ballade de johnny-jane ジョニーとジェーンのバラード

洋楽の紹介! johnny:rock,singer-songwriter,folk, acoustic,electronic jane: female vocalists

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Category :  jane (famale vocalists)
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official website Page here
Happy Birthday YYYS! This week marks 10 years since YYYs played our first small club show in the big city! Our birthday wish is to play a show as small or smaller than back in the day and get NOSTALGIC with our friends Todd P and Secret Project Mighty Robot on September 22. So dust off your Machine EPs or maybe give Yeah New York! a whirl because we're digging up some oldies but goodies, heavy on the early catalogue. It's back to basics, just the three of us and a couple hundred of you. Accommodations will be tight so we'd like to apologize in advance to those who want to be there but don't get in, we thank you for humoring us with this selfish wish to make it so puny!

Talk Normal will be popping off the festivities and Barry London will spin us through the breaks. Looking forward to bashing up this birthdayyy with you!!




Hysteric (Acoustic Version)


A Broken Consort

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From the label Tompkins Square:
Richard Skelton is an artist from Lancashire in the UK. He started his Sustain-Release Private Press in 2005 as a commemorative tribute to his late wife Louise, with the intention of publishing her artwork alongside his own musical offerings. Since its inception he has released a slew of raw, beautiful recordings presented in lovingly-assembled, individualised editions.

Operating under a variety of guises, including Heidika, Carousell, Harlassen and Clouwbeck, Skelton creates powerful, instrumental music out of densely-layered acoustic guitar, bowed strings, piano, mandolin and accordion, often laced with delicate, shimmering percussion. The result is something utterly unique – a music which is both life-affirming and yet etched with memory and loss, evoking equal parts Arvo Pärt and Ry Cooder, Nick Drake and Henryk Górecki.

It is with A Broken Consort, perhaps, that Skelton most-assuredly draws these elements together, creating an ever-changing drift of rich textures and interleaved melody that effortlessly evokes the landscapes which inspired it. Box Of Birch, his second album in this guise, was originally published in a boxed edition that contained, among other things, birch twigs collected from the West Pennine Moors. For Skelton these things act as a synecdoche for the landscape itself, a physical connection to the places in which much of his music is recorded. In this new edition for Tompkins Square, Skelton has created an exclusive series of artworks which draw on the hidden histories of the English landscape, and their narratives of displacement and loss. The result is something which perfectly complements the music whilst adding another dimension, providing a fuller picture of the artist’s vision. ( A Broken Consort Biography)

Tompkins Square Page here


album reviews here
The version of A Broken Consort’s Crow Autumn just released by Tompkins Square is a new version of Richard Skelton’s Crow Autumn, or rather it’s a new version of the Crow Autumn and Crow Autumn 2 recordings (previously released on his own Sustain Release label), reworked into a cohesive and well-balanced whole, with a new piece on the end. While I’ve already eulogised about the Crow Autumn 2 tracks, their successful repackaging and recontextualising here as part of a bigger work makes the new LP edition a must-have for me. In marked contrast to this dense instrumental fare, the Corbelstone Press music and poetry label which Skelton runs with Canadian singer-songwriter Autumn Grieve has just released a marvellous and delicate slice of folk music by Grieve; one which should have appeal beyond those with an interest in the Skelton catalogue.


Box Of Birch


Erland&The Carnival

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ballade de johnny-jane Simon Tong Page

lastfmlogo.jpg Erland&The Carnival Biography
Carnival are a British Folk rock band, formed in London, England by multi instrumentalist Simon Tong (formerly of the the Verve / Blur / The Good, the Bad & the Queen), Orcadian folk guitarist and singer Gawain Erland Cooper and Drummer / Engineer David Nock (who recently worked with Paul McCartney on his Firemen project).

After Erland recorded a track –‘Coming Home’ produced by Nock for Tongs Butterfly recordings compilation- “What the folk vol2”- the three of them began writing and playing together around London. Following in the path of Pentangle, The Trees and early Fairport they decided to form their group entitled “Erland and the Carnival.”

Carnival are best known for their contemporary arrangements of traditional Scottish and English folk songs, including Sally Free and Easy, The Parting Glass, Was You Ever See and Love Is a Killing Thing collected by Ralph Vaughn Williams. The band have just finished recording their debut album at Damon Albarns Studio, 13 and have released material, independently, through various collaborative projects.

The band’s name comes from the Jackson C Frank song My Name is Carnival after the band recorded their own version of the song from his album Blues Run the Game. They are inspired by the likes of super folk groups Pentangle and Fairport Convention.

Members currently include Erland Cooper, Simon Tong, David Nock, Andy Bruce, Georgia Sands & Danny Wheeler.

Wikipedia Erland&The Carnival
Erland and the Carnival are best known for their contemporary arrangements of traditional Scottish and English folk songs, including "Tramps and Hawkers", "Was You Ever See" and "Love Is a Killing Thing", collected by Ralph Vaughan Williams. The band's debut album was recorded at Damon Albarn's Studio 13 and released in January 2010.

TLOBF Interview : Erland&The Carnival Page here
How did the band come together and form, and how did you decide on its name?
I met Erland at a folk night I used to put on in Portobello Road and we got chatting and discovered we had a shared love of Jackson C Frank and in particular a song of his called ‘My Name is Carnival.’ We did an afternoon of playing and writing with engineer and drummer friend David Nock and pretty much decided there and then to form a band taking the Jackson C Frank song as inspiration for the band name.

There’s a definite link to Tong’s involvement with The Good, The Bad and The Queen, and the album feels very “Olde English” in both sound and content- was this a conscious effort, or was it something that happened by accident?
We have a Scottish singer in Erland, an English guitarist in me and a Welsh drummer in David so we are pretty representative of mainland Britain. It was definitely important to sound British rather than say… American- which can be harder than you think.

Where do you see your influences coming from? Is it mainly “folk” or the “60s Garage Rock” side of things?
Guitar wise there is a 60′s garage feel. With the keyboards we tried to get a ‘Ethiopique’ feel- ‘Desert psyche’ if you like. (Just invented a new genre!) For the lyrics we stole from everywhere: old folk songs, political speeches, poems, newspaper articles.

Tell us a bit about the single ‘Trouble In Mind’. It sounds like a right old scrap book of a song – originally a blues track by Alan Lomax with lyrics borrowed from Springsteen…
The title is from an old blues track but that’s all. We borrowed the theme of ‘My Fathers House’ by Springsteen which is about returning to a childhood place either in a dream or in reality. Also ‘Last night I dreamt…..’ the first line of the song is from the first line of Rebecca by Daphne Du Maurier.

What’s “The Derby Ram” about? It sounds like it’s about a real event, but I couldn’t make out exactly what from the lyrics!
It’s the story of a tragic suicide jump that happened in Derby town centre a few years ago where a baying crowd gathered to watch and shout abuse at the jumper in a kind of horrific medievil re-enactment while recording it on their mobile phones. We based the lyrics on a newspaper article about the event.

How did you go about writing songs for this album? Where any of themconceived prior to the band getting together, then reworked, or was it all new material?
It was all new material. We write independently and also together. The concept of the album I suppose was the reworking of traditional folk songs and related materials is a modern 21st century way.

Is Erland & The Carnival a one off event, or will we see the band record a follow-up and continue into the future? If so, any firm ideas yet on which direction it might take?
We are already writing and recording a follow up which will be a development of the first album. we have a way of working, be that recording or writing, that really works for us and its permiations are pretty endless. As a live band we are growing with every gig and I see it as a long on-going project in the future.

Was the imagery associated with the album, which has been carried through to your Myspace, Facebook fan page etc, something that the band came up? The sinister black and white photos, yellow text and goat all seem a little sinister!
I suppose the imagery is a bit of a reaction against a lot of very safe, middle of the road folk music that is around at the moment. Folk music should be a little unnerving and dark.

Who’s the old pagan goat that rambles on your Myspace blog? The call to burn all ukulele’s made me chuckle…
The goat is our mentor and spiritual leader and yes he really f**king hates ukuleles.

How did you find playing The Union Chapel before Christmas? It’s such a lovely venue and you played with one of our favourite new bands Fuzzy Lights!
The Union Chapel is a great venue. It really suited our slightly religious/monk backing vocals and we are big fans of the Fuzzy Lights as well!

Erland and the Carnival

'Trouble In Mind'


Rainbow Arabia

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official website here


Rainbow Arabia is an electronic duo based in Los Angeles, California consisting of Future Pigeon and Whisky Biscuit keyboardist Danny Preston and wife Tiffany Preston. They perform a brand of dance music that contains elements of Arabic, North African and Asian fused with American avant-garde dance pop. They have released two EPs on Manimal Vinyl since forming in early 2008 The Basta (2008) and Kabukimono (2009). They have toured the US and Europe with Hecuba (band), Gang Gang Dance and played shows in Europe with Wavves and Mogwai (band). They cite the label Sublime Frequencies and Syrian singer Omar Souleyman as influences. Their latest EP Kabukimono has found critical acclaim on both sides of the Atlantic.(Wikipesia Rainbow Arabia)

Omar Souleyman ballade de johnny-jane Omar Souleyman here

The Basta EP (Manimal Vinyl 2008)
Kabukimono EP (Manimal Vinyl 2009)

normanrecords Kabukimono, by Rainbow Arabia (CD on Manimal Vinyl) here
Rainbow Arabia is a duo made up of real life couple and Gang Gang Dance members Danny and Tiffany Preston. 'Kabukimono' is the follow up to 'The Basta' and features five new tracks plus a couple of remixes from said debut. Primarily created using analogue synths and drum machines 'Kabukimono' is a total toe tapper with the key inspiration being exotic and eastern flavours. 'Haunted Hall' is well Bollywood sounding, most of the material reminds of Pit Er Pat with it's methodical use of drum programming and wirery guitar lines. Tiffany Preston's voice acts as a rhythmic aid in the vein of Ponytail's Molly Siegal or Yoshimi (OOIOO and Boredoms) where the significance of the lyric is outweighed by the delivery. Remixes come courtesy of Ghosts on Tape (Omar K) and Brenmar (who has a bash at Let them dance). Ghosts on Tape takes Omar K's banging synth line and works it over into a DAT Politics-esque electro mash-up and Brenmar cuts 'Let them Dance' into itsy bitsy piece with reckless abandon. 'Kabukimono' also features awesome artwork from Hideyuki Katsumata further enhances the colourful, lively nature of the music contained within.

rainbow arabia image (1)

"OMAR K" Offical Music Video

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Wikipedia Amusement Parks On Fire
Amusement Parks on Fire are a band from Nottingham, UK.
The band was formed by Michael Feerick in 2004, who wrote and performed all the instruments for the self-titled debut album. The band now performs as a five-piece group: Michael Feerick (guitar/vocals), Daniel Knowles (guitar/production), Peter Dale (drums), Gavin Poole (bass/vocals) and Joe Hardy (keyboards/samples/guitar/vocals).

official website here

Road Eyes (FILTER US) 2010

MVRemix Rock Page here
Nottingham England’s Amusement Parks on Fire announce the release of their third album, Road Eyes, set to be released by Filter US Recordings October 5th, 2010. The album is preceded by the impressive video for first single “Flashlight Planetarium,” a rush of space-filling sound that will take listeners on a journey to the stars on the back of colossal guitars and smooth vocals.


Villa Nah

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Villa Nah, a duo of Juho Paalosmaa and Tomi Hyyppä, makes pure electronic pop with plenty of emphasis on catchy melodies and meticulously crafted soundscapes reminiscent of the 1980’s.
Stylewise, Villa Nah is related to 80’s bands like Heaven 17 or New Order, but that is only the tip of the iceberg. Once you’ve heard their debut single, you’ll know that Villa Nah is about nothing else but their own style and sound.( Villa Nah Biography)

Keys of Life,Mar 2010

1.Time For Tea
2.Running On
3.Ways To Be
4.Some Kind Of Dream
5.All The Days
6.Autumn Gone
7. Kiss And Tell
8.Way Of The Future
9.Remains Of Love
12.Emerald Hills

BBC Villa Nah Origin Review Page here
There’s an argument that geographically defined music scenes have become a thing of the past since the spread of the internet. But place remains vital when marketing new music, as if the creative communities of certain cities are more valued than others. If Villa Nah were from New York, London or Berlin, you’d have heard of them before now – conventional machinations would have made it so. (If you have heard of them, you’re in a minority. Award yourself a biscuit.) But they’re from Finland, so here’s the duo’s debut album, landing in the laps of UK listeners without any discernable buzz.

The stealthy arrival of Origin actually plays to its advantage, as this is the sort of sleek electro-pop that’d be gobbled up greedily by tastemakers and playlisters alike given sufficient notice. Subsequently, the affecting sparseness of All the Days, Remains of Love and Running On could have transformed into daytime mulch, lost amid the loosely similar sounds of La Roux and Delphic without more astute parallels being brought to the table: Junior Boys, Cut Copy, The Russian Futurists, Ariel Pink heard through tangled Casio cables. These are sweet songs, delicately pop at their centres and defensively cool to the touch. But spend some quality time with them and their hearts soon start to shine.

The aloofness of Juho Paalosmaa and Tomi Hyyppä’s offerings initially distracts from the warmth to be felt after a few listens. In this respect the record’s comparable to Matthew Dear’s 2007 long-player, Asa Breed, and LCD Soundsystem’s Sound of Silver of the same year – these ears only came around to both after repeated but gentle exposure. Stylistically, though, Origin often treads a path that takes it closer in spirit to work by OMD, The Human League and Heaven 17. It’s in both the archaic nature of the synthesizer sounds and the romanticism rippled through the effect-laden vocals – but these traits emerge as honest celebration rather than cynical swipes taken purely to appeal to a retrogressing mainstream demographic.

It’s slight, then, but never does Origin seem unsure of the direction it’s taking. As such it flows nicely, its makers clearly in tune with a compositional approach that suits them now, and may well enable them to reach out to a wider audience soon. Should they succeed in focusing more attentions on their homeland scene, they’ll have done so without mercenary calculations.

Ways To Be



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Swedeart+3.jpg Swede:art Biography
Swede:art’s origins are based in 90s boom bap themes but developed since electronical music is spreading like these days to directions, which are formally based on 90 bpm productions but can’t be compared with old stuff from classical hiphop material.
His productions can’t be defined through genres nowadays but they’re linked to a “movement”, which is often called just “BEATS” from former heads, focussing on up and comin bedroom producers in electronical future beats after dilla. Strongly influenced from new generation warps like flying lotus, hudson mohawke, rustie and more skewing soundscapes are also matter as the typical warm and soulful drumset beyond the rustle. At 19, he’s definitely sharing in future stuff, especially considering collaborations with other producers and vocalists from Germany and worldwide.

Tokyo Dawn Records Page here
From boombap to boogie and beyond, the highly anticipated debut album from German wunderkind Swede:art has it all!

Songs about sex on the airplane, robots, eternal life, linguistics and space rides are only the start.

Influences from techno avantgarde and 90s hiphop melt into unorthodox funk, subbass staccatos, saw tooth wave attacks, bleep action in slow motion and more diabolic ingredients. In short, 'Emotional Colors' is a must for the passionate space traveler.

Guest artists on the album include Duktus, Note, Pursuit Grooves, Stray, Blaktroniks, Caits Meissner and Comfort Fit.

Laurent Garnier: "It's like mister 'dope beats hip hop' having wild sex with 'miss abstract funk' trippin on acid - GENIUS album"
Simbad (Brownswood): "Sick album, totally fresh! BIG 4 real!!!"
Dr Motte (Loveparade): "Very inspirational album!"
Zero DB (FlOz): "THIS is the shit I should be making, I LOVE IT!"
Tom Wieland (Compost): "Fresh as the morning sun!"
Charles Webster (Miso): "Really forward thinking grooves"
Jenna G (BBC 1Xtra): "Can't wait to play this at my summer bookings, this will match those lazy beach locations very well!"

Release date: June 23th 2010
Label catalogue index: TDR10-002
Produced and composed by Joachim Prügl
A&R by Marc Wallowy, Cover artwork by Matt Lyon
Mixing by Comfort Fit, Mastering by Fabien Schivre
Copyright © 2010 Tokyo Dawn Records
All rights reserved

I'm a R.O.B.O.T. (feat. Blaktroniks)


Alva Noto

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Alva Noto is a stage name of sound artist Carsten Nicolai who uses art and music as complementary tools to create microscopic views of creative processes. Another alias he uses is Noto. He is a member of the music groups Signal (with Frank Bretschneider, AKA Komet and Olaf Bender, AKA Byetone) and Cyclo. (with Ryoji Ikeda).
Nicolai was born in Karl-Marx-Stadt, East Germany. He has created music from overlooked sounds – the noises of modems and telephones for example.
Carsten Nicolai also works as a visual artist. Using the principles of Cymatics he visualizes sound. Nicolai’s practice is formed by a convergence of sound, painting and sculpture that results in installations exploring the idea of creativity filtered through modularized systems and codes. His music features prominently in his art. Nicolai’s work exposes the limitations, and potential beauty and creativity, possible within strict logical systems.
Nicolai plays with the rules of physicality. Sound is changed and evolved into time and space and transformed by looping oscillators and tone generators. Through these processes the essence of pure electricity is made audible. He works without sequencers, but mathematically edits his work to give his compositions precise rhythmic structures. Clicks and glitches are not used as ornamental additions to the compositions but make up the essential elements of the work and these sound sources are applied to the rhythmic groove of Hip-Hop and R&B. The sounds of electronic information transmission such as fax tones, modem sounds and telephone pops and clicks are sampled and organised into loops to which Nicolai adds longer electronic tones in the background and foreground as the piece progresses.(Wikipedia Alva Noto)

Alva Noto Discography Page here

Albums together with Ryuichi Sakamoto (alva noto + ryuichi sakamoto)
Vrioon December 2002 Raster-Noton
Insen March 2005 Raster-Noton
Revep March 2006 Raster-Noton
utp_ September 2008 Raster-Noton

Trioon I : Alva Noto + Ryuichi Sakamoto × Karl Kliem

Innocence (Alva Noto Unitxt remodel 12'' remix)

For 1 + 2
Format:2 x CD, Album,
Released:22 Apr 2010



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lastfmlogo.jpg Grinderman Biography

Grinderman is an Australian garage rock band, formed by Nick Cave (vocals, electric guitar, organ, piano), Warren Ellis (electric bouzouki, Fendocastor, violin, viola, acoustic guitar, backing vocals), Martyn P. Casey (bass, acoustic guitar, backing vocals) and Jim Sclavunos (drums, percussion, backing vocals), all of whom are members of Nick Cave and the Bad Seeds.

After heavy touring throughout 2005 with The Bad Seeds in support of Abattoir Blues/The Lyre of Orpheus, Cave began writing songs on guitar, an instrument he rarely played. His rudimentary playing gave the new material a rawer feel than much of The Bad Seeds’ output. The group entered Metropolis Studios in London to record the original Grinderman demos and it was this material that would eventually become the basis for the band’s self-titled debut album, Grinderman. The album was recorded with long-time friend, producer Nick Launay, in April 2006 at RAK studios, London and mixed in October at Metropolis Studios.

Grinderman was released in March 2007 and was applauded by critics for its raw power, similar to that of Cave’s celebrated post-punk project The Birthday Party. The band made their live debut at the All Tomorrow’s Parties Festival in Somerset, United Kingdom the following month. This was followed by a one-off show at The Forum in London on 20 June. “No Pussy Blues”, was released as a single on 19 February, “Get It On” was released as a single on 8 January 2007 and on 30 April, the band released their final single from their debut album, “(I Don’t Need You To) Set Me Free”.

Grinderman opened for The White Stripes at their Madison Square Garden show on 24 July 2007, followed by several of their own American tour dates. The band then embarked on a theatre tour of Australia, opening for a Nick Cave “solo” set, which consisted of the same band members. The band also launched the official Grinderman website in March 2007. Amongst other things, the website includes The Grinderman Podcast featuring a series of fragments of recordings from the band’s writing sessions. Though not complete songs, the sessions offer a unique insight into the workings of the band. New episodes were said to appear regularly over weeks and months. Five recordings have been submitted so far.

On 11 May 2007, the band performed “Honey Bee (Let’s Fly To Mars)” and “No Pussy Blues” on the BBC television music show, Later… with Jools Holland. The band made their US network television debut on the CBS television show The Late Show With David Letterman also performing “Honey Bee (Let’s Fly to Mars)” on 23 July 2007. Grinderman were one of the headliners at Roskilde Festival 2008 in July, the biggest festival in northern Europe. They joined big names such as Radiohead, Neil Young and Jay-Z at the top of the bill.

Whilst the band has been put on hold due to their involvement on Nick Cave and The Bad Seeds’ fourteenth album, Dig, Lazarus, Dig!!!, Cave has confirmed that the band’s sophomore album was to be recorded after their summer tour of 2008. However, Cave also noted that the album would feature a totally different sound to its predecessor. Speaking to XFM, Cave explained that Grinderman want to do it in “a more serious way this time”, but still without caring for commercial success.

The follow-up to the band’s self-titled, Grinderman 2, was released worldwide on September 13 2010 and a day later in the United States. The album ― which was recorded through various studios in London in 2008-2009 ― featured the single, “Heathen Child”, which was released on September 6. Ellis has described the album as “like stoner rock meets Sly Stone via Amon Düül”, “very diverse”, and “psychedelic.”

official website here
“Grinderman 2″

Wikipedia Grinderman Collaborations
Grinderman recorded the track "Just Like a King" with Seasick Steve on his 2008 album "I Started Out with Nothin and I Still Got Most of It Left". The song was written by Seasick Steve and Nick Cave.

ballade de johnny-jane Seasick Steve Page here

Grinderman 'Heathen Child' from Trim Editing on Vimeo.


Matthew Dear

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lastfmlogo.jpg Matthew Dear Biography
In the span of a few years, Texas-born, Detroit-based Matthew Dear has established himself as one of America’s foremost minimal techno producers. Dear and Ghostly International founder Sam Valenti IV met while the two were attending the University of Michigan at Ann Arbor. In 1999, Dear collaborated with ghettotech pioneer Daisha on Ghostly’s inaugural 12”, “Hands Up for Detroit.” In 2001 he released “Irreparably Dented,” his debut 12” on Ghostly International’s more dancefloor-oriented Spectral Sound subsidiary. The “Stealing Moves” 12” followed in 2002. That same year, Dear signed a deal with legendary Canadian techno producer Richie Hawtin’s influential Plus 8 label, where he released three 12” singles as False. In 2003, he released the “Girlfriend” 12” on Berlin’s Perlon as Jabberjaw. Two more releases on Spectral Sound under his own name followed later that year, “EP1” and “EP2.” In late 2003, he issued his debut full-length on Spectral, “Leave Luck To Heaven,” to wide acclaim. The “Backstroke” EP followed in 2004. Dear’s 2007 full-length, “Asa Breed,” found him working with a more song-based and pop-inclined sound.

Dear has also released several works through Spectral as his dirty-minded hard-techno alter ego, Audion. The “Kisses” EP was his first release under the Audion moniker in 2004; two more EPs, 2004’s “The Pong” and 2005’s “Just Fucking” followed. Songs collected from these EPs and new material appeared on Audion’s debut full-length, “Suckfish” in October 2005. Audion produced a mix for the well-regarded FABRIC series in 2006; later that year he collaborated with Berliner Ellen Allien on a split single.

New full-length album BLACK CITY out August 17.

Matthew Dear Page here

Pitchfork Album Review Page here
If you've followed Matthew Dear over the years, then you know he doesn't like to stay in one place for very long. Even as a primarily electronic artist in the early 2000s, Dear hopped from label to label, switched aliases often, and made everything from steely microhouse to harder Detroit techno. But his biggest departure was 2007's Asa Breed, the record where he stepped out from behind the decks and reached for the mic. Singing on tracks and leaning more heavily on song structure, he built strange hybrid music that had one foot in techno and the other in pop.

Dear's latest album, Black City, follows this path but pulls a pretty drastic shift in tone. Where Asa Breed was bubbly and squeaky and ultimately dancefloor-bound, this record is dark as night. The music brings to mind blown-out warehouses, desolate alleys, and seedy basement nightclubs; it's some real threatening, grimy shit. The production is as inventive and immersive as ever, but what separates this album from the last is that Dear mostly sticks with one theme all the way through. Asa Breed was all over the place at times, but this album has a cohesive thread to follow and smaller vignettes within it.

It's worth noting on a general level that Black City isn't always an easy listen-- there's a lot of detail that can take a couple of spins to get comfortable with. Part of this is structural. Dear doesn't really do clean electro-pop; his approach is more about pushing contrasting sounds together and leaving the edges jagged. The other part is his vocals. Dear is not a classically strong singer and can often sound pretty flat; importantly he knows how to make up for it. He uses technology to stretch his natural range, wrapping choruses around beats in creative ways and sometimes layering multiple vocals together to create depth.

So the album has a lot of contrast and textural nuance. There's also a good amount of sex. In the first half, Dear explores this really nocturnal, salacious sound. Songs in this section are either slow-paced come-ons or faster club tracks, but they all ooze attitude and lust. Opener "Honey" is a good example of the former, kind of a sauntering R&B number with a gritty noise instrumental at its core. But one song stands out: "You Put a Smell on Me" is just total industrial-dance smut, with Dear soliciting an indecent ride "in [his] big black car." Mechanical synths grind, beats scrape against the wall, and Dear offers up double entendre: "You decide if you want to come." It might just be the raunchiest-sounding track since NIN's "Closer".

Dear gets that there's no point in going any dirtier after this, and he uses the rest of the album to divert the vibe towards something brighter. It's a move that threatens the overall theme, but it ultimately works in maintaining the idea of deep contrast and dark vs. light. So the back-end is more pastoral sounding-- beats don't grind as hard and vocals open up, feel more skyward. Rather than the dark disco earlier on, songs in this portion hew closer toward Eno/Talking Heads ambient pop, and there's some really beautiful stuff here. "Gem", the closer, is one of the album's best. A big, opulent track about loss and regret, it's both deeply sad and optimistic at the same time. And the album needs a big emotional anchor like this, otherwise you might feel a little filthy for enjoying it so much.


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Slow, With Pages Of Fluttering Interference
Format: CD packaged in a full colour card sleeve
Release Date: 10th May 2010 Christopher Hipgrave Biography
Christopher Hipgrave is a composer, sound designer and software programmer from the south of England. His research is predominantly focused on the field of algorithmic composition, sonification, artificial life and interactive music systems.

Christopher Hipgrave - Slow, With Pages Of Fluttering Interference by Low Point

1. Singularity
2. Everything Slowed
3. Brightening, Multiplying
4. Time And Distance
5. Often Into Dream
6. Shifting Uncertainties
7. Strange Attractor
8. Brushes And Settles
9. Heavy And Pulling You
10. Slow Time
11. Seas
12. Bright And Fluid As Mercury
13. Positive Feedback Escapes Equilibrium
14. Soft Static
15. Disturbing The Patterns
16. Go With The Loops
17. Orphan Drift Page here

Early Morning


Simon Scott

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Wikipedia Simon Scott
Simon Scott (born 1971 in Cambridge) is an English musician. Before joining Slowdive in 1990 he was the drummer in the band The Charlottes and during his four years (1990-94) with Slowdive, Scott worked with Brian Eno and drummed on Souvlaki, which was voted in The Guardian as One of the top 50 albums to hear before you die in 2007.
In 2007 Scott started his electronic experimental record label Keshhhhhh Recordings and works as a sound artist from his Cambridge studio. 2009 saw the successful release of Scott's solo debut called "Navigare" for Miasmah records which is the well respected electronic/neo classical label run by Erik Knive Skodvin from Deaf Center. Scott is also the producer for the second hannu album Hintergarten where he also provides additional instrumentation and vocals. Simon Scott occasionally performs live with The Sight Below (on Ghostly International) and co-wrote/co-produced three tracks on the second album called "It all falls apart" released April 2010.Scott released a mini album "Traba" on vinyl in June 2010 through Immune Records and was given "Single of the week" in January 2010 for the 3" cd "Nivalis".

Simon Scott live at [F]luister from Renier Eclectro on Vimeo.


Maps & Atlases

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lastfmlogo.jpg Maps&Atlases Biography
Chicago’s progressive songsmiths Maps & Atlases released their long awaited album, Perch Patchwork, on June 29, 2010. The record was produced by Jason Cupp (The Elected, Nurses, Cast Spells). The band’s unique style melds the technicality of progressive music and the idiosyncrasies of art rock into a fascinating and oddly accessible sound all their own. Known for their virtuosic musical ability, Maps & Atlases write pop songs with a magnificent aptitude for texture and a distinctive blend of both the intricate and organic.

“It was great to be able to step outside of our live setting and imagine the songs in a different way,” said guitarist Erin Elders about the recording process for Perch Patchwork. “Jason Cupp brought another dimension to the songs that was really exciting to hear. We were able to deconstruct them part by part and then rebuild each verse or chorus with a different sonic idea.”

Continues singer/guitarist David Davison, “We went into the record with the understanding that the creation of the album would be separate from its existence as a live piece of music, which was really liberating.”

The members of Maps & Atlases met in Chicago while attending art school, and have released two EPs through indie label Sargent House. While Tree, Swallows, Houses showcased the band’s more technical side, the subsequent You And Me And The Mountain presented more earthly and digestible songs that earned comparisons to TV On The Radio, Deerhoof, CAN, and even Prince.

Maps & Atlases recently signed to Barsuk Records in the US, who handle the North American release of Perch Patchwork, and to FatCat for the UK and Europe.

fatcat records Page here
This album showcases a densely textured, exhilarating body of work that sees the band developing further intricacies in songwriting, and in lush brass and string arrangements beyond the lightning-fast guitar lines that characterised their earlier output - and the results are gripping. From the multi-part military drum lines of ‘The Charm’ to the nimbly overlaying, flickering guitars and almost Afro/Latin percussion of ‘Living Decorations’ to the soft Beach Boys-esque vocal chorus of ‘Israeli Caves’, this record is clearly the work of serious and brave musicians.

Carrying The Wet Wood


Morgan Packard

Category :  johnny (rock,ambient etc...)
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Morgan+Packard.png Morgan Packard Biography
Morgan Packard has been working on electronic music in various forms for over a decade, using his classical and jazz training to inform what he does in subtle ways - whether it’s drum and bass, a soundtrack for a modern dance performance, or his versions of abstract techno and ambient sound. While his music may be wrangled into the minimal category, he is actually eschewing minimal tropes in favor of highly wrought arrangements - fitting multiple sensibilities into music that could easily be mistaken for existing genres, though when explored carefully, hardly fits into any. Using the idea of techno/house/breakbeat music as a beginning, not an end unto itself, Morgan arrives at a sound which manages to include various ideas from the worlds of electronics, jazz, and classical in a manner that has no hint of experimentation, but rather a purposeful, concrete rendering of his vision - combining a composer’s heart with a programmer’s brain.

Morgan Packard’s debut solo full-length, Airships Fill the Sky, finds him folding cello, accordion and saxophone into a decidedly digital context - involving fragmented elements of techno, house, breakbeat oriented microsound and post-ambient tendencies - retaining his acoustic sensibilities in earnest, while taking advantage of his long-time immersion in a variety of electronic genres. While he has further honed the melodic, textural meanderings from some of his past work, here, Packard returns to his rhythmic roots, and continues to filter his jazz and classical background through everything he does. Deftly using his self-made software techniques, he puts these pieces together with a view towards the hypnotic power of the loop, coupled with a distancing from it. Remembering its importance as the structural basis of a musical landscape which has influenced him, he allows his loops to take on new properties, evolving incrementally and moving further from their origins.

official website here

KOMPAKT.FM Page here
Morgan Packard is one of today's most excited faces in experimental music, embracing electronic sounds and interweaving them with saxophones and the piano in melodic harmony.

Morgan Packard Live at Dis-patch 2008 from Dis-patch Festival on Vimeo.


Autre Ne Veut

Category :  johnny (rock,ambient etc...)
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boomkat_logo.gif boomkat Page here

Autre Ne Veut
Autre Ne Veut
Released: Aug 2010

yewuieuw (1)

Olde English Spelling Bee is one of those labels you can implicitly trust to provide you the most brilliantly weird music. Their latest missive is a self titled shocker from Autre Ne Veut, a moocher from the same circles as Oneohtrix Point Never and all those weirdo Brooklyn types with an uncanny line in subtly skewed pop queerness. Seriously, this is one of the strangest, most jarringly unique records of the year, and we love it. At heart it's an incredible pop album with traces of Prince, Prefab Sprout and Erasure at its core, but each melody and harmony is delivered with an off-key sleight of hand that really plays on your preconceptions and experience of classic synth pop. There's definite nods to the soundtracks of John Hughes movies and the like, but it's perhaps more like The Breakfast Club score remade by the Troma company for some secret pay-per-view internet channel. Autre Ne Veut has possibly made one of our favourite albums this year and we urge you to investigate without delay. Essential!

Public Assembly, May 18th


Alina Orlova

Category :  jane (famale vocalists)
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Lithuania リトアニア Wikipedia Page here


Wikipedia Alina Orlova
Alina Orlova (real name Alina Orlovskaya, born June 28, 1988) is a Lithuanian sung poetry singer and musician.

Performing career
Orlova both composes her own songs and performs other musicians' cover versions. She generally performs in three languages - Lithuanian, Russian and English.
Orlova's fame preceded her first studio album when she was awarded an alternative music award A.LT back in her home country, whilst at the same time also being named a "Breakthrough of the year 2006"[citation needed]. Her song Nesvarbu was voted by the readers of highly popular Lithuanian youth magazine Pravda as the best debut of the year.
In 2008 her debut album Laukinis šuo dingo (The Wild Dog Dingo, named after a Russian book (by Ruvim Fraerman) for school children about teenage love) was released under the MetroMusic label and presented in Vilnius St.Catherine church on January 22; a week later she had a similar concert in Kaunas State Drama Theatre. Later the same year Orlova held concerts in Russia, London, Liverpool. According to her fansite, she is going to perform in Poland, Ireland, participate at Europavox festival in France, and elsewhere.
Orlova received positive recognition both worldwide and in Lithuania where she is seen as a huge success - her "cozy" gigs are highly anticipated there. According to music critics, Orlova has a "high-trilling voice and a unique line in exhilaratingly dark, Baltic folk pop". Noticed by the Travis front-man Francis Healy, Alina's song "Vaiduokliai" was picked up as one of the seven tracks to be featured on the digital-only EP, entitled "Play. Stop. Rewind" released worldwide by LIPA Records.

official website here


Category :  johnny (rock,ambient etc...)
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lastfmlogo.jpg Slow Dancing Society

Drew Sullivan, aka Slow Dancing Society is a Washington based producer and musician. His first album, “The Sound of Lights When Dim” is a sumptuous unfolding ride towards a fading horizon. The album has all the qualities of an Eno ambient classic whilst forging its own musical and emotional path.

As with Brian Eno’s finest moments and David Sylvian’s ambient explorations, this work manages to dissolve its temporal markers and speak about moments removed from time. It talks to the delicious flaws of memory and feeling whilst never sullying itself with literalness or simple documentation.

Title Of Album: Under The Sodium Lights
Year Of Release: August 23, 2010
Label: Hidden Shoal Recordings


01. The Songs In Your Eyes
02. Under The Sodium Lights
03. Laura's Dream
04. A Year Of Yesterdays
05. By Your Side
06. ...And To The Dust We Shall Return
07. Love Is On The Way

Hidden Shoal Recordings has announced the digital pre-release of the eagerly awaited fourth album by US ambient artist Slow Dancing Society.

Following on from the ebullient warmth of the critically acclaimed Priest Lake Circa ’88, Under The Sodium Lights is Drew Sullivan’s latest ambient epic. The album feels like a distillation of the three stunning releases that preceded it – and as such is Sullivan’s finest work to date. The delicate interplay between focused melodic details and blurred washes of sound draws the listener into a hypnotic state, where the waking world and the world of sleep cascade in and out of balance.

Under The Sodium Lights resonates with a rich emotional core – and the choking realisation of our own transience. The album rewards immersive listening from start to finish, to really soak in its beauty.

“a complexity of sound that allows it to stand out from traditionally ambient music… It is easy to get dissolved in this album, to let yourself fall into meditation as the music plays… Textures and timbre are executed with great precision… Even the simplest of songs allow complimentary textures to be layered upon each other to create a robust yet spacious sound… an aural delight for the listener.” – The Silent Ballet on Priest Lake Circa ’88.
israbox Page here

Hidden Shoal Recordings Page here

'...and to the dust we shall return'