http://www.lastfm.fr/music/Lorn
http://ninjatune.net/artist/lorn


Origine du Groupe : North America
Style : Ambient , Electronic
Sortie : 2012

From http://ninjatune.net

Lorn returns with a new full-length album, his debut on Ninja Tune, and it’s a huge stride forward since Nothing Else (released on Brainfeeder, June 2010). Listening back to his first album, Lorn says it now seems “cold and strict.” Ask The Dust, on the other hand, is “haunted, oily, smeared,” and with this description he captures something of the intensely felt, visceral aliveness of the music.

If Lorn began his musical career as a poet of alienation, then Ask The Dust (named after the 1939 proto-Beat classic novel of the same name by John Fante) sees his music develop a more human energy. In particular, the use of his own singing voice (a process which began on the last track of Nothing Else, “What’s The Use”), which has added a new dimension to his often crunching and brutal but never less than beautiful electronic music.

Take “Weigh Me Down,” where Lorn comes surprisingly close to glitched-out soul music. It would be easy to overlook while reaching for muscular superlatives, but his music is also supremely melodic, where a tune like “The Well” (ostensibly “a soundtrack to being buried alive”) is memorable for a melody that nags at your brain long after the music has stopped.

“Dead Dogs” combines spectral choirs with explosive drumming, (one of three tracks with live drumming). “Chhurch” combines the feel of early electro with Lorn’s own highly developed aesthetic (originally written on tour, GonjaSufi came up with lyrics to accompany it, but never recorded them anywhere else save his iPhone). But it’s on a tune like “Ghosst” that he shows the sheer energy and raw drive he commands. It is exhilarating and slightly terrifying all at once.

Other highlights include, "This", a wipe of a hand across a chalkboard, so to speak. A simple sequence to reset things, a mantra to calm the nerves. "Diamond", was among the first written for Ask The Dust, while Lorn was still up in northern Wisconsin, the last surge in his isolation, over the expanse of the lake in the house his grandfather built

Since the release of Nothing Else, Lorn has toured the world alongside the likes of Mary Anne Hobbs, Amon Tobin, and GonjaSufi to name a few. He became a devout owner of a B5 A4, and much like his dedication to music and art, wasted no time tearing it apart in order to learn how to put it all back together again. Ask The Dust suggests he’s learnt to do much the same with his emotions.


Tracklist :
01. Mercy
02. Ghosst
03. Weigh Me Down
04. This
05. Diamond
06. Everything Is Violence
07. The Well
08. The Gun
09. Dead Dogs
10. Chhurch
11. I Better
12. Ghosst(s)

http://www.robertofonseca.com


Origine du Groupe : Cuba
Style : Jazz World , Piano
Sortie : 2012

Par Paco pour http://delaluneonentendtout.blogspot.fr

Avec une petite dizaine d'albums à son actif, et des collaborations prestigieuses (Ibrahim Ferrer, Omara Portuondo, ou encore Orlando Cachaito López), Roberto Fonseca fait figure d'incontournable de la musique cubaine actuelle. Sur son nouvel album « Yo », le pianiste de La Havane évolue toujours sur une base cubaine tout en s'envolant très souvent vers l'Afrique, en compagnie de Baba Sissoko au n'goni, Sekou Kouyate à la kora, ou la chanteuse Fatoumata Diawara. Ils sont d'ailleurs réunis sur la merveilleuse communion africo-cubaine « Bibisa ». On retrouve aussi le chanteur Assane Mboup, de l'Orchestra Baobab, sur « Quien Soy yo », et plus surprenant, Faudel « le petit prince du raï », qui pose ses mélismes sur le très free « Chabani ». Mais Fonseca peut aussi prendre un virage rock avec une kora quasi Sanatanesque sur « JMF », ou cinématique avec un orgue Hammond très 70's sur « Rachel ». On n'oubliera pas « Mi Negra Ave Maria », composé avec sa maman Mercedes Cortés, illuminé par le spoken word de Mike Ladd. Un album de grande classe, d'une fluidité remarquable pour notre plus grand plaisir !


Tracklist :
01. Roberto Fonseca - 80's (6:24)
02. Roberto Fonseca - Bibisa (4:33)
03. Roberto Fonseca - Mi Negra Ave Maria (5:21)
04. Roberto Fonseca - 7 Rayos (5:29)
05. Roberto Fonseca - El Sonadoresta Cansado (5:05)
06. Roberto Fonseca - Chabani (5:11)
07. Roberto Fonseca - Gnawa Stop (5:17)
08. Roberto Fonseca - El Mayor (1:22)
09. Roberto Fonseca - JMF (4:49)
10. Roberto Fonseca - Asi Es La Vida (4:31)
11. Roberto Fonseca - Quien Soy Yo (3:42)
12. Roberto Fonseca - Rachel (3:37)
13. Roberto Fonseca - Bibisa (Remix) (4:08)
14. Roberto Fonseca - 80's (Remix) (3:56)

http://www.gabrielle.co.uk


Origine du Groupe : U.K
Style : Nu-Soul, R&B
Sortie : 2007

By Ben Wood from http://www.bbc.co.uk

This album isn’t going to change the world, but it’s a very pleasant surprise.

For many people (including me), Gabrielle has always seemed a mite middle of the road, her well-crafted soul-pop winning her a permanent berth on daytime radio alongside Celine, Mariah and co.

However, maybe the relative failure of her last album Play To Win has inspired the formerly eyepatched one to take a few more risks. Her voice - more conversational than the foghorn favoured by many modern R’n’B singers – is still instantly recognisable. But on Always, it is wrapped around a more eclectic, better-produced, funkier set of songs.

The production takes it out of Magic FM land and into more interesting waters. And maybe it’s the influence of the sainted Kanye West, but there’s a definite early 70s soul vibe. However, the lyrics are still a slight weak point, tending towards the prosaic and the therapy-speakish at times.

The first single from what the singer has described as her ‘break-up album’ is “Why”, quoting Wild Wood and featuring the voice and guitar of Mr Weller himself; while Gabrielle’s voice seems raspier, with a touch of Macy Gray. The prominent strings introduce one of the album’s central motifs.

“Always” is another tale of a shattered relationship, its updated ‘70s soul feel strengthened by harp, cooing backing vocals, hip-hoppy beats, and a chiming guitar hook.

“Heartbreaker”’s Primal Screamesque rock/soul stomp is more evidence of the unexpected. This unashamed party track starts with a beat filched from Bobby and co’s “Rocks”, while “When We Were One” is another meditation on loss, as hip-hop beats mesh with strings once more.

“Closure”’s break-up blues places churchy organ against a funky backbeat. It’s simple, dignified and effective, Gabrielle refusing to over-emote, and demonstrating that less is more.

“Every Little Teardrop” seems to take its melody from Lenny Kravitz’s “It Ain’t Over ‘Til It’s Over”. It’s not the album’s strongest track, but that’s no crime in such company. This album isn’t going to change the world, but it’s a very pleasant surprise.


Tracklist :
01 - Always       
02 - Heartbreaker       
03 - Why       
04 - Remember       
05 - Every Little Teardrop       
06 - I'm Not In Love       
07 - Love Me Like You Do       
08 - Wiser       
09 - All I Want       
10 - It's Breaking My Heart       
11 - Cold Sober Moment       
12 - Show Me Love       
13 - Closure

https://www.myspace.com/commix


Origine du Groupe : U.K
Style : Drum & Bass
Sortie : 2012

From Wikipedia :

Based in Cambridge, Commix originally comprised George Levings, Guy Brewer and Conrad Whittle. As a DJ/production team, they began working together in 2002 and the trio released a series of 12-inch singles on the Aquasonic, Tangent Recordings, Good Looking Records, Creative Source and Brand.nu labels, with notable tracks including 2003's "Feel Something", and 2004's "Herbie" and "Surround". After Whittle's departure, Commix was signed to Goldie's label Metalheadz in 2005. The trio met when they were at an international pokemon competition.

Commix's signature track, "Satellite Song", was featured on the Metalheadz compilation Winter Of Content, while two other club favourites ("Urban Legend" and "If I Should Fall") were paired up on a 12-inch single. Their debut album, Call To Mind, was released in summer 2007, to generally positive reviews. Call To Mind was the second release of an artist album on Metalheadz, after Goldie's Rufige Kru alter-ego's Malice in Wonderland. The duo has also notably remixed tracks by artists including Bebel Gilberto, Adam F and DJ Die.
Influences

Commix's sound has been influenced by many different musical genres. Their sound features elements of liquid funk,[9] techno, soul and even house. Levings previously played saxophone, flute and piano, before venturing into the hip hop and electronic music scenes.[citation needed] Similarly, Brewer had a wide-ranging interest in music before being introduced to drum and bass.


Tracklist :
1. Time Has Come 5:47
2. Change On Me 5:40
3. MFSB 7:10
4. Everything 5:46
5. Golden 5:48
6. I Have You 5:52
7. Untitled (Sept 06) 5:02
8. Tracking You 6:26
9. Audience 5:37
10. EXP 6:24
11. Envious (Original Commix Demo Version) 6:59
12. Autumn Rides 7:11

http://www.nguyen-le.com

http://www.paolofresu.it

http://www.dhaferyoussef.com


Origine du Groupe : France , Sardinia , Tunisia
Style : Alternative Fusion World Music , Jazz World
Sortie : 2006

From http://www.allaboutjazz.com

Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.

Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians together on the album Maghrebi & Friends.

None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef. Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.

Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since 2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.

In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very exotic drifting in and out of the mix, it’s rich, colourful and beguiling.


Tracklist :
1 -  Stranieri (Paolo Fresu / Nguyên Lê) (06:00)
2 -  Byzance (Dhafer Youssef / Nguyên Lê) (04:25)
3 -  Muqqam (Dhafer Youssef) (02:44)
4 -  Mali Iwa (Nguyên Lê) (06:27)
5 -  Zafaran (Dhafer Youssef / Nguyen Le) (06:02)
6 -  Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)
7 – Kithara (Dhafer Youssef) (02:18)
8 -  Chelsea Bridge (Billy Strayhorn) (03:00)
9 -  Safina (Dhafer Youssef / Nguyên Lê) (03:27)
10 -  Des Pres (Paolo Fresu / Nguyên Lê) (02:19)
11 -  Thang Long (Nguyên Lê) (05:33)
12 -  Neon (Paolo Fresu / Nguyên Lê) (03:12)
13 -  Mangustao (Dominique Borker) (07:26)
14 -  Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)
15 -  Beyti (Dhafer Youssef / Nguyên Lê) (02:53)