs Morningwood only suggested the Pixies, since the songs were too anemic and trashy to really hit like that band's best material. It's a different story with the quartet's Capitol debut, where longtime Pixies producer Gil Norton amplifies the basslines
and coed vocal dynamics in re-recorded versions of early MW tracks like "Take off Your Clothes" and "New York Girls." (The early "Jetsettermusicletter" is trimmed down to "Jetsetter" here, but still plays off of "Wave of Mutilation.") Norton gives the songs
oomph, no doubt. But the fuller sound doesn't hide the sense that Morningwood is writing sexy catch phrases around rhythms that have been heard before. Vocalist Chantal Claret has a lot of sass, but while there are strains of the Gossip's Beth Ditto in her delivery, there's a haughtiness to everything Claret sings that sounds way too affected, like the too-perfect rumples in the togs of the scene-makers at any of New York City's hipster convergences. "Televisor" and "Babysitter" have their kicky buzz built in, and the bright synth-punk of "Nth Degree" is a promising departure. But Morningwood still feels like calculated fluff, even if it's calculated fluff that's mildly fun.

DOWN  http://rapidshare.com/files/298721176/ood.rar

WATERGATE 04 MIXED BY SEBO K

Onur Ozer, Sascha Funke and Konrad Black have all lent their different styles to the series so far, but next month will see the release of Watergate's housiest mix to date. Sebo K has been a Mobilee mainstay since the label's inception in 2005, with melodic tech-house grooves like "Moved" and his "Rancho Relaxo" collaboration with Anja Schneider providing some of the imprint's musical highlights. He also mixed up the label's Back Up Vol 1 compilation, but Watergate 04 will see the DJ ignore the techno stylings that
filled up the second half of his debut mix CD. Beginning with an exclusive intro track from dOP, the mix quickly takes off from their atmospheric arpeggios into smooth US deep house from Rick Wade,
Mood II Swing and Patrice Scott, while there are plenty of techier European selections from the likes of Blagger and Agnиs. While none of the tracks used are exclusive to the release, Sebo has been taking the knife to cuts by Martyn, Rndm and Je Davu, carving out unique versions of the tracks to suit the vibe of the mix.

DOWN   http://rs265.rapidshare.com/files/297376285/VA_-_Watergate_04__Mixed_By_Sebo_K-CD-2009-SQ.rar

FUCKPONY

Cuando dicen Fuckpony, viene a la mente la imagen más que desagradable de cierto enfermo mental, aprovechándose de la inocencia de un aterciopelado joven caballo. O, como gruñido de alguien que ha tenido un accidente con un caballo pequeño, y grita la expresión “Jodido Pony!!” No sé en cuál de estas dos opciones se basó Jay Haze para ponerse este alias, pero sin duda, es un alias de lo más curioso. Y es que este pequeño genio de la música electrónica, es uno de los artistas más elogiados en el mundillo, con una mente muy amplia de miras, gran ojo y gusto para seleccionar tracks para sus sellos Contexterrior o TuningSpork. En ellos descubrió a artistas de la talla de Troy Pierce o Matt John. Y, claro, después de su también alabada aparición en la serie Fabric (el número 47) el mundo de la electrónica estaba esperando este trabajo.
No está mal, aunque se va más por los cerros del pop ambiental y más atmosférico que por el minimal o la electrónica al uso, tampoco es de extrañar, ya que con esos fines se hace servir de su alias Fuckpony, como es el caso que nos ocupa. Un disco en el que no hay ni un solo sampler, hoy en día, es una pequeña joya. Y ese es uno de los méritos de este trabajo, que dentro de lo virtual, tiene mucho de “músico” al uso, ya que todas las melodías han sido elaboradas al más puro estilo “señor orquestra”.
Y esta mezcla de melodías y clicks y organillos, dan como resultado unos temas que realmente me han sorprendido, como son especialmente “I’m burning inside” o “You can’t touch but feel free to look”, o ese tema más directo a la pista de baile, con tono pálido de primeras horas del Sol matutino y frío de Berlín como puede ser “Orgasm On the Dancefloor Saturday Night”, al más puro estilo Jay Haze. Y claro, una persona que alquilo un estudio a medias con Ricardo Villalobos, no puede dar esquinazo al house en un larga duración que se vende como “en plena madurez”, y todo eso que suelen poner en las notas de prensa.
También encontramos otros temas con vocales, muy interesantes -muy similares al último disco de Kiki para BPitch algunos de ellos- y es que se sirven la misma vocalista Chela Simon para dar este toque Glam al disco. Si quieres unos cuantos temas para dar una buena escucha, este disco te puede gustar. Si buscas algo muy profundo o bombazos de pista de baile, no es precisamente lo que escucharás. Bueno, te dejo eldisco para bajar y escuchar...

DOWN  http://www.megaupload.com/?d=4RX3Q318

PANORAMA BAR 02 (MIXED BY TAMA SUMO)

After the well-received first installment from Cassy, the Ostgut lads have concentrated more on developing their Berghain collection of mixes, but it's now time to return upstairs to focus on the housier sound of Panorama Bar. Sumo (real name Kerstin Egert) has previously resided in some of Berlin's hottest nightspots, holding down a regular slot at the old Tresor club before she snagged one of the Panorama Bar slots.Upon first listen, it seems as if Sumo may have risen to the challenge, smoothly blending modern deep house cuts from John Daly, Kassem Mosse, John Roberts and Mike Huckaby with exclusive selections from Steffi, Levon Vincent, Lerosa and Shed. Things step up into slightly tougher territory for the last quarter of the mix, before winding down with new cuts from Sound Stream and Sumo herself (in conjunction with Prosumer).

 

http://rapidshare.com/files/297368444/VA_-_Panorama_Bar_02__Mixed_By_Tama_Sumo-CD-2009-SQ.rar

MURIAS POP

Bueno, ¡esto sí que es pop! Y se baila, para colmo. “No Me Conoces?” de Murias puede entrar, sin problema, en lo más clásico del pop argentino. El primer tema, “Si Hay Amor”, huele a Virus por doquier, pero con un buen update y duro-duro al dancefloor, con synths infecciosos a lo Depeche Mode y algo de New Order también. Canciones sobre amores rotos, cosas que no funcionan y la vida misma. “Yo No Te Atraigo”, lo que diría cualquier amante loser cuando se da cuenta que el rollo no va, se mueve entre camas de teclas y la voz de Julián totalmente en confesión. “Ingenuo” pisa un poco entre el electro más contemporáneo y experimentos audio que van bonito, comfort y música para volar. “Ella Es El”, bueno, es muy dancefloor también. “Dime”, quizá, es el corte más 80s del disco, muy OMD, y la línea de teclado que avanza. Nada mal. Los chicos loser también salen de noche.

http://julianmuriaspop.blogspot.com/

LAIN TRZASKA ( SHE )

Here’s a confusing sentence : She has announced completion of his new album. For those not in the know “She” is the name of the musical project from Lain Trzaska.  His previous productions have been a spellbinding compositions of 8bit and synth electronica usually following a musical theme centered around the character “She”. Lain recently released the album Coloris on japanese label PonyCanyon (yet to be reviwed on this site) to much acclaim, a great bit of publicity for Bitpop! She’s next album proves to be in the similar vein. A microsite has been set up which has some “clues” as to the musical story which will unfold. It appers to centre around the female character “Sarah”. 

Coloris was released by She in 2008."Coloris" is the first song off of the album, and it comes on and blows your speakers. This song has sharp treble that just doesn't quit. "Coloris" also incorporates heavy aspects of the club sound, not enough to make you hit the dance floor but enough to make you move. "Circuit Lover" is a pure electro song, with more cluby electro sounds. It's totally 2008 but some how compares a retro-electro 80s feel."Orbit" has a nice earth toned spiritual feeling, with some nice guitar riffs that we all can enjoy."Gum" is a simple powerful masculine electro-strobe club track."Tokyo Nights" Boogie nights plus some sake' and lets have a ball! "Monochrome" is more of a darker electro song, and the sound is like Evanescence meets electro!"Fuse" brings back the heavy body moving electro sound that we love. This song can literally push Daft Punk out of the way!"Autumn In Space" here comes the groovy electro lounge song on the album. All aboard the Groove Space Armada!"In Time" rocking out with some gnarly riffs this song will rock you, like when you walked into a glass door! Yeah I was there, I totally saw you! "Destination Luna4" this song blasts you back off in your Groove Space Armada to planet awesome! Population you and your funky bunch!"Together" is on her myspace so check that groovy one there! "Touch And Go" had to be left off of Jet Set Radio, I mean just listen and dig it. Oh and don't forget your rollerblades!"Reality" bites but this song doesn't! This is the first song with some deep bass for the bass heads. This song is slow and melodic so you can just chill and head bob!"Distort Into Me" simple and groovy. Distort and be emo for a bit! Great album, awesome album! Fuck it I don't know what else to say but... Check it out She!

http://www.myspace.com/sheofficial

THE JUNCTION

The Junction is back with Another Link in the Chain, the highly-anticipated follow-up to their 2007 self-titled release. Due out this summer, the third full-length album from the Toronto-based trio signifies a fresh start for a group who’s highly-infectious, upbeat sound has kept audiences tapping their toes for years. No strangers to the Canadian music scene, singer-guitarist Brent Jackson, bassist Matt Jameson and drummer Mike Taylor have played hundreds of shows across Canada - including EdgeFest, and The Virgin Festival - and have toured with the likes of Moneen, The Planet Smashers and Bedouin Soundclash. With Another Link in the Chain, The Junction have pushed themselves in new directions while taking the jazz-influenced, indie-pop elements that make their songs so great and boiling them down into something much more unified. The new album reinvents The Junction’s  staple hard-hitting choruses and anthem-like presence while keeping that key element that has won over fans and members of the media alike - creating big songs with a lot of heart! Concerning their sound, Pulse Niagara’s Bill Adams notes, “The Junction make each track resemble a miniature monolithic opus, building momentum to majestic grandeur in three minutes or less” Chart Magazine’s Sheehzaad Jiwani says, “The Junction have built a following in the southern Ontario punk/screamo scene by playing music that’s neither punk nor screamo, but rather a refreshingly upbeat blend of indie pop and rock.” This uniquely upbeat approach caught the attention of acclaimed producers Gus van Go and Werner F (The Stills, The Trews, Priestess) who invited the boys to record with them in NYC. The Result? A powerful and introspective album full of infectious, rock-oriented songs representing their most mature collection to date. The album’s first single “My Love Was There” pairs indie-pop vocals and guitar performances with a quick, almost aggressive drum beat. “Out of Here” defines itself with deep-low vocals over a pronounced bass line during the verse, only to explode with a Junction signature falsetto-laden chorus. Conversely “Level Me” builds on a quick guitar riff and poignant vocals, trumped only by the magnificent use of horns in the chorus. The band also demonstrates its maturity and versatility with “Miles in Denial,” an emotionally-telling composition that juxtaposes haunting vocals with a slow-yet-powerful instrumental performance.“We’ve really pushed ourselves to write crisper, more cohesive songs, and I think that shows with the variety on this album,” says Jackson.With its mature sound and mixed-genre approach, Another Link in the Chain encapsulates that catchy rock/pop/jazz fusion that makes The Junction so captivating.

http://www.myspace.com/thejunction

http://thejunction.ca/index.html

VITALIC FLASHBOMB

Cuatro años han pasado desde que Vitalic lanzase Ok Cowboy. Todavía vibro con My Friend Dario o La Rock 01 con su estilo club a lo Chemical Brothers,... (entre otras).

Pues bien, por fin tenemos aquí Flashmob. Sonido disco visto desde el punto de vista de la sensibilidad y el toque personal. Energía electrónica con tintes de pop agreste y exquisitez en la pegada a la que nos tiene acostumbrados. Recuerda en ocasiones a aquellos 80s electrónicos mezclados con algo de Synth Pop, algo de New Romantic y obviamente el House, Electro y Techno.

http://www.myspace.com/vitalicofficial

THE PHENOMENAL HANDCLAP BAND

The Phenomenal Handclap Band recogen los últimos movimientos de gente como LCD Soundsystem, The Rapture o CSS, además de los habituales Daft Punk, de quienes parecen tomar prestado un riff de ‘Aerodynamic’, y donde la voz de Carol C (de Si Sé) logra alcanzar un grado hipnótico unido al groove de la base, y ya tienes medio debut hecho.
Antes de que se pase el efecto sitúa en la siguiente canción del álbum de debut (2009, Lovemonk Records) otro dardo de casi cinco minutos, ’15 to 20’, con un riff de funk pegadizo y un fraseo rápido a cargo de Lady Tigra que logre continuar ese tembleque en la pierna que se ha iniciado a la par que empezaba a sonar el disco y que a la mitad encuentra su gancho, y asientas la otra parte del debut.
Dos singles, dos éxitos fijos para aquellos que hayan seguido a los grupos mencionados. Daniel Collás y Sean Marquand son las dos mentes pensantes de The Phenomenal Handclap Band. Dos productores y djs curtidos en los sonidos neoyorquinos de los últimos años puesto que han trabajado con muchos artistas como productores, hasta con estrellas del soul, como informa la nota promocional. De estos últimos vendrá la fiebre que vuelve a rescatar el gusto por la música Disco. Aproximaciones desde Isaac Hayes (en especial en ‘Baby’, con la aportación vocal de Micah & Jeremiah) a Sly and the Family Stone, todo bajo temas bien unidos entre sí, que a pesar de no descubrir ni de reinventar la rueda como la gran mayoría de los grupos hoy en día, logran transmitir un buen momento de escucha para a quienes nos gusta la música negra y su mezcla con el Pop. Por esto último, es por lo que yo me quedaría con ‘All Of The Above’, donde la psicodelia de la que partió el Disco en su día aparece entre sintetizadores, acertados arreglos de clarinete y la aportación vocal de alguien que nunca falla cuando tiene que firmar un hit: Bart Davenport. Falsetes a la vieja usanza, un dominio de los cambios muy acertado y un solo de harmónica perfecto. Esos crescendos en busca de estribillos pegadizos es uno de los elementos más identificativos de The Phenomenal Handclap Band. Y si no son tan electrizantes y vivos, los ofrecen en la faceta calmada de ‘Testimony’, con mínimos coros de acompañamiento y la guitarra de Jaleel Bunton (TV On The Radio) que vuelve a hacer de las suyas construyendo la base para que Aurelio Valle (Calla) logre un fraseo tan pausado. Con estos elementos no es extraño encontrarse aproximaciones a ese Funk de James Brown o la familia Stone y su ‘I Want To Be Higher’, sólo que claro está, salvando las distancias en ‘Give It A Rest’ o en ‘I Been Born Again’ . Y al sonido que TV On The Radio estos últimos años han electrificado en ‘Dim The Lights’.
Al final el debut The Phenomenal Handclap Band resulta ser un álbum de los que ganan con escuchas, que cuenta con varios elementos a destacar que hacen preveer un grupo que en un futuro puede mejorar y con algunos hits que en más de una pista de baile ya son pinchados.

BASSEMENT JAXX

Una de las formaciones más relevantes en la historia del house es la integrada por los británicos Felix Buxton y Simon Ratcliffe, que conforman el famoso proyecto Basement Jaxx, aunque hay que afirmar que su sonido toma lo justo del estilo nacido en Chicago para absorber influencias de otros ámbitos, como el pop, el soul, el funk, los ritmos latinos o incluso el hip hop, con lo que el house se queda tan solo en un mero acompañamiento, aunque eso no es obice para que este combo sea parte fundamental del mismo; no en vano fueron integrantes del colectivo Mongoloids, al que también han pertenecido gente como Daft Punk, Roger Sanchez, DJ Sneak o Armand Van Helden. Desde que publicaran esa obra maestra que es Remedy, allá por 1999, la fama adquirida por esta formación, ha sido enorme, llegando a codearse con las grandes figuras del pop y del rock y siendo cabezas de cartel en festivales en los que la electrónica era elemento secundario. Tras este espectacular debut, llegó otro buen disco, como es Rooty y dos trabajos de caterva inferior como Kish Kash y Crazy Itch Radio, así como un recopilatorio de grandes éxitos entre ambas obras. Tres años después de su último largo, estos dos artistas nos traen el que es su quinto disco de estudio, también lanzado desde la afamada plataforma XL Recordings, un disco titulado Scars y que solo se diferencia de los anteriores en el enorme número de colaboraciones con las que han contado para su realización, aunque el resultado ha sido, cuanto menos, irregular. Ya desde el principio, se nos muestra que, en este trabajo, los tiros van a ir por el eclecticismo habitual de las obras de la formación, y es que el tema que abre el disco, de título homónimo al del álbum, es una fantasía R&B que parece sacada de la discografía de Timbaland y que gente como Beyonce o Usher estarían encantados de tenerla en su repertorio, pero los británicos han preferido acudir a artistas algo más solventes, como Maleka, el rapero inglés Chipmunk y, sobre todo, la gran Kelis, una de las voces más incomprendidas del nuevo R&B y que, aunque empezó con visos de convertirse en la reina de la música negra del siglo XXI, se ha visto eclipsada por las Rihannas y Nellys Furtado de turno.Nos encontramos ante un tema bastante flojo, y que deja la sensación de algo que ya hemos oído de mil formas diferentes en los últimos tiempos; hip hop suave con tintes épicos y mucho souful, pero esto ya no es algo que suene novedoso, y menos cuando gente como Madonna se he encargado de corromperlo hasta la saciedad. Un tema del montón y que supone una gran decepción para comenzar la escucha del disco, aunque esté Kelis para salvar los trastos. Tras este llega Raindrops, el atractivo primer single extraído del disco, y que denota muchas características del sonido made in Basement Jaxx. El deep house y el garaje neoyorquino se dan la mano con el funk y el pop, con momentos realmente desenfadados en medio de una maraña electrónica que los acerca a los Daft Punk mas edulcorados. Una agradable sorpresa llega con el siguiente track, llamado She’s No Good, donde se cuela la ennegrecida voz de ese joven blanquito que es Eli Paperboy Reed para ofrecernos un corte muy funky, que despide aroma a sonido Motown por los cuatro costados, pero con un remate final donde se revuelve hacía el ska mas gamberro, cual enfurecido fan de Madness. Sin dudas, la mejor pieza de la obra.Y siguiendo la sucesión comenzada con el final del último corte, los ritmos jamaicanos, especialmente el reggae acelerado y el ska, toman el protagonismo de Saga; otra bizarrada punkoide de enormes proporciones, pero que no desagrada en absoluto, y donde se respira el espíritu de los soundsystem alocados, acercándolo al sonido facturado por gente como Mano Negra, pero también al de la simpar M.I.A o al de los geniales Asian Dub Foundation. Para el siguiente corte, el flojo Feelings Gone, la colaboración viene de manos del australiano Sam Sparro, artista especializado en el funk bailable y en los sonidos post disco. Y eso es lo que encontramos en esta parte del disco: disco post-Studio 54 y electro pop a raudales, combinados con ciertos toques al eurobeat de los últimos años, es decir, sonidos desenfadados y hedonistas, de los que tanto gusta al siempre agradecido público gay. Sin embargo nos encontramos ante uno de los momentos más mediocres del disco; en el que es imposible el evitar pensar en un Elton John en sus momentos más alocados. Tampoco mejora demasiado la cosa con el siguiente track, My Turn, interpretado por el joven británico Lightspeed Champion. Lo que parece que va a ser un homenaje al rock glamuroso y subversivo de David Bowie, se convierte en una suerte de pop edulcorado y ñoño, con toques electrónicos, y que no nos dice absolutamente nada. Y el asunto sigue cuesta abajo y sin frenos, esta vez con esa empalagosa balada A Possibility, donde el cantante norteamericano Amp Fiddler, intenta emular al genial Prince, sin tan siquiera acercarse al genio de Minneapolis; y poco se puede decir de esa paranoia llamada Twerk, moviendose entre el nu rave ácido y el dubstep enérgico, y que se marca Yo Majesty, revisionando, de estrangis, el famoso Maniac de Michael Sembello.

Con el siguiente corte llega la otra sorpresa del disco, después de la que nos ha dado el chico de papel. Y es que tenemos ante nosotros a Day Of The Sunflowers, con la colaboración de Yoko Ono. La viuda de John Lennon se encarga de poner voz a un track divertido, donde se acude al electro disco sensual con raíces jamaicanas, muy a lo Grace Jones, aunque la nipona, añadiendo su toque otaku personal, se queda muy lejos de la diva de ébano. Si esto parecía mejorar, en parte, con la canción de los girasoles, con el carnavalesco What’s A Girl Gotta Do? el álbum sube algún entero. La fiesta comienza desde el primer segundo, con esos sonidos que beben del sonido de gente como The Pogues y que nos recuerda a las fiestas interminables de Nueva Orleans. La voz de Paloma Faith se encarga del resto, con ese toque a lo Lilly Allen o a lo Amy Winehouse, que suena cándido e inocente, a la vez que atrevido y rebelde. Cuando la cosa parecía tomar otro color, nos encontramos con el bajón que supone el soul electrónico del descafeinado Stay Close, interpretado por Lisa Kekahula, vieja amiga de Felix y Simon; y el downtempo que protagoniza el soso D.I.S.tractionz, con los vocales del congoleño Jose Hendrix en el epicentro de este tema de pop psicodélico y pseudo ambiental. Por suerte, el cierre de la obra no acaba en desastre total, gracias al simpatico Gimme Something True, donde otro Jose, esta vez Jose James, se pone al servicio de un tema donde el latin jazz y a las guitarras españolas se unen, en sabia combinación, con el soft rock, el reggae y el dub.
La verdad es que este nuevo trabajo, tan lleno de altibajos, de los Basement no aporta nada nuevo a la carrera de los británicos, aunque guarda algunos momentos brillantes. Si pudiera, aconsejaría a nuestros amigos que dejen su intento de despegarse del house para centrarse en muchos estilos, sin lograr destacar en ninguno; y es que toca renovarse, porque veo muy difícil que surja otro Remedy.

HARDMUSIC

MIGUEL MIGS

Get Salted Volume 2 shows off Migs' technically seamless transitions, while he blends a choice selection of underground soulful edged deep house dance grooves, including some unreleased exclusives! In an industry overly saturated with diluted compilations containing dance music hits, Migs digs a little deeper, never having been one to chase the latest sound or obsess over what’s popular at the moment. Instead he stays true to his original musical passion maintaining and creating a stylistically soulful yet diversely inspired vibe. Keeping it real he delivers an underground electronic experience oozing futuristic disco, dubbed out techy funk and atmospheric melodies for your listening pleasure. Get Salted Volume 2 shows off Migs' technically seamless transitions, while he blends a choice selection of underground soulful edged deep house dance grooves, including some unreleased exclusives, that evoke a true booty shaking energy whilest still capturing a deeper emotional response!

http://www.myspace.com/djmiguelmigs

DEEP CHILL HOUSE

http://jhonsdeep.blogspot.com/

FUCK BUTTONS

When I wrote about the first Fuck Buttons album, “Street Horrrsing”, I mentioned the likes of Black Dice and Growing , and a lot of the reviews of that record posited it as a British response to the new American noise scene, albeit a mediated and gentler one.“Tarot Sport” is, in many ways, quite different. If there’s a connection with “Street Horrrsing”, you could see it as a sleek weapons upgrade of “Colours Move” and “Sweet Love For Planet Earth”; or, significantly, the Andy Weatherall remix of the latter, since Weatherall replaces Mogwai’s John Cumming in the producer’s chair for “Tarot Sport”.
Weatherall’s presence would suggest a dancier bent, which is accurate. But curiously, it’s also an album that seems far more indebted to Mogwai than its predecessor.The opening “Surf Solar” sets the template: kosmische squiggles, followed by squelching beats and slow, melodic chords that grind on epically for over ten minutes. The cumulative effect is something like Mogwai’s “New Paths To Helicon” combined with the vaulting ambition – the desire for bigness - of mid-‘90s stadium techno, especially that of Orbital (“Satan”, maybe?). It’s a kind of music that tirelessly strives for grandeur, and consequently is always in danger of sounding pompous, or at least absurd. But Fuck Buttons – and perhaps their very name is a clue to how they can deflate pretensions – just about manage to pull it off. “Tarot Sport” seems to pile on remorselessly, building and building , even through the echo-chamber hyper-clank of “Rough Steez” and “Phantom Limb”, in which Weatherall’s past in the Sabres Of Paradise acts as a rough analogue.
Inevitably, though, it’s that monolithic pomp that provides the lasting impact: the fuzzy church organ chords and martial beats of “Olympians”; or the closing double whammy of “Space Mountain” and “Flight Of The Feathered Serpent”, which bracingly suggest an army of Boredoms-influenced drummer boys atop some craggy peak. Or, maybe, a hipper soundtrack to the next series of “Coast”…

http://www.myspace.com/fuckbuttons

STARS OF TRACK AND FIELD

What began as an homage to Belle And Sebastian (who coined the song from which this band took their name) has grown into something more. The Portland, Oregon, trio Stars of Track and Field exchanged their fey chamber pop for a different texture when their bassist departed prior to their second release, 2006's 'Centuries Before Love And War'. Gilded with electronics of all sorts, their new full-length, 'A Time For Lions', arrives as a fully realized creature. "The Aviator" casts a ghostly visage built from jangling guitars and Kevin Calaba's willowy falsetto, while "The Breaking of Waves" crashes on shore over a surf of keyboards tinkling like a steady flow of raindrops, building ripples upon ripples. It's pretty evocative stuff swept up in the gossamer down of the arrangements and tugged by the melancholy lyrical undertow. 'A Time for Lions', produced by John King of the Dust Brothers (Beastie Boys, Beck, Linkin Park, Carlos Santana) along with Stars of Track and Field, builds on the solid foundation that the band has already created with past releases, yet brings an evolved sound, tempo, and collection of songs that are arguably the band’s best pieces to date, featuring the anthemic “Racing Lights”, the hauntingly sparse and dark “Now You Lift Your Eyes to the Sun” and the passionate songscape of “In Bright Fire”.

http://www.myspace.com/starsoftrackandfield

MONTÉE

Montée is a new band including Anders Tjore, Maya Vik and Erlend Mokkelbost, people with musical backgrounds as diverse as orchestral pop and energetic punk. Together they set out to create something without roots in past projects, and their debut album ”Isle Of Now” displays a progressive take on both contemporary and timeless popmusic. The result is a steady beat and an fearless mission to move both musiclovers and dancefloors.

http://www.myspace.com/monteemusic

LINKS DANCE

http://m24.sbczone.net/
http://house-master.ucoz.net/
http://vibefm.ro/
http://onefm.ro/
http://djbox.ro/
http://techno.ro/
http://www.beatfactor.ro/
http://anyplace.ro/
http://www.xminimal.net/
http://house-maniacs.blogspot.com/
http://myteamdj.blogspot.com/
http://www.worldwidehouselist.com/
http://housetemple.blogspot.com/
http://e-musicbr.blogspot.com/
http://mildtowild.blogspot.com/

TYSKERHAR

Tyskerhar es una banda establecida en Berlín, Alemania, compuesta por Ms. Mau Do Mau de Bejing, China y Seek Zag Lazer de Berlín. Esta gente hace una interesante propuesta de new rave un tanto rapera. Sin firmar contrato aún por alguna disquera esta gente anda por toda Alemania promocionándose. La única forma de tener acceso a su material es mediante su myspace, donde pueden ordenar su música y hasta bajar algunos de sus tracks de forma gratuita. Una propuesta diferente euro-asiática, quien diría? 5 temas para presentarles a esta banda, incluido el primer single Pink Moustache de su primer disco de larga duración: Forever.

http://www.myspace.com/tyskerhar

OWL CITY

In the state of Minnesota lies a small town called Owatonna with roughly twenty-two thousand inhabitants; within the city is a quiet road with a modest house. In that house there's a unkempt basement with no windows. Within those confines you'll find Adam Young of Owl City hard at work, creating his electronic and melodically infectious brand of music with a simple and singular beauty. Inside this "cave," as Adam likes to describe it, he has begun to quickly win over a large audience thirsty for something genuine, something sublime.

Being an only child in a small town, and having no musicians in his immediate family, Adam is hard pressed to say how it all started. Explaining the he always had a "push" to be creative, Adam picked up his first guitar in junior high school. Growing up in a "sheltered bubble" and being one of the more shy kids around the neighborhood, Adam seemed compelled to lend his time and creative ideas to music. "I've always been the shy guy, I don't see that changing, but I definitely feel a lot more comfortable than I anticipated. I can hide behind the music."

While his music continues to win followers all over the world, Adam does indeed hide behind his music, not going by his real name (See: Badly Drawn Boy and Dashboard Confessional); but going by the moniker Owl City. Adam was searching more for a mood when coming up with a title for his sound, rather than something easily identifiable. He goes on to explain that most of the artists that catch his eye have something unique about their name, something that lingers.

So one has to ask: how did this Owl City phenomenon begin? How does a young artist writing songs underneath his garage, acoustic foam and books everywhere, reach an audience of millions? "I'm still trying to figure it out," Adam laughs. "Back in June of 2007 it kind of started on a whim. My parents were away for the weekend, and wanting to be loud and make some noise and whatever, I began writing versions of what became my first, self released cd - Of June. I put it up on MySpace the following month and didn't tell anyone." Word of mouth began to spread for Adam's music, with demands coming from various parts of the country for an album. Maybe I'm Dreaming, released in March of 2008, was Owl City's full length debut. The album has garnered great critical praise and is a clear representation of Owl City's progression as an artist. Adam has become a phenomenon on MySpace with over 6 million profile views and over 25 million plays, which is outstanding in such a short span of time. It's clear that, from his basement, Owl City is making a colossal impact on the music scene.

What might be swirling through his head after such a quick and sudden start at stardom? "The biggest thing I was concerned-slash-worried about was the live performance - never having played a show as 'Owl City.' There was a lot of apprehension." Adam's concern, about being a one-man wizard on the keyboard, "hunched over a computer," was put to the test recently with his first gig. Most, if not all, of his fears were quickly put to rest as Adam played to a sold out show in Minneapolis. "It was surreal," Adam says, "to have people buying your t-shirts, singing the words - louder than I was; it felt so good."

As listeners on MySpace climb into the millions, Owl City is focused on writing more songs, getting more comfortable on stage, and satisfying a fan base that is growing and eagerly anticipating new material. With a new album scheduled for a fall release, Adam's future is as exciting, expansive and as mellifluous as his music. "I've loved every minute of it so far, and I'm looking forward to what's going to happen next." So are we.

http://www.purevolume.com/owlcity

BEAUTIFUL SMALL MACHINES

Beautiful Small Machines may be synthetic, but they’re not stupid. Caught somewhere between the 70’s, 80’s and deep space, this electro-pop duo (Bree Sharp, Don DiLego) learned about comedy from adult swim and heartache from Philip K. Dick and they’re spewing it all back out at you like a bunch of mandroids on whiskey and psycho-pharmaceuticals. Fun, Sad, Creepy and Clever – Beautiful Small Machines is the retro-future. I have a tendency to like cute songs. I’m not going to lie and try to hide it. When I hear Of Montreal come on the radio singing ‘Wraith Pinned To The Mist And Other Games’, a small part of my little typically predictable college girl heart goes fwap fwap. So of course it makes sense that when I heard the Beautiful Small Machines, I would immediately fell in love with their brand of lo-fi art pop. But as the wonderful people over at Battery In Your Leg eloquently put it, “cute” does not always equate to “worthless”. Their Robots In Love EP is the collaborative effort of singer-songwriter Bree Sharp and Don Dilego (Sharp on vocals and Don DiLego on production duty). During ‘Superconducter’ Sharp’s vocals sound, at times, intriguingly Le Tigre-ish. Yet at the same time, their track ‘Robots In Love’ takes an entirely different approach, sounding much more akin to a b-side from The Postal Service.

http://www.myspace.com/beautifulsmallmachines

LOVE PARADE

LISTA PREVENTA PARA EL LOVE PARADE 2009
EN FORUM ESTE 18 DE SEPTIEMBRE.

LINE UP

SAEED YOUNAN. (U.S.A.)
DAVID PENN. (ESPAÑA)
CHRISTIAN FALERO. (U.S.A.)
TV ROCK. (AUSTRALIA)

NACIONALES

ANY DJ
DJ MARA
DJ LOGGAN


PRIMERA PREVENTA 300 BOLETAS A 40.000

PUNTOS DE VENTA
TODOS LOS TROPICAL COCKTAIL DE LA CIUDAD
BAREN ( EN EL LLERAS )
AULA 69 ( FRENTE A LA LUIS AMIGO )
PIZZERIA PIMIENTOS ( AL FRENTE DE LA UPB )

INFO PALCOS Y DOMICILIOS ( SIN RECARGO )
301 7000 698

MAS DE 15 HORAS DE FIESTA

TAME IMPALA - REMEMBERING ME

If you keep a keen ear for all the finer things in life, you would’ve probably heard the spanking new Tame Impala single on radio recently. Stomping and slamming throughout, the lads give their finest effort on a cover of the Blue Boys Remember Me, which has always been a live favourite. You can grab your copy now on iTunes.

Nothing beats the real thing though. You’d be a square to miss out on seeing the boys live and doing their thing on the national ‘Sundown Syndrome’ tour in September. Travelling through all the good parts of Oz, barefeet and all, it’s not hard to see why these guys are the reason people are tie-dying their mothers finest curtains, and boy do they know how to work it. Joining the band on the road will be Jonathan Boulet and The Laurels to neglect and entertain on the magic freedom bus.

BANG GANG - 12S COMPILATION

After the announcement of their official partnership last month, Modular Recordings and Bang Gang 12 Inches are proud to announce the release of the debut BangGang 12s compilation. Swimming across two shiny discs (one mixed and one unmixed), the BG12s Compilation is a sweaty exercise in lunacy featuring the label’s finest releases from the last 3 years and a bunch of unreleased and exclusive material that promises to dip and bounce around everything that’s good in their dimensioneer dance cupboard.

For the unschooled, Bang Gang 12s was started 3 years ago by Doom & Hoodrat from BangGang Deejays. Their roster includes who’s who of rave caves from across Australia and around the globe, with KIM, Bag Raiders, ZZZ, Shazam, Hey Today, The Lowbrows and Like Woah! all fronting up with the goods time after time, simultaneously setting dance floors and hearts on fire with their own brand of digi-intelligence and tech-yes. You can get your pre-order on here.

To give us a oh-so-sweet taster of what’s to come, BG12s serial hit-maker GLOVES AKA Yama Indra has hand delivered the first installment of the "BG12s Presents" mini mix series sees us taken on a filtered disco-house journey to sooth sore heads and burn dancefloors alike … get excited people, there’ll be one of these each week until the compilation is in your grubby little hands on October 2nd. Too lazy to come back here once a week - jump on The Bang Gang Podcast for instant delivery.

WOLFMOTHER - PRE-ORDER INFO

Brothers and sisters sound the siren, the long-awaited return of Wolfmother is here. Their wonderfully ambitious new record, Cosmic Egg, is set for release on October 9, preceded by their joyously shredding first single, "New Moon Rising", which made it’s radio debut last week.

"New Moon Rising" is a thumping, ripping slice of optimistic future-blues that’s all over the radio now and just the first piece to be unveiled of the fine Cosmic Egg puzzle. It’s a thrilling rush of goodtimes direct to the soul and is only the beginning of a mighty return…. grab "New Moon Rising" now on iTunes.

Also if you visit www.wolfmother.com from today you can pre-order limited edition versions of Cosmic Egg in a variety of formats including CD Album, 2LP Vinyl and much more now too. Or pre-order from JB HiFi or iTunes.

In other Wolfie news, the first of a series of a behind the scenes look at the forthcoming Wolfmother opus is now online. Episode 1 travels the open high-way to Byron Bay where much of the record was born and pre-production took place. We take a visit to the studio where Wolfmother were laying down some cover songs and Andrew Stockdale talks us through the process behind Cosmic Egg’s creation, his take on the record itself and plans for the forthcoming live onslaught… Take a squiz.

And lastly, don’t miss Wolfmother when they re-enter the local shores this September for a mammoth capital city tour in lead up to album release. As a special offer, you can pre-order a digital copy of Cosmic Egg for only $10 with any online ticket purchase via Ticketek! Brisbane has now unfortunately sold out, but limited tickets are still available in other cities.

Thurs 17 Sep
BRISBANE - The Tivoli
** SOLD OUT **

Sat 19 Sep
SYDNEY -The Enmore
On Sale Now

Wed 23 Sep
PERTH - Capitol
On Sale Now

Thurs 24 Sep
ADELAIDE - HQ Live
On Sale Now

Fri 25 Sept
MELBOURNE - The Palace
On Sale Now

Sat 26 Sep
FRANKSTON - Pier Hotel

LADYHAWKE TOUR

The New Zealand-born chanteuse will sprinkle her heart racing vintage pop across Australia for her first ever headline tour of Down Under.

Ladyhawke, aka Pip Brown has lived a rocket ride of an existence over the past 18 months, spending a lengthy stint abroad supporting her lauded, self titled debut and now she’s bringing it all back to Australia for her seven date tour - tickets go on sale on Wednesday 8th September (presented by triple j and Video Hits).

Since her album was released last year, Ladyhawke has been in high demand - playing just about every European festival you could care to mention, she has been splashed across the tabloids, fashion bibles and music rags, a gold album in both Australia, New Zealand and the UK, nominated for an NME Award and wound up in the Triple J Hottest 100 twice.

From Brisbane to Adelaide, The Swiss will be warming up the east coast Australian dates with their infectious disco funk, whilst the West Australian psychedelic pop / rock quartet, The Silent’s will be supporting at The Capitol in Perth.

Her next single "Magic" - produced with her chief collaborator, world-renowned producer Pascal Gabriel (S-Express, Bomb The Bass, Kylie, New Order) will be released digitally on the 6th of October. The Collectors Edition of her debut album is out now.

TOUR DATES - ON SALE 8th SEPTEMBER 2009

Thurs 5th Nov
BRISBANE - Tivoli
Plus special guests The Swiss
Available from www.ticketek.com.au
18+ only

Fri 6th Nov
NEWCASTLE - Panthers
Plus special guests The Swiss
Available from www.moshtix.com.au
18+ only

Sat 7th Nov
SYDNEY - The Enmore
Plus special guests The Swiss
Available from www.ticketek.com.au
All Ages

Weds 11th Nov
CANBERRA - ANU
Plus special guests The Swiss
Available from www.ticketek.com.au
18+ only

Thurs 12th Nov
MELBOURNE - The Forum
Plus special guests The Swiss
Available from www.ticketek.com.au
18+ only

Fri 13th Nov
ADELAIDE - HQ
Plus special guests The Swiss
Available from www.ticketmaster.com.au
18+ only

Sat 14th Nov
PERTH - Capitol
Plus special guests The Silent’s
Available from www.moshtix.com.au
18+ only