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Saturday, September 30, 2006


Grooveman Spot aka DJ KOU G
Eternal Development (Jazzy Sport ) [oiça aqui] Comentários: Grooveman Spot cresceu juntamente com DJ Mitsu (the beats) na cidade de Sendai (Norte do Japão), rapidamente ganhou notoriedade por parte dos media, o seu trabalho como remixer inclui projectos de Platinum Pied Pipers, Jazztronik, DJ Mitsu the Beats, Fresh Air + Raw produce; Somam-se produções sob alçada da produtora Jazzy Sport Japan, "EP 1 -The Blow", "Cultivate Beats"... "Raw Elements", é sem dúvida mais um êxtase harmónico motivado e conseguido pela subtil transparência e equilíbrio da secção rítmica, o produtor incurssiona a sua musicalidade pelo o experimentalismo e vanguarda do hip hop, jazz, funk & Broken Beat. Feitas as apresentações iniciais pareçe restar pouco para se dizer, mas no entanto a história não fica por aqui, foi adicionado ao «conceito elementar» as participações especiais de Capitol A, Count Bass D, Grap Luva,Hunger/Raythought/U-Zipplain, Mahya, MED aka Medaphoar, MC Invinsible, Yoshika, Miss Jack Davey e por fim, OC. Edição oficial do cd está prevista para o dia 2 de Outubro, consta no catálogo da japonesa Planet Groove. Ora digam que este álbum não é um mimo? Ah pois é!!!

Compilações da Semana

VARIOUS - The DFA Remixes: Chapter Two (DFA UK) [oiça aqui] Comentários: The DFA (Tim Goldsworthy & James Murphy) return with the second instalment of their highly acclaimed remix compendium; "The DFA Remixes - Chapter Two", which brings us further examples of their craftsmanship as they take on the likes of Goldfrapp, Tiga, Unkle, Chromeo & Junior Senior - many of these mixes available for the first time commercially. The vinyl issue of the album will also feature rare instrumental versions.
VARIOUS - Girl Monster (Chicks On Speed Germany) [oiça aqui] Comentários: electro clash, disko punk; conta com a participação de Le Tigre, Kevin Blechdom , Barbara Morgenstern, Ana Da Silva, Sir Alice...
VARIOUS - Innervisions: Where We Out (Sonar Kollektiv Germany) [oiça aqui] Comentários: Few labels manage to cause such a stir with their first releases as Steffen "Dixon" Berkhahn's Innervisions. Besides running the club night Innercity which takes place in the epicenter of Berlin, through his label he offers a hand picked selection of producers a platform to celebrate the current renaissance for all things deep house. This first compilation is a review of the labels output in the last year and so shows exactly where it is at. The concept behind the club orientated 12"s is a balance between peaktime A-Sides and more dubbed out B-Sides. With his special edits, Dixon opens up the tracks for household use. His shortened and stripped down versions make what is essentially DJ music more suitable for home listening. After having had a helping start with the first maxis by Jazzanova's Sonar Kollektiv, from now on Innervisions stands on its own feet and is run by Dixon and his partners in crime, Kristian Beyer and Frank Wiedemann from Ame. "Where We At" presents the current state of play of a highly regarded crew who are getting equal respect from purists, minimalists and freestylers alike. The goal is not to be obsessively futurist, rather comfortably balanced between the old and the new. Thereby they capture the essence of, for example, a Ron Trent or Chez Damier number translated into the present day, just as Atjazz does with his piece "For Real". One view of the future of Innervisions is delivered by the Parisian buddies I:Cube and Gilb'r (aka Chateau Flight) with their highly individual opener "Baroque". "Sleepy Hollow" by Berlin internet forum activist Stefan Goldmann who has already released on Classic, Josh Wink´s Ovum and Perlon, is currently being heralded as this year's "Rej".
KLANG ELEKTRONIK/VARIOUS - Diamanten & Raketen (Klang Electronik Germany) [oiça aqui] Comentários: After the now legendary Playhouse compilation series "Famous When Dead", its sister label Klang Elektronik now starts a concept series of its own: "Diamanten Und Raketen" (Diamonds & Rockets). As the title already indicates, it doesn't just feature the 12" single highlights of the last twelve months, but creates a build-up of tension that presents Klang Elektronik classics, current hits and a preview of what the label holds store. The main emphasis will, of course, be on the tracks of the current post-techno generation that are dedicated to the development of minimalist classic dancefloor patterns. Sometimes abstracting and deconstructing creates entirely new genres that only peripherally have anything to do with modern club music.

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Friday, September 29, 2006

Made in NY: The Guru Q&A

waxpoetics online content
This year, Gang Starr frontman Guru aka Keith Elam is starting a new phase in his already remarkable career. He recently released a new solo album, Version 7.0: The Street Scriptures, and is also planning a new installment in the Jazzmatazz series. But as distinct as his voice and delivery still remain, Gang Starr's history still lingers in the face of Guru's new endeavors.

"People will always remember Gang Starr's history and revisit our records," admits Guru, who also founded his own label, 7 Grand, earlier this year. "But I feel like I'm on the verge of many new things, and these upcoming years will be the beginning chapters of that."

Gang Starr's first project, No More Mr. Nice Guy, was released on January 1, 1989, on New York's Wild Pitch label. In the decade-plus that followed, Gang Starr's records would go on to achieve greater notoriety with each passing year, cementing Guru as one of hip-hop's most respected MCs. With new endeavors afoot, Wax Poetics reminisced with Guru on past chapters, revealing Gang Starr's formation, Wild Pitch's growth as a record label, personal thoughts on his longtime partner DJ Premier, and how New York City, which has been a backdrop for their music for years, has affected his growth as an artist.

Wax Poetics: What was New York like when you first started listening to hip-hop?
Guru: For me, personally, it was the most exciting thing I've ever experienced. I mean, hip-hop was the beat of the city. From 42nd Street to Brooklyn to the Bronx, it was everywhere. There was a certain feeling in the air for me. It was magical.

How'd you get started rapping?

I'm originally from Boston and was doing things with a DJ there. I rapped and he produced and beatboxed. This was in the late '80s, and we had only made a single. But those dudes wanted to be local yokels. They didn't want to rough it, so I took all my stuff and moved to New York, and everyone thought I was nutso. I lived in a one-room apartment. After shopping demos around, I got signed to an independent label called Wild Pitch, which finally liked my demo after I had to redo it numerous times. [laughs] I remember reading The Village Voice, and I went to this place called Little Rascals in Queens. I remember chasing a dude for blocks, [laughs] because I didn't like the way he mixed my demo. He was either gonna mix it again or I was gonna get my money back. But, um, that's a funny memory of how I got my demo to Wild Pitch. What happened was these Boston cats would come up from Boston and sponge off of my hard work in New York. We had a fistfight and everything. Those dudes went back to Boston, and I cut them loose. It was a wild times. [laughs]

So Wild Pitch was responsible for Gang Starr's formation?

Yeah, in a sense, you can say that. I mean, I told this dude from Wild Pitch my situation, and, at the time, he'd let me hang out in his office, which was actually his living room on 43rd Street. Sitting around up there, I picked up Lord Finesse's demo and Premiere's demo. So I was like an A&R for Wild Pitch, but the motherfuckers didn't pay me. [laughs]

So you hooked up with Premier shortly after?

Yes. What I did was I took his demo home immediately and rhymed over it. I got his number from that Wild Pitch executive and called him up. I dug his vibe immediately. He was in school at Texas at the time and was gonna be back in New York in a couple weeks. He came back, we linked up, and hit it off.

What was it about Premier's demo that struck you?

The first thing that struck me was his use of jazz. I remember how he used to layer his beats with four tracks. He'd start with one loop of breaks, layer some jazz samples over it, add some scratches and other fitting sounds. So, for sure, it was the jazz element and breaks that caught me. Like I said, I freestyled over that demo of his all by myself, all night long. I've always admired Premier's consistency when we worked together. I'd remember hearing tracks he'd give to other MCs and thinking, "That should have been mine!"

So the first time you and Premier worked together was No More Mr. Nice Guy?

Yeah. It was so fun, but it was a learning experience. I mean, we did that record in two weeks and threw that shit together. You know, I don't even consider that an album. I consider it more of a demo.

So you consider Step in the Arena you official first record?

Yes, definitely. I mean, we were better disciplined for that and had more time. It still stands as one of my favorite Gang Starr albums. It represents a magical time. Plus, it had that song "Just to Get a Rep," which is one of my favorites.

Obviously, Step in the Arena represents an important time for you. How do you look at Daily Operation and Hard to Earn nowadays?

Those albums are no doubt my favorite to perform — especially the song "Mass Appeal." To this day, I still open with that track. Those records are filled with crispy samples and verses that I think are really important. I mean, many consider "Mass Appeal," a classic and it was a song with an actual purpose. I was addressing a certain type of rapper with that song. It's funny, because that song ended up getting us a lot of exposure. I mean, it took us to The Arsenio Hall Show[/i[! At that time, if you got on Arsenio, nobody could say shit. That song and those records gave us great experiences, man. Lyrically, it was about dudes who were gaining mass appeal by portraying fake imagery and selling out. I wasn't about that. I also purposely kept the record vague, because I don't like to attack MCs personally. I'd rather throw them in one group, and if the shoe fits, wear it.

Well, speaking of revered songs, what do you recall about "Words I Manifest"?

It is very special to me. I was finding myself as a rapper and forming more spiritual beliefs. I wanted to be true to my lyrics. What I mean by that is that I wanted to have themes behind my words. I wanted to say things that were true to me. Rappers, then and now, would always talk about things they didn't have, like diamond rings, furs, and money. But I didn't want to talk about that stuff, 'cause I didn't have any of it! So I started to talk about what I knew, and that record was the start of that. This was very important, because I was defining my identity.

Out of all of these respected projects, which are your favorites?

It's a tie depending on my mood. [laughs] Step in the Arena or Moment of Truth, definitely.

New York's obviously been a theme, a backdrop, and an entity in your verses over the years. What goes through your head when you walk through Brooklyn?

The feeling I get, first of all, is that the Brooklyn borough raised me. This town makes me proud. When I go through there, I get chills from all the visuals. Every little thing was important to me here. Even the way we rolled blunts was special to me. [laughs] It's funny you ask that, because just the other day, I saw a spot where Me, Biggie, and Lil' Cease used to chill. We'd be smoking blunts and drinking forties. I remember telling Biggie to make a video for his shit. He blew up quick and was out! Those were good times, man. [laughs]

After all these years and many memories later, do you remember the first place you played at in New York?

Yeah, [laughs], I definitely do remember. I was a place called Hotel Amazon on 14th Street in Union Square. Each week was a different theme named after a candy bar or some shit. So one week, it'd be called "Milky Way" or something. [laughs] But it was actually at a Wild Pitch showcase that was my first time on stage. I swear, this was the only time I was ever nervous. I'm about repping the music and communicating with the audience, and I take pride in that. But I'd look into the crowd, and gods like 45 King and the Flava Unit were there, so I bugged out! Plus, some friends were heckling, 'cause I was a new jack at the time. [laughs] But when I finished, I got a nice round of applause, because they realized I was fearless and my true MC character came out. Before that night, I had only just repped at open mics.

Speaking of memories: Were you in New York on September 11?

Yes. I was sleeping, because I was up late and got woken up from a barrage of phone calls. I turned on the news, and, like everyone else, was deeply saddened. But at the same time, I wasn't too surprised. I knew something was going down after the World Trade Center had already been attacked. Plus, all the precautions like the safety command center were in the newspaper. I was sad but not too shocked.

Do you notice a difference in the general vibe of the city after 9/11?

Yes, definitely. This free city that is known for freethinking is now constricted. It's turned into a police state. And I know the intentions are good and it for our overall safety, but, at the same time, it pushes other issues that mostly affect poor Blacks and Latinos even further back. Things like homelessness was already disregarded, but now it's a non-issue. Even more underneath this is the issue of the homeless children rate rising. Not only in New York, but also all over the country. This really fucking bothers me, and it gets no media attention. In a country this rich, there should be no such thing as a homeless child.

You're a part of hip-hop history, and New York is a part of Gang Starr's history. What does New York mean to you?

New York made me.

Thursday, September 28, 2006

madwax soundinvasion feat. Logistics & Wrec

Drum & Bass funky flava! Já agora, Logistics ou para quem já conheçe, mista Matt Gresham, editou no passado dia 23 de Setembro "Now More Than Ever", é a mais recente aposta da label [Hospital][NHS 112LP]. O duplo cd apresenta uma grande variadade musical, não esqueçendo que a qualidade não deixa nada a desejar, é potente, vibrante, explosivo. No cd1 predominam géneros como o electro, disco-soul e d&b, o groove varia entre uma atitude melancólica, até que por fim atinge um estado extremo de euforia; O cd2 está reservado a uma área mais experimental e partilha de novos conceitos. [oiça aqui]

Encontros de Música Experimental...

Encontros de Música Experimental de Palmela. De 4 a 7 de Outubro. With Micro Audio Waves, Harald Sack Ziegler, Húmus, Murcof, One Might Add, Oval Colleen e Naja Orchestra.

Tuesday, September 26, 2006

Album da Semana

"Yes, i rap. Yes, that's me. All me"
New Orleans, Lousiana, ponto de partida para uma pequena estrela que no futuro prometia brilhar, Voice cresceu numa família onde a celebração do Jazz era uma constante, a sua mãe partilhou consigo um passado onde ocupava o lugar de vocalista, miss Zardis, cujos mentores seriam na época Horace Silver, Herb Mickman (formador e director musical de Sarah Vaughan), Billy Higgins, Barry Harris, entre outros notáveis. Numa era assaltada por factores de consumismo, pornografia, droga e violência, a rapper declama uma poesia urbana de intervenção, o seu tom de voz é quente, firme e aveludado, o seu estilo paradoxo é descrito como sendo 50% Jazz e o restante "In Yo Ass". Formalmente apresentada ao mundo (mais própriamente ao Japão) em 2002, com o trabalho "The Christie And Dupont EP import-only release", na label Canadiana Public Transit Recordings, conceptualizado por PTR, mascote dos Moonstar. No mesmo ano figurou no "Scattered Snares Across The Track" para o catálogo da Twisted Funk Records. "Gumbo" o trabalho mais recente de Voice, é o resultado de uma vasta partilha e experiência de trabalho a par de PTR, juntos encontraram inspiração e buscaram atingir limites e fronteiras nos pólos urbanos americanos, de Los Angeles a Toronto, de New Orleans a New York, o resultado foi, o hip hop, o jazz, o house, broken beat e lounge. "She's also featured on new "Zero DB" LP (Ninja Tune) kicking it on a jazzy vibe" . Disponível no catálogo da Public Transit Canda, a partir do dia 2 de Outubro, recomendo vivamente, para ouvir é só clicar [aqui]

Erik Truffaz - Yuri's Choice

Site oficial »» Discografia Completa [aqui]


Monday, September 25, 2006

Escuta Obrigatória

Alison Crockett - The Return Of Diva Blue: On Becoming A Woman Redux (Sol Image) Comentários: "Alison Crockett's acclaimed "On Becoming A Woman" album gets the remix treatment from a crew of top flight producers including DJ Spinna, Yam Who?, Phil Asher, Mark De Clive-Lowe, Waiwan, Landslide and more. Sure to endear Alison to the house music community as well as satisfy her long time fans."
Andy Stott - Merciless (Modern Love) Comentários: "Merciless" is the debut album from Manchester's Andy Stott and is released on the city's own Modern Love label. Having only been making music for a little over two years, Stott has nonetheless accrued a vast catalogue of tracks - with "Merciless" meticulously distilled from over a hundred pieces of music championed by BBC Radio One's Mary Anne Hobbs, Andy Stott is one of a select few to have been invited back to complete a second session for her Breezeblock show. A Mercedes car-painter by day, Andy Stott's ascent has been astonishingly quick and gained early momentum as his unique combination of crisp beats and fragile melodies combined to mint a sound that was informed by a spectrum of styles, yet remained charmingly idiosyncratic in execution. Obsessed with music since the age of nine, Andy began learning riffs off hardcore tunes by ear - soon tiring with the genre and shifting his focus to the twin maxims of hip hop and drum & bass. Pinpointing the exact moment he decided that making music was his calling as "1995 - when Mark (Claro Intelecto) played me "Metapharstic" by Aphex Twin and it blew my fucking head off!" Stott immediately commenced a run of piano lessons and bought a Roland-10 which is still in working-order to this day. Consuming records that ranged from the likes of LFO, Autechre and Kraftwerk through to Harold Budd, Jedi Knights and Depeche Mode, Andy soon breached the limitations placed on him by the constraints of his equipment and branched out into the computer market - finding software that could help him render any sound his imagination could muster. Rising to prominence on a similar trajectory to Modern Love's Claro Intelecto, Andy Stott's evolution as an artist seems entwined alongside his label-mate - with the pair recently beginning to play live together and the closing track "Peace Of Mind" from "Merciless" being a stripped down piano cover of a Claro original... Ranging from gnarled dubstep and solipsistic strings, through to treated piano and bleached tech - "Merciless" seemingly quashes the age-old adage that a jack-of-all-trades is a master of none with Andy conquering a myriad of styles whilst instilling each piece with a distinctive fingerprint that marks them out as Stott. Mercilessly put together with a delineated narrative, "Merciless" clocks in at a little over forty minutes and in doing so harks back to the days of classic vinyl LPs where an album could be readily consumed in one sitting. Opening through a cold-water batch of sprawling strings, "Merciless" kicks off with "Florence" wherein a widescreen vista is brought down to piquant level of detail as thundering piano juxtaposes perfectly with a compacted batch of tech-fingered beats. From here we're taken on a messy journey through a twilight landscape, as the powdery rhythms of "Edyocat" give way to "Choke" and its grazed-knee take on dubstep, before "Hi-Rise" lightens the mood through some carbonated beats and analogue melodies."
Zero DB - Bongos, Bleeps & Basslines (Ninja Tune) Comentários: Since they started properly working together some 6 years ago, Chris Vogado and Neil Combstock (aka Zero dB) have been concocting a provocative, innovative and addictive brew of hard jazz, electro, Latin, hip hop and house, laced throughout with their now signature dirty, heavy basslines. After releasing their early records on Vogado's own Fluid Ounce label, Zero dB are now signed to Ninja Tune and ready to step it up, with their debut album, "Bongos, Bleeps and Basslines". Their main starting point is usually jazz, but they dip into a multitude of different influences and work with talented musicians and vocalists to create a track. In contrast to the general climate of somewhat old, tired, formulaic and unmemorable dance music, Zero dB's meticulous production forces their audiences to discover previously undeveloped musical places. "A Pomba Girou" kicks off BB&B by combining disorientating echo with ridiculously fat electronic bass styling and the kind of rhythm designed to get the hips twitching. Title track "Bongos, Bleeps & Basslines" eschews the usual "nice" factor inherent in all things proto-jazzy, taking the music's rhythmic drive and harnessing it to earth-rumbling bass noises and enough squelching and bleeping to fill a large aerodrome with monged-out ravers. "Conga Madness" is Latino-space music, a pummelling, hard-as-nails rhythm. "Know What I'm Saying?" heads in a slower, more hip hop-influenced direction, verbals being beautifully delivered by Pase Rock, sometime member of Five Deez and regular Spank Rock collaborator. "Coisa De Gringo" returns to the production pair's love of turbo-charged, cyber-punk Latin, combining raw bass with a true musicality which elevates the tune to levels of euphoria it couldn't manage by use of rhythm alone. Heidi Vogel adds the requisite sweetness, the delicacy of her vocal perfectly offsetting the drive of the music. "Anything's Possible" is a super-mellow chunk of hip hop that draws on the classic early nineties school of Premier and Pete Rock, the finishing rap touches from New Orleans native Voice, whose cool school styling and thoughtful lyrics place her in the tradition of Bahamadia, Ladybug and What What? "Te Quiero" builds with all the beautiful self-evidence of classic house music, a variety of influences thrown into the blender in order to produce something pumped up and downright evil enough to blow away any of the froth which usually passes for Latin-influenced dance music. "On the One & Three" keeps the flick knife hip shimmies going right to the end, where "Sunshine Lazy" rounds things off in epic style with sweaty, drowsy, hot weather psych r&b. The result is hard-edged and exhilarating, a record which is destined never to end up on the Starbucks stereo. Not least because it would blow up the woofers.
CASSIUS - 15 Again (Virgin Germany)
CASBAH 73/Various - Jazz Travels (Hitop Spain)
Gruppo JAZZ MARCA - Mitteleuropa (Arision)
Scissor Sisters - Ta-Dah (Polydor)
The Rapture - Pieces Of The People We Love (Mercury)

Sunday, September 24, 2006

Jimmy Edgar - Is this a real city

slope - komputa groove

Benny Sings_Style beats liberationfronts

Saturday, September 23, 2006

Recortes Electrónicos


SNAX - Love Pollution (TNT) [oiça aqui] Comentários: A carreira musical de Snax começou nos seus tenros 5 anos de idade, formou uma banda com o seu irmão mais velho, “J.P. & The Writers”. A carreira imaginária dos dois irmãos durou toda a sua infância, uma relação recheada de desacertos e de tumultos humorísticos e muitos “álbuns a solo”, até que se pôs um ponto final, quando entraram para o liceu.
Anos mais tarde, Snax começou a viajar, abandona a sua terra natal (Maryland/DC) em direcção a S.Francisco, lá fez parte de um trio de art rock, chamado “Fagbash”. Dois anos mais tarde rumou a Nova Iorque, farto de bandas rock, começou a concentrar-se no Dj’ing e na produção de House e Hip Hop, mais uma vez fartou-se das normativas e restrições das editoras para quem colaborava; fundou a sua própria editora onde começou a editar os seus próprios trabalhos, daí resultou “Kate” uma mix tape [hip hop], a qual angariou a atenção do artista e rapper “Tara DeLong”, juntos fundaram a Bedroom Productions, onde lançou em 1998, “Bedroom Productions” (uma simbiose de hip hop com electrónica experimental), em 2000 “Fast Cars” (continuação do géneros abordados no EP anterior). No mesmo ano, foi tocar para Berlim, onde conheceu aquele que é hoje um grande amigo, Khan aka Can Oral, os dois formaram um projecto que preza de alguma consideração e respeito por parte da crítica, Captain Comatose, cujas edições constam em grande maioria no catálogo da germânica Playhouse. Em 2004, edita sob o disfarce Snax, para a label Mental Groove [MG 045], o tão aclamado álbum “From The Rocking Chair To The Stage”. Em 2006 colabora com Ianeq aka Yanneck Salvo, para a label Get Physical [GPM 043], com o título "Fill Me Up". No presente dá-nos a conhecer “Love Polution”, nele é dominado com muita perícia, a mestria do eclectismo, não se roga em construir modelos hip hop, jazz, funk, electro clash, vincado pelo metal das guitarras, é um desafio à cultura mainstream, um desafio ao mundo amorfo de tendências musicais vazias e cheias de convénios e plágios sistemáticos, não só por parte dos que produzem essa matéria em “decomposição”, que tanto afirmam ser música, mas também para aqueles pseudo críticos, sem se saber como, detêm um “bom nome” na praça da musica, para esses, só desejo que cavem o vosso buraco com urgência e tapem os cornos como fazem as belas das avestruzes, adiante… O álbum de snax vai estar disponível a partir do dia 25 de Setembro para a label TNT, continuação de uma boa tarde, e desculpem qualquer coisinha, voltem sempre. Snax Blog

Friday, September 22, 2006

Discorotic IV

VARIOUS - Discorotic IV (Discorotic) [oiça aqui] Comentários: Featuring Underground Resistance's Gerald Mitchell. Extremely strong release akin to offerings on the Los Hermanos, and his various UR productions. Tough edged bottom end, building strings and blazin' congas culminate to give the peak time smiley brigade something to smile about. An unusual element that you don't often hear in his productions, is some subtle scratching. Perhaps the services of S2 (Los Hermanos DJ have been employed here as well ). All in all, it doesn't deviate too much from the tried and tested formula. Oh yeah, it also includes the talents of CALM and Herbest Moon who also deliver a strong house groove with crisp percussion and bright keys.


I:Cube - Adore


Pulsações Nórdikas

Wax Poetics Issue 18

WAX POETICS - Wax Poetics Parliament/Funkadelic Aug/Sept 2006 Issue-feat George Clinton, Bernie Worrell, Bootsy Collins, Garry Shider, Bill Bass Nelson, Pedro Bell & Overton Lloyd

DJ SHADOW ou Lixo Mainstream?

DJ Shadow feat Q TIP & LATEEF THE TRUTH SPEAKER - Enuff (Island) [oiça aqui] Comentários: Shadow continua a acelerar estrada fora com produções que mais parecem ultimamente sair de uma fábrica de produção em série, à poucos dias foi o Outsider, desta vez coube a colaboração a Q TIP & LATEEF THE TRUTH SPEAKER, juntos compuseram duas faixas distintas, "Enuff" e "Turf Dancing" (feat The Federation & Animaniaks), não encantam nem deixam saudades dos tempos áureos em que a tónica era experimentar e inovar. Dadas as transformações musicais do artista, positivas ou negativas (tirem as vossas conclusões), o single será lançado oficialmente no dia 25 de Setembro, nos formatos CD single, e vinyl (maxi ou 12"), consta no catálogo da editora Island.
Classificação: 5/10

Thursday, September 21, 2006


aka Clifford Price, outro rei do Jungle/Drum & Bass; desde 1965 que este rapaz crescido numa cidade britânica, Wolverhampton, tem vindo a inspirar gerações como é o caso da minha, em 1995 fiquei oficialmente adicto às produções de Goldie, "inner city life" (editado para a extinta label FFRR, remisturado tempos depois por 4 Hero, Doc Scott, ) foi definitivamente a faixa que mais me marcou, e fez me embarcar numa onda urbana, ainda recente para a época.


Tuesday, September 19, 2006

Vinyl Attack 19

01.SPACEK, Steve - I Wanna Piece Of Ur Luv (Jazzy Sport Japan) [oiça aqui] Comentários: Broken Beat/Nu Jazz
02.SPACEK, Steve - Baby Baby (Jazzy Sport Japan) [oiça aqui] Comentários: Broken Beat/Nu Jazz; Hip Hop.
03.TM JUKE - Come Away (Tru Thoughts) [oiça aqui] Comentários: aperitivo para um album futuro, TM Juke é também conhecido pelas produções que faz para Alice Russel; "Come Away" conta com a participação especial de Sophie Faricy;
04.ISOUL 8 feat VALERIE ETIENNE - Give It Up (Sonar Kollektiv Germany) [oiça aqui] Comentários: "Give It Up" é vocalizado por Valerie Etienne (Galliano); conta com uma remistura de Theo Parrish aka Piranhahead, o maxi é também acompanho de uma versão extended;
05.DRRTYHAZE - Voodoo EP (Gomma Germany) [oiça aqui] Comentários: Directamente de Nova Iorque, Drtyhaze aka Haze and Mr. Drrty, juntos compôem um universo disko funk punk altamente cool;
06.PRINS THOMAS - Fehrara (Full Pupp Norway) [oiça qui] Comentários: DJ Thomas M Hermansen aka Prins Thomas, agora a solo, produziu um excelente maxi de disko funk electrónico, é uma boa compra.
07.ALLIEN, Ellen/APPARAT - Jet (remixes) (Bpitch Control Germany) [oiça aqui] Comentários: minimal tech house; contém remisturas de Ben Klock, Paul Kalkbrenner & XTC;
08.JUNIOR BOYS - So This Is Goodbye (Domino) [oiça aqui] Comentários: "Junior Boys' second long player is their first to be released worldwide on Domino. Unique Canadian electronic pop digital disco. Junior Boys' new album will be available as a double gatefold LP, CD and digital download. Much as Daft Punk paid homage to 10cc and Godley and Creme, Junior Boys pay homage to Kraftwerk, Scritti Politti and "Violator"-era Depeche Mode. New limited single "In The Morning" has been receiving great reactions from clubs, tastemakers, press and radio. Fresh from playing a hugely anticipated sold out show at the Luminaire in London, Junior Boys embark on a series of dates as main support for Hot Chip during their UK tour in October. Radio 1 supporting at this early stage and with features forthcoming in NME, Uncut, DJ, Fact and many others, there appears to be a genuine buzz developing around Junior Boys."
09.INTERNATIONAL PONY - Mit Dir Sind Wir Vier (Sony Germany) [oiça aqui] Comentários: produzido por DJ Koze, Cosmic DJ and Erobique, conta com as participações especiais de Khan & Snax; minimal tech house; oiça aqui] Comentários:hip hop jazz;
11.RAWLS, J - The Liquid Crystal Project (Polar Entertainment Germany) [oiça aqui] Comentários:hip hop jazz; broken beat;
12.PRESETS, The - Beams (Gigolo Germany) [oiça aqui] Comentários:produzido por Julian Hamilton and Kim Moyes, a última grande aposta para a germânica Gigolo; "A sonic blitz of neon synths, crashing drums, theatrical vocals and devil-may-care attitude, The Presets take the crash barrier between rock & dance and smash it into smithereens! The Presets

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Chico Mann

MANN, Chico - Manifest Tone Vol 1 (Kindred Spirits Holand) [oiça aqui] Comentários: Chico Mann, disfarce para "Marquitos" Garcia, nascido numa família cuja actividade se prendia à cena musical cubana. Desde tenra idade que tem vindo a alimentar a experimentação do culto afrobeat no seu pequeno teclado casio, mais tarde juntou forças, e integrou-se num grupo que é hoje considerado o pioneiro do afrobeat no mundo americano, Antibalas Afro Beat. A distinção com que o artista se afirma no panorama da produção, é notória nas suas manifestações musicais de elevado teor relaxante, evoca imagens do passado com uma atitude retro futurista, envolve o ouvinte numa melodia electrónica refrescante, adiciona à experiência, aromas afro latinos, com um toque de malandrice hipnótica. No presente "Manifest Tone Vol.1" não foge ao tom aventureiro a que o artista nos tem vindo a habituar, expressa de forma inovadora o vocabulário de Fela Kuti, o que não passou desapercebido aos ouvidos de Rich Medina, dirigente da label Kindred Spirits Holland para a qual o conceito ganha forma, disponível desde o dia 18 de Setembro, para quem quiser saborear e ouvir.

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Monday, September 18, 2006

Berlin Night Life

Já disponível está a programação do lendário club de Berlin, o Watergate, conhecido por receber grandes nomes/labels da vanguarda tech minimal, uma delícia para mentes tecnológicas , ora vejam:
g 20 de Setembro »» Main Floor
Get Physical Labelnacht M.A.N.D.Y. [Get Physical]Heidi [Phonica]Williams: Live! [Get Physical
c 20 de Setembro »» Water Floor
DJ T. [Get Physical]Chelonis R. Jones [Get Physical]Matchbox [Rotation]23.00 – 24.00 Brendan Adams Trio - Konzert

g 21 de Setembro »» Main Floor
Ellen Allien & Apparat: Live! [Bpitch Control]Ellen Allien DJ Set [Bpitch Control]MDSLKTR DJ Team [Bpitch Control]Para One [institubes, Paris]
c 21 de Setembro »» Water Floor
Sascha Funke [Bpitch Control]Sven VT [Memo]Fritz Zander [Memo]
g 22 de Setembro »» Main Floor
M_nus Labelnacht Richie Hawtin [M_nus]Marcthrob: Live! [M_nus]Magda [M_nus]Gaiser: Live! [M_nus]
c 22 de Setembro »» Water Floor
Troy Pierce [M_nus]JPLS [M_nus]Tractile [M_nus]


Spot Publicitário_Diesel 1995

How to... Keep clothes brighter?

Spot publicitário em japonês da conhecida label Diesel, vale a pena recordar.

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Sunday, September 17, 2006

Festival de Cinema Japonês | Culturgest

Nippon Koma
cinema · 4 a 9 de dezembro de 200618h30 e 21h30 ·
Pequeno Auditório · 2 Euros (Preço único)
Tal como nas lendas japonesas em que os protagonistas vagueiam por mundos de fantasia e realidade, sem terem que decidir entre uma ou a outra, esta nova edição do Nippon Koma explorará mais uma vez os interstícios entre o não-representativo, o representativo e o apresentativo. Enquanto que as animações, curtas e longas, aludem simultaneamente ao inconsciente e ao virtual, ao recorrerem a fábulas e formas que desafiam todas as expectativas sobre o simbólico ou imaginário, os documentários exploram idiossincrasias e tensões sociais passadas e presentes, articuladas em modos por vezes profundamente desconcertantes. No seu conjunto, e por entre os mais diversos hibridismos e particularismos, os trabalhos propostos pretendem garantir mais uma oportunidade para explorar, de forma estimulante e intelectualmente cativante, os territórios em permanente recriação da animação e documentário japoneses.


Umbigo #18 regina guimarães (algo)_banksy_all allure _brian kenny_punk – 30 anos_roy stuart_natália correia _três tristes tigres_polaroid_pedro paixão_natasha law_manuela gonzaga_tora tora big band_gelitin_branca de neve de cordel_offf report 2006_susana anágua_arquitectural postcards from a convict_jack o estripador 1920_mid autumn moon_twinsister_moda açores

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Saturday, September 16, 2006

step by step by...

Tem se falado muito de música, mas não há nada melhor do que dançar ao ritmo da vanguarda com o pé bem calçado, aqui ficam algumas propostas, enjoy!

Fruta Fresca

O fim do verão está mesmo à porta, mas a produção musical não pára e é para isso que vivemos, conhecimento, ora bem, aqui ficam algumas novidades, fica em destaque a 3ª edição da Soniculture Portugal [SONICULTURE 003], o lado [A] é uma colaboração de Expander com Billy Dalessandro, já o lado [B] dá entrada a caras novas no panorama Sonic, eles são MIDIMILIZ, conhecidos também por Extrawelt (Arne Schauffhausen and Wayan Raabe ) o projecto chama-se 6 AM Overload, caracteriza-se pelo o seu groove ácido e hipnótico, acompanhado de melodias tech analógicas altamente energéticas.
01.DALESSANDRO & EXPANDER/MIDIMILIZ - 6 AM Overload (Soniculture Portugal) [oiça aqui1] [oiça aqui2]; Comentários: ideal para aqueles afters alucinados em sítios que não lembram a ninguém;
02.TRABANT - Nasty Boy (Southern Fried) [oiça aqui] Comentários: conta com remisturas de Capitan Comatose, Gus Gus... Southern Fried
03.PUTSCH 79 - Box Jams Remixed 2/3 (Clone Holland) [oiça aqui] Comentários: um bom maxi de disko funk electrónico, remisturado por Major Swellings aka Prins Thomas e Daniel Wang; Clone
04.HOULE, Marc - Bay Of Figs (Minus Canada) [oiça aqui] Comentários: do vinyl para a pista de dança Marc Houle tem vindo a provar a sua mestria no campo minimal, estes dois anos que passaram têm sido positivos, explora agora uma corrente synth pop/electro, descansem lá, mantém-se fiel ao design futurista do techno de vanguarda; M_Nus
05.RAUDIVE - No No No No EP (Klang Electronik Germany) [oiça aqui] Comentários: outro disco para se tocar nas primeiras horas da manha, a sua produção é da autoria de Oliver Ho aka Raudive, minimal tech house no seu melhor; Ongaku
06.SAN, Sebastien - Wuxia (Gigolo Germany) [oiça aqui] Comentários: é notoriamente um disco de fim de verão, prima pela sua originalidade na mistura de italo, trance, detroit techno e electro;
07.DNCN/MARK HENNING - We Are Diep (Part 2) (Gastspiel Germany) [oiça aqui] Comentários: dark, minimal tech house;

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Thursday, September 14, 2006


EMBEE feat JOSE GONZALEZ - Send Someone Away (Dealers Of Nordic Music Sweden) [oiça aqui] Comentários: Magnus Bergkvist aka Embee, outrora dj (Dj Mc Marshall), expande as suas capacidades ao grau de produtor e de artista. Deu vida aquele que foi o melhor grupo sueco de hip hop nos 90's (Looptroop - 1992), rompeu fronteiras e desenhou novos limites na produção musical, colaborou com artistas de topo e compôs músicas que viriam a ser a banda sonora de alguns filmes. O seu estilo é sólido, jazzy com uns laivos de melodias soulfull. "Send Someone Away" é notóriamente um flirt ao universo pop, retirado do seu primeiro album a solo "Tellings From Solitaria", conta com a participação especial de JOSE GONZALEZ e Supreme. A edição é da responsabilidade do grupo sueco Dealers Of Nordic Music, pronto a sair no dia 18 de Setembro [DNMEP 013]

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Jamie Lidell: o cientista louco da electrónica que revelou a soul que tinha dentro de si em «Multiply», segundo álbum em nome próprio e um dos discos mais entusiasmantes de 2005. Ao vivo, Jamie Lidell é imprevisível e arrebatador. Sozinho em palco, sampla-se a si próprio e isso tanto o pode levar a assumir a personalidade sedutora de um crooner, como a de um miúdo reguila fascinado pelas máquinas e pelo ruído. Dele podemos esperar tudo, do techno, à soul, com muitas divergências pelo meio.

The Glimmers

The Glimmers - Time 4 Action (Diskimo Belgium) [oiça aqui1] [oiça aqui2] Comentários: Oriundos de Ghent, na Bélgica, Mo Becha & David Fouquaert formalmente conhecidos como The Glimmers «Twins» iniciaram a sua carreira em 1987. No fim dos anos oitenta o duo gozava de uma crescente reputação no seu país natal graças às suas extensas sessões de sábado no Fifty Five onde viajavam entre o New Beat, a Electronic Body Music (EBM), o Acid House, o Disco, a New Wave e o Rock dos 70. Durante a década de 90, os, então, Glimmer Twins nunca se fixaram como DJs dum só género. Pelo contrário, a sua paixão pela música incentivou-os a contrariar um certo fascismo musical vigente, tendo como único objectivo a satisfação da pista de dança, independentemente do género, estilo ou linguagem dos temas que passavam. Chegou uma nova década, um novo século, e o duo belga explode internacionalmente.
Em 2000 editam pela Eskimo a primeira de uma série de colectâneas de culto, “Schizophrenia!”, que ajudaram a re-defenir uma nova visão da música de dança, lançando as pistas daqueles que viriam a ser os seus novos territórios, e que incluem também “Serie Noire” (vols. 1 e 2) e “The Glimmers”, ainda para a Eskimo, “Club Culture”, para a N.E.W.S., “Sidetracks”, para a Blue Note e, finalmente, mais um capitulo da colecção DJ Kicks, para a !K7. São responsáveis pela série de re-edits Buffalo Jams; produzem regularmente para selos como a Eskimo, a Gomma, a Sunday Best (Rob da Bank) ou a Gigolo.
Actualmente, The Glimmers são requesitados para actuar em todo o mundo, de São Paulo a Barcelona, de Moscovo a Amesterdão, de Londres a Tokyo, fazendo da irreverência a sua principal arma, em sets em que a sua mistura de New Beat, Disco, Funk, Dub, House, Techno, Party Hip Hop, New Wave e Pós-Punk, se torna irresístivel. Editam agora o novo trabalho "Time 4 Action" para a label belga Diskimo [DISKO 6001], a data oficial do seu lançamento está prevista para 18 de Setembro. Encontramos neste maxi uma raiz sólida de influências disco com electrónica à mistura, conta com remisturas de CJ Bolland e de PaddedCell.