Archive for April, 2010

Emancipator – exiting new artist

Monday, April 26th, 2010

Here is some new stuff about a very young producer that came out of nowhere earlier this year. Emancipator is his name – or his artist bame, played his first live show in July 2009, opening for Bonobo at  Roseland Theater New York.

Since then, he’s toured with Bassnectar, STS9, Pretty Lights, and played at festivals like Trinumeral and Symbiosis, and closed out Sound Tribe Sector 9’s late night parties in Denver at the request of the band.

Emancipator self-released his first album, Soon It Will Be Cold Enough, at the age of 19 in 2006. His lovely melodies layered over, immaculately-produced beats captivated fans across the internet and across the world.

“Soon It Will Be Cold Enough” was picked up by Japanese producer Nujabes, pressed in Japan and sold 5,000 copies in the first six months. Emancipator landed a Puma sponsorship, gave an interview to Rolling Stone Japan, discovered one of his songs was played at the Beijing Olympics (he is still trying to figure out how that happened) and his song “Shook,” a mashup that perfectly mixes Mobb Deep’s mighty raps with  a Sigur Ros track, became the highest-rated song on Hype Machine’s “Best 50 Songs of 2007”. It also appeared on Hype Machine as the #2 most popular song in April 2009.

His latest album “Safe In The Steep Cliffs” blends new instrumentation and organic samples with the signature Emancipator style of smooth clean production, silky melodies and addictive drums. Dense layers of choirs, horns, American folk instruments such as  banjo and mandolin, violin and some distinct Asian influences make for a playful but refined album. Built out of intricate tracks listeners can enjoy on as many levels as they want. Dance to it, chill out to it, immerse your mind in it.

Great music – go find him.

“Relight” new dubby sounds from Dubphonic.

Monday, April 19th, 2010

« A soft but very breath taking album, a very elegant blend with Jamaican flavours, haunting compositions,  fluidity and clearlight sound quality, their dub fades into electro-ambiant chamanism and becomes a magic sound installation »

From Le Monde to 20 Minutes, from Keyboards Magazine to Telerama, reviews of Dubphonic’s  “Smoke Signals ” (2003) were all over positive. First album of the French trio after a cult 12″ for the Chicago based label Guidance Recordings, called  Smoke Signals,  was entirely instrumental. It soon became a music supervisors favorite and  tracks were being picked up for series such as  “Six Feet Under ” and  “Dexter “.

After a long tour with the Japanese band Audio Active and a handful of concerts, and while their remix of Tosca’s  “Orozco ” was being spun all around the world,  the band went back into the studio in 2004.

If inspiration met the rendez-vous, Stefane Goldman (guitars/electronics),  Alexis Mauri aka Alexkid (programming & production) and Sylvain Mosca (programming & electronics), they  were not fully satisfied with the results and agreed that time would not be an issue. They  wanted the best for their second album.

Four years in-and-out of the studio later,  eleven new compositions were completed and finalised for the fresh new album Relight.

During the deliberatly very slow creative process, four of these new pieces naturally evolved into songs with guest vocal performances by Cuban-American Liset Alea (previously heard on Alexkid’s second and third album), Euro-American Daniella D’Ambrosio (Nouvelle Vague, Aswefall), Brasilian CÈu (whose new album Varagosa is about to be released in Europe) and English Mau (co-founder of Earthling and several other projects).

The band members plays most of the instruments and and writes most of the repertoire themselves.

For certain special takes, they called in brilliant musicians such as Jean-Philippe Rykiel and Rodriguez Jr. on electric piano, Jérémie Poirier-Quinot on flute and Prince Zober on percussions.

Their different inputs and the various palette of the guest singers/writers, enriches the bands unique sound while at the same time keeping the cinematic essence of their music, more obvious than ever in tracks like  “Nora Sun”, “Last Resort Hotel” or the magnificent  closing number  “Outland”.

Lala 2.0 – DePhazz and Pit Baumgartner makes some new noise

Monday, April 12th, 2010

This album from Pit Baumgartner finds its inspiration so many places its hard to find out where to begin.

The Pit Baumgartner has created a new collection of very sou linspired tracks with many interesting vocal performances and a chopped up form of soul full grooves. Very jazzy stuff – very American actually.

Very old school funky grooves in many of these tracks. Check it out for yourself in this player.

And read what the label writes about the release.

“LaLa 2.0” is the 8th DE PHAZZ album to date, and it showcases a vast amount of international vocalists stemming from the ever expanding musical universe of one of the best selling lounge outfits out there. Of course there’s Pat Appleton (GER) and Karl Frierson (USA), alongside Barbara Lahr (GER), Marnie Mans (CAN), Angel Jones (USA), Sandie Wollasch (GER), and Charity Sanders (USA) –  they all contribute to a rare data carrier way beyond the ordinary…

“It’s just a file, that’s what it is.” Is it?

Now that’s truly a self ironic statement about a song as a cold, nameless file: mp3 data, that is. As opposed to (or even highlighted by) soulful juggling of words… contemporary trains of thoughts in a way. Here’s another excerpt (for the headstrong):

„I know you from Baywatch, don’ explain it away bitch.“

What? Lyrical alphabet soup ranging from “deep” to “cheeky” and back. There’s lament (“Duck & Cover”) as well as many wrinkles caused by laughing (“Slums Of Monte Carlo”). Social statements (“Fear is my business”) followed by conciliating vibes (”Back from where I started”). All framed by those unique, electro-organic soundscapes created by DE PHAZZ head honcho Baumgartner.

„Jazz is the move“? “No Lie”!

“Lala 2.0” is wood from the roots, shaped on the scanner. Well computed terrestial heat. it’s “soul” ripped to pieces, and  then put together again in a different way… contemporary and organic digitalism. Word up!

And so, nothing stays the same. DE PHAZZ “play” music… music version 2.0. It’s all uppercut is on here, so go & get your Lala update while supplies last.

(courtesy of MM Connexion)

Watch this slick video