Check out the new british singer crowned NME’s number 1 band to see this summer and best new act of SXSW after a fantastic live performance on BBC 3’s Introducing stage, Florence And The Machine’s debut single on IAMSOUND is set to confirm 21 year old Florence Welch’s status as one of the hottest new comings in British music today.



Armed with a songbook with a huge selection of darkly romantic murder ballads, and blessed with a voice that seems to channel the spirits of Patti Smith, Kate Bush and Bjork through one slight Camberwell art student, Florence was spotted 18 months ago by her manager singing in the toilets at a party and since then has been wowing audiences across London with a life-affirmingly joyous stage presence that belies the dark voodoo at the heart of her beautiful songs.

Appearing on the same SXSW bill as MGMT led to Florence taking the coveted support slot on the MGMT European tour in May, which received much praise. They are headlining their first show in conjunction with the singles release in July.

http://www.myspace.com/florenceandthemachinemusic

download:

Download ”Beat Freak” (Paul Woolford Remix)

Very funky stuff from Scott Hardkiss and friends.  A speciel EP for the dance floor.The downloadable track has a nice funky feel. Very nice programmed piano and niceBreaks too from Paul Woolford.

Check out the original album also, called ”Technicolor Dreamer LP”.

Here is what they write about the project.

The brand new Beat Freak EP taken from Scott Hardkiss’ acclaimed Technicolor Dreamer LP, is a broad, funk driven workout made by very forward-thinking djs with the sole intention of getting everybody funky. Scott and fellow beat freak/music junkies Paul Woolford, Q-Burns Abstract Message and Fort Knox Five rock 11 mixes of ferocious tech-house, space disco and electro bounce with dubs, instrumentals and acappella featuring ex-raver punks The Prophetz. Trailblazing DJ/producer Scott Hardkiss has been at the forefront of the whole west coast sound, since the dawn of American electronic dance music. He was one of the first US DJ exports, traveling the globe spreading an eclectic mix of funky, psychedelic breaks and beats produced through his seminal Hardkiss Music. His recent relocation to the east coast and establishment of his Brooklyn-based God Within label continues his evolution with a series of visionary digital EPs remixed by renowned DJs such as Joe Claussell, Kris Menace, Robbie Rivera, Morgan Geist, Q-Burns Abstract Message, Dean & Britta, Telepathe and Scott Hardkiss himself to worldwide buzz and radio play.

http://scotthardkiss.com/

Not that much of a rap afficionado, I must admit that it sometimes hits me the right place. If the backtrack is good and there is a nice flow.

This track kind of reminds me of when rap and hip hop was young and mostly came From the eastcoast of the US. What I listened to anyway.

Here is what they write about these guys.

What we’re about to do right now is go back. Back to a time when rap’s greatest hits were created in basement soundrooms, not corporate boardrooms. When dancehall and hip-hop music was all about moving the crowd not “moving units.” Before Damian “Jr. Gong” Marley and Nasty Nasir Jones first began treading the long and winding “Road to Zion.” The artists’ first collaboration went so well that they decided to do a full album together, and that album is Distant Relatives. 

Unlike all previous collaborations between Jamaican and American artists, Distant Relatives is neither a remix nor a featured guest spot on a single track. It’s a fully collaborative effort filling an entire album and opening new avenues of musical expression. The distant Relatives traces the direct line from dancehall reggae’s breakthrough moment forty years ago to the rise of hip-hop several years later—from Run D.M.C. and Yellowman’s groundbreaking collaboration “Roots Rap Reggae” through Supercat introducing Biggie Smalls to the world on the “Dolly My Baby” remix and Shabba Ranks and KRS-One joining forces on “The Jam.” That line continues right up through Damian Marley and Nas’ double-Grammy-winning “Road To Zion.”

Distant Relatives is an album created by two serious artists to explore and celebrate the correlations and deep-rooted connections between reggae and hip-hop, tracing both sounds back to the African motherland that is both the cradle of humanity and the wellspring of mankind’s music. 

And who better to fulfill this mission? The youngest son of the legendary Bob Marley, Damian “Jr. Gong” Marley garnered his own place in music history when he became the first ever reggae artist to win a Grammy Award outside of the Reggae category, taking home an award for Best Urban/Alternative performance for his smash 2005 single “Welcome To Jamrock.” The acclaimed breakthrough album of the same name also won a Grammy Award for Best Reggae Album. 

A hip-hop icon since his immortal guest verse on Main Source’s 1991 “Live At The Barbeque,” Nas burst out of the Queensbridge housing projects, a hotbed of rap artistry since the early ’80s. The son of jazz trumpeter Olu Dara, Nas has since gone on to sell over 20 million albums worldwide over the span of his legendary career, and has acted as an ambassador for hip-hop culture throughout the globe.

“When we first started working, I was thinking about what direction we should go in,” Nas explained during a recent discussion at the Grammy Museum. “Cause it’s all kinda like the same—reggae, rap. But it went to its own thing… We had a few concepts. All basically around empowerment in a way, cause if we’re talking about Distant Relatives we’re talking about the human family.”

The sound of Distant Relatives features live musicians as well as studio production by Damian Marley and his elder brother Stephen Marley, a distinguished award-winning artist and producer in his own right. Featured artists on the album connect other diasporic dots— New Orleans’ own Lil Wayne as well as the critically acclaimed Somali-born, Canadian-raised MC K’NAAN.

“I didn’t want it to sound like something that would be typical of me, neither typical of Nas,” said Damian Marley, who produced much of the album. “But something where you can still see how there’s a middle ground in the music…where you can still hear something that is reminiscent of either of us… It’s been really fun. Cause we’ve been going in the booth together. Especially as a lyricist, it’s really like iron sharpen iron. You can’t slack off right now. And It’s a great learning experience for me too.” And that experience extends to young listeners who will surely be enlightened and educated about the shared cultural legacy of Africa, America, and the Caribbean.

“The whole process is gonna be so fun,” Nas adds. “I think we can have fun helping people. When I think about things we wanna do with this album, it’s just limitless.”

Website: http://distantrelatives.com/

Download:

http://rcrdlbl.com/artists/Nas_and_Damian_Jr_Gong_Marley/track/As_We_Enter_Tinie_Tempah_Remix_

If you´re interested about the different tracks on the new album and what Morcheeba has to say about the individual tracks on Blood and Lemonade, go to Blood like Lemonade and check it out.

Here is what they write about Morcheeba.

 As a certain soft-drinks corporation discovered shortly after altering the recipe on which their empire was built, sometimes you just have to accept that some things are tastier the way they were, and leave it at that. Rejoice, then, in the welcome return to the Morcheeba fold of singer Skye Edwards, whose reunion with Paul and Ross Godfrey on the band’s new album Blood Like Lemonade restores the inimitable laidback charm that made them the mainstay of many a chill-out session. 

”One thing Morcheeba’s always tried to do is make the record we don’t already have in our record collection,” explains Ross Godfrey, the trio’s guitarist and all-round multi-instrumentalist. “I can come home from the pub and spend hours going through thousands of old vinyl records trying to find the one perfect record to fit the moment, and that’s always the one we wanted to make ourselves, with that 3am, spliffed-out sound, like a warm, fuzzy blanket of psychedelia.” 

Blood Like Lemonade is the album they’ve been searching for all these years, one which takes the essence of earlier classics like Who Can You Trust? and Big Calm, and transports it to exotic new places. At its heart are the band’s trademark oozing downtempo trip-hop grooves, embellished with intriguing, idiosyncratic flourishes like the African thumb-piano of ‘Even Though’, the sitar drone and blues harmonica of ‘Mandala’, and the freak-folk guitar jangle of ‘I Am The Spring’, and topped off with Skye’s intimately soulful vocals. It’s also at once their most introspective album, with songs which illuminate the band’s personal situation, and their most outward-looking, as Paul Godfrey’s lyrics pursue characters into uncharted territories: the avenging vampire of ‘Blood Like Lemonade’, the abandoned astronaut of ‘Even Though’, the homicidal dinner-party host of ‘Recipe For Disaster’, the Viking explorers of ‘Beat Of The Drum’. 

It all adds up to the most satisfying album of a career now moving into its 15th year, since Morcheeba first sketched out the blueprint for trip-hop with their debut album Who Can You Trust?. It’s a journey which took the Godfreys from their native Kent to appearing in front of 60,000 ecstatic fans in Brazil and China, and which along the way enabled them to play with musical heroes like Big Daddy Kane, David Byrne, Kurt Wagner and Slick Rick. But after four successful albums together, the brothers parted company with Skye, who went off to pursue her own solo career: working with producers like Daniel Lanois and Gary Clark for her first album “Mind How You Go”, and producer Ivor Guest for her second album “Keeping Secrets”. Her replacements failed to satisfy the Godfreys’ exacting standards, however, and for their sixth album Dive Deep Morcheeba were effectively a duo fronted by a series of guest vocalists. But the constant pressures of meeting the demands of the music industry had taken their toll, and it seemed as if that might be the end of the band, as Paul relocated to the South of France to seek his own Big Calm, and Ross moved to Hollywood to work on music for movies, most recently completing the soundtrack for Steven Soderbergh’s new film The Girlfriend Experience. 

”We always thought we’d work with Skye again,” says Ross. “When we made the first four records, we knew it was a magic formula, but after a time we wanted a break, and Skye wanted to make a record of her own, because working within a band can be quite constricting. Then about six months ago, I bumped into her in London and suggested we get together and have a chat about making another record. I’d written a few pieces of music, and Paul and I had had a couple of writing sessions together, so we sent her some things we’d been working on and she came up with some melodies for them, and as soon as we heard her singing over our backing tracks, it was magic – there’s a definite vibe that happens when the three of us work together, a combination of things that’s unquantifiable. It’s so personal to us, such a big part of our lives, that we got quite emotional about it. After that, it all worked out in a very natural way.” 

”It was Ross that drove the whole thing, really,” explains Paul. “I moved down here to semi-retirement in France after Dive Deep, to take it easy and work on music in my spare time. Ross had gone to Hollywood to become a film composer, but he kind of did a U-turn and wanted to get the old band back together, which proved pretty complicated for us to negotiate our way through. Obviously, we’d pissed Skye off massively in the past, so there was a lot to deal with there. The bottom line was that we were doing it for the legacy of the band, and for the fans. We became increasingly aware that a lot of young fans are only just discovering Morcheeba, and then hearing that the band didn’t really exist in the way they thought it did. So it became quite important to put it back together authentically, for that reason. It wasn’t that we had to pay massive tax bills or anything, it just felt right that we should go back and pay tribute to our career and to our fans, to put personal differences aside and just get on with it.”

But there were logistical problems to overcome, not least those caused by living in such far-flung locations. Works-in-progress would be sent back and forth between France, Hollywood and Surrey, gradually taking shape. “It was completely cool working with Paul and Ross again,” says Skye. “We didn’t really see that much of each other, because we recorded things separately: we hired some nice recording gear and Ross came over to my place in Surrey to show me how to use it, and after that I just got on with it. They sent me backing tracks, I loaded them into Garageband and came up with melodies, then sent them back to Ross and Paul, who’d come up with lyrics for the melodies and send them back to me to sing. On my solo albums, I was writing my own lyrics, but with Morcheeba, I just have to come up with the melodies, which is what I’m good at, and leave the lyrics to Paul. Sometimes he’d ask me how I visualised a song, whether I had any story in mind, and then he’d write lyrics around the story. It was a true collaboration.” 

Skye’s favourite tracks on the new album include ‘Crimson’, about a married woman’s lover who, when he wants to end the affair, tries to kill them both by crashing the car they’re in; and ‘Recipe For Disaster’, in which a foodie kills her yearlong partner when he turns up drunk for dinner. “I can really relate to that one – not like I’m a potential murderess or anything!” she says. “But it helps having a character that you can get into, rather than just reading the words off the page. I also like ‘I Am The Spring’, and especially ‘Easier Said Than Done’, even though it’s a very difficult one to sing. Originally, the lyric went ‘I know I have to let go’, but I asked if we could change it to ‘You know you have to let go’, and it became much easier to sing.” 

”Ross recorded some guitar at home in Hollywood, and Skye recorded her vocals at home in Surrey, then it was all brought together here,” explains Paul from his French home studio. “I even mastered it here myself, which was something I’d never done before. That was just my OCD need for learning, indulging myself in every stage of the procedure. If you see something all the way through, you can learn so much about every step. Mastering used to be an almost mystical process, especially in the vinyl era when it was so important.”

”In the past, we were into so many different things that we couldn’t quite fit all the ideas onto one record,” adds Ross. “But this album was a much more relaxed affair, we weren’t trying to prove anything to anyone. It was almost like when we made the first album, Who Can You Trust?, because back then we weren’t signed to a label and didn’t know much about the music business. And because of the virtual collapse of the music industry, we could do that again, working at our different homes without any pressure.” 

The changing circumstances of the music industry, Ross feels, are both a problem and an opportunity. When he and Paul started out playing in R&B bands, there was a flourishing scene of college parties, bars and clubs which could nurture young talent. “But that’s been so marginalised that unless you go to the Brits School or are on The X Factor you just don’t get a shot at it. And people who make good, genuine music just wouldn’t want to do it that way.” On the other hand, the ongoing collapse of old music industry methods has freed musicians from the kind of business demands which drove Morcheeba to the brink of depression. “Now that the music-business machine has gone, music has become much more local,” he believes. “It feels much more like a personal experience. Which takes you out of thinking about where the music fits in, and demographics – you just make music for music’s sake, which is really refreshing. So it’s nice getting back with Skye and making an album for the love of it, rather than feeling we were just making money for a lot of people around us. It’s more like a cottage industry.” What’s weird, he adds, is how he’s been drawn back into older thought-patterns as the classic Morcheeba sound worked its magic: “I hadn’t really smoked much dope for the past five or six years – but suddenly, making this record, I was smoking all day long. That’s the secret!” 

With Blood Like Lemonade set to drop in June, next on the agenda are the live dates planned for the summer and autumn, for which Ross and Skye are currently rehearsing with the Morcheeba road band. “Morcheeba is like a tepee, it needs all of us to make the structure to support it,” explains Ross. “Paul ends up doing most of the studio work, while then Skye and I do most of the performing.”


http://morcheeba.co.uk/

download:

http://rcrdlbl.com/artists/Morcheeba/track/Even_Though_Surfing_Leons_Afternoon_Remix

http://myspace.com/morcheeba

West Africa Ep vol.1 is a journey into the unique  sound of west Africa. This Ep contains 3 tracks produced by Pepesoup, the afrotech/ uk funky duo from Italy/Liberia. The first track “agogole” performed in nine minutes freestyle by Miss Annie and Moustapha, is a deep Afro sound inspired by a traditional song of Senegal which talk about  responsability and mutual  respect.

All human beings must be treated with honour and regard, without distinction of any kind. The second tune called “baifal Rhythm” is a classic tribal dj tool which contains a djembe live session play by Moustafa Mbengue. Baifal,the African fathers of rastafarianism living under Gorée Island.

The third Track, Uoka, has a message that transcends the power to make one dance and the message that says “just dance”, calling us all to the dance floor to come together as one.The message is an absolute “invitation to the dance of life”; Listen to this Ep!! feel the west african vibes.

Calling out for warmer nights in Scandinavia.

http://www.ganga.dk/

FACEBOOK

http://www.flincmusic.com/

http://www.myspace.com/gangalounge

http://www.youtube.com/gangalounge

http://www.last.fm/music/Ganga

http://www.ilike.com/artist/Ganga

http://www.gangamusic.info/

http://www.bandbase.dk/ganga

http://www.reverbnation.com/ganga

Its not that he is totally new under the sun, as he has released under some

different names in the past. Or different genres under same name.

Eitan is a multitalented genre-crossing musician and producer that has caused exitement and raised interest with everything he has touched.

He has released chill out & downtempo under his own name and a s half of

The “Unoccupied” duo.

He also released techno/minimal/house under his own name, and as part of “Loud” he produces psytrance.

In this debut, Eitan presents the culmination of a few years work, a real journey into unreal territories, that only his mind visited so far. Very emotional and defying defining, Eitans music manages to make us long for

something we didn’t know we missed.

Even though these last couple of lines is taken directly from the press release, I must admit it’s a new place for me also. A bit dark, but also very

very beautiful and with a quietness you don’t hear so often these days.

Reminds me a bit of british Jon Hopkins actually.

Out on Aleph Zero, and highly recommended.

http://www.ganga.dk/

FACEBOOK

http://www.flincmusic.com/

http://www.myspace.com/gangalounge

http://www.youtube.com/gangalounge

http://www.last.fm/music/Ganga

http://www.ilike.com/artist/Ganga

http://www.gangamusic.info/

http://www.bandbase.dk/ganga

http://www.reverbnation.com/ganga

Balanced Records presents Trouble, a brand  new single from Citizen Sound and vocalist, Ammoye. Teaming up to give you Trouble, they deliver a  combination of Ammoye’s sultry vocals and the dub-inspired production from Toronto-based producer Aram Scaram. Lyrically, Trouble calls for an end to the violence among the young people. Ammoye’s soulful delivery and dancehall sensibilities compliment this progressive, bass driven, steppers rhythm.

Citizen Sound is the production moniker of Toronto-based DJ and producer Aram Scaram. In addition to his work in the studio, Aram is co-host of Version Xcursion, a weekly Saturday night radio show that has provided Toronto with some of the wickedest dub for the past 12 years. Through Version Xcursion, Aram has produced and released two full-length albums along with three EPs, including the critically acclaimed Treson meets VX.

Recently recording under the Citizen Sound moniker, Aram released the single Tuff Dub, which is a collaboration with singer song writer Prince Blanco. Citizen Sound has also contributed a version of The Clash’s One More Time for the compilation “Shatter The Hotel – A Dub Inspired Tribute To Joe Strummer”, and is currently putting the finishing touches on a full-length album set for release in 2010.

Vocalist Ammoye blends soul and reggae lusciously in her solo and collaborative efforts. Originally hailing from Clarendon, Jamaica, she now resides in Toronto.

Her style, coined Jamma, is a synthesis of Jamaican and American influences and sounds. This collaboration with Citizen Sound is their first single on Balanced Records and includes the original mix, an instrumental, as well as a hefty broken beat remix from Ottawa’s Rise Ashen.

Citizen Sound – Trouble is available digitally through major digital outlets, including iTunes, Juno, Emusic, Bagpak, Soul Seduction, Wax Poetics and all the other fine retailers.

http://www.ganga.dk/

FACEBOOK

http://www.flincmusic.com/

http://www.myspace.com/gangalounge

http://www.youtube.com/gangalounge

http://www.last.fm/music/Ganga

http://www.ilike.com/artist/Ganga

http://www.gangamusic.info/

http://www.bandbase.dk/ganga

http://www.reverbnation.com/ganga

Its been a few days now since I returned from the island, and I still have the hot air in my bones so to say. June is a great time of year to go there. Temperature is nice and not too hot, and the season is not really started, even though there is opening parties all over in all the clubs and beachbars.

I went there to promote the new Ganga album Gaia, which has a digital release on the 15^th. Of june. The physical release was june 1^st. on Ibiza and august 1st. One World Music releases the physical  album in Australia.

The overall reaction to the album has been very good, even though we haven’t splashed out with huge promotion campagnes. The DJs that are important for this kind of music has in general been very pleased so that’s great. I am awaiting Pete Goodings review in the Tillate Magazine later this month, and already now there is couple of tracks licensed off the album  to compilations.

On Ibiza I played two live shows on the two local radio stations, Ibiza Global Radio – with my DJ Malte, and on  Ibiza Sonica I was a guest at Andy Wilsons show. Great fun actually to play both shows, and at Sonica they actually streamed the show so its gonna be online somewhere on youtube. Fantastic view from that studio overlooking the foothills I think they call them – I would call them mountains.

I also played a liveset at the beachbar Kumharas near San Antonio and  two sets t Sands and El Chiringuito, which has arisen again after a period of reatauration. 

At Las Dalias Hippemarket there is a great little record shop where they also DJ all day long, and many different artists and DJs come here to play. Very small and very cozy place – fun little place to play and great people. Nice to see some people actually buying physical CDs.

That same night I finished off playing an uptempo DJ set at Hotel Es Vive at a party they call “Church On Sundays – Hail Bloody Marys” – great fun to play only uptempo tech house and electro stuff.  Nicole Maudaber is the resident at that club normally, but this night I was there with Damien Wilson from CR2 Records.

So back to normal business here in Copenhagen after a short tour break.

http://www.ganga.dk/

http://www.flincmusic.com/

http://www.myspace.com/gangalounge

http://www.youtube.com/gangalounge

http://www.last.fm/music/Ganga

http://www.ilike.com/artist/Ganga

http://www.gangamusic.info/

http://www.bandbase.dk/ganga

http://www.reverbnation.com/ganga

Produced by Zeb Visini or “The spy from Cairo” as he likes to call himself these

days. Its really great stuff – funky oud playing and great beats in sweet harmony.

You can get the album/EP here. 

Here is what Douglas Heselgrave writes about him and his latest album “Secretly Famous”. 

For those seeking clarity or a doorway into the world of Middle Eastern music, The Spy from Cairo’s  album Secretly Famous will be greeted as a godsend. For the more uninitiated who have only a fleeting knowledge of the rhythms, cadences, time signatures and ineffable qualities of songs from this region, the music will still remain challenging, but one could not ask for a better guide than Moreno Visini – the artist formerly known as Zeb and currently recording as the Spy from Cairo – to usher us through the world of contemporary and traditional Islamic melody. The title of the album, Secretly Famous is most certainly an in joke referring to the fact that as The Spy From Cairo or Zeb  Visini,  has written hundreds of songs and produced more than ten albums over the past dozen or so years, yet he is still hardly a household name outside of DJ music circles. In addition to creating his own music, he is in a constant demand as a remix artist who in the past few years has gloriously fractured and expanded songs by musicians as diverse as a Billy Holiday, Baba Maal, Astor Piazolla and Novalima.

With Secretly Famous, The Spy from Cairo has woven together a dossier of songs that encompass many of the musical styles of the Middle East including those from African and Bedouin culture in an album that miraculously finds a way to sound cohesive in its diversity. As different as many of the cuts are from one another, under The Spy from Cairo’s curatorial hand, it’s very easy to hear a common melodic thread running through the endeavor.

The fact that Visini is not only a normal DJ, but also a talented musician, helps maintain the album’s great sense of unity. Not content to simply twirl knobs and add beats, he turns his talented hands to contribute more than credible efforts on a variety of instruments including the oud, chifteli, bass and moog synthesizer. The gifted Tunisian singer Galia Benali also appears throughout the album, adding her heartbreakingly lovely vocals to three of Secretly Famous’ best songs. Worth special mention is Ana Arabi, a song that she both wrote and sang that enjoins her listeners to understand that every Arab is not a terrorist.

Some of the songs features very straight ahead readings of traditional music fare. Tracks like ‘Nayphony’, ‘Kurdish Delight’ and ‘Leila’ make such understated use of some nice dubby effects and beats that they wouldn’t sound out of place in a collection of conventional Arab music. Yet, to say that Visini — as producer — simply stood aside during these songs and let the musicians play would do a disservice to the importance of his contributions. On each of these numbers, he carefully constructs backing beats and shifts the volume levels to emphasize certain elements of the tracks that fall within most listeners’ comfort level. In short, he allows listeners to identify similarities between the Jordanian, Kurdish and Egyptian sources with other musical styles such as reggae, funk and disco. The effect is to make the songs sound both familiar and challenging. Only a great  musician with such a thorough knowledge of music from that speciel region could make such auditory leaps sound so credible while still remaining very musically vital.

As someone who has long admired classical oud music, not surprisingly I was initially most drawn to songs like ‘Sufi Disco’, ‘Oud Funk’ and “Ala Shan’ which prominently feature the instrument. Of these, ‘Oud Funk’ is the most traditional sounding track, and to my ears is reminiscent of the Algerian Rai sounds popularized by Khaled. ‘Sufi Disco’ is very trance inducing and features a wonderful conversation between a bamboo flute and oud to lull listeners into a reflective state while ‘Ala Shan’ is a remix of a traditional song filtered through Studio One dub inflections and aesthetics.

The Spy from Cairo rounds off his excursion through Arab soundscapes by checking into how the music has been interpreted by those living in the Balkans, Africa and India. ‘Blood and Honey’ explores the juxtaposition between the allure of the beautiful Balkan countryside with the unfortunate history of war that has plagued the region in a powerful song once again sung by Galia Benali. Lighter and more uplifting are ‘Kembe’ — another oud dominated song delivered in a Bedouin style that should have fans of Tinariwen rocking in their seats – and ‘Indian Rope Trick’ a vocal and sitar duet that brings this exceptional collection of songs to a close.

In the very end, not hat  many people may have the chance to hear Secretly Famous, and that would be too bad. There is no question of the musical value of the material that The Spy from Cairo presents here. It is more that western culture has not yet opened the door and shown itself ready to assimilate these types of songs, and Visini may unfortunately find himself preaching to the converted. He has certainly done a wonderful job of arranging the songs on Secretly Famous in a way that maintains his musical integrity and is designed to appeal to the larger culture at the same time. The Spy from Cairo is both tricky and smart, and the deep espionage he’s undertaken here should be rewarded. He’s taken on the embedded resistance to this music and thenperformed a profound kind of subterfuge and melodic stealth that in a perfect world should gain him legions of fans. He has neither sold out to the dance floor, nor has he recorded museum music to be argued over by dusty academics on the library steps. These songs are very vital, thrilling and blessed with a pulse that can take listeners on a journey through the centuries to come up with an album that’s as good as almost anything being recorded on the planet today. (Courtesy Douglas Heselgrave)

<a href=”http://www.ganga.dk”>Ganga – Downbeat / Chill Out Music</a>

http://www.ganga.dk

http://www.flincmusic.com

http://www.myspace.com/gangalounge

http://www.youtube.com/gangalounge

http://www.last.fm/music/Ganga

http://www.ilike.com/artist/Ganga

http://www.gangamusic.info

http://www.bandbase.dk/ganga

http://www.reverbnation.com/ganga

The single “We Are Human” is by electronic music trio Ping Trace. Ping Trace consists of Sven, Lynnae Rome, and Jeremy Golden; two DJs and a vocalist focused on high-quality electronic sound-scapes filled with catchy melodies and a lush, chilled production style. Their previous, self-released  EP “Traces”,  received some good attention and airplay around the globe inspiring the label Terraform to sign the trio to the label.

Ping Trace’s first Terraform single, “We Are Human,” is a sleek slice of rolling deep house accentuated by Lynnae Rome’s  nice vocals and layered, evocative instrumentation. The original is backed by a techier remix from Stockholm’s Håkan Lidbo, a producer who has been described as “one of the most prolific tech-house producers on the planet.” Håkan Lidbo’s melodic take expands “We Are Human” outward, pulsating with arpeggios and synth-lines anchored by a steady house rhythm. . His impressive portfolio includes collaborations with a myriad of respected artists, notably Depeche Mode, with a remix of “Peace” in 2009 and countless other very experimental tracks.

You can listen to the pre-release here 

http://www.ganga.dk

http://www.flincmusic.com

http://www.myspace.com/gangalounge

http://www.youtube.com/gangalounge

http://www.last.fm/music/Ganga

http://www.ilike.com/artist/Ganga

http://www.gangamusic.info

http://www.bandbase.dk/ganga

http://www.reverbnation.com/ganga