Archive for August, 2009


Yesterday was released their third album “3” (Rune Grammofon) and one of the ten tracks could be listened @ myspace! The beautiful Someday, which shows the dramatic and cool style of the vocalist Susanna Wallumrød and keyboard player Morten Qvenild. They will be playing a special concert at the festival Punkt in Kristiansand on the 4th of September. The official release-concert will be at Parkteateret in Oslo 10th of And the album can be bought at Itunes. more about the band

FUN*KEY – funk dalla Sardenha

Fun*Key is a creative movement and promoter of culture funk. The club membership is free, just send your own groove in a sealed envelope to FIFA (Federation of Italian Acrobatic Funk). Formally we are a group and our music is supported by three pillars: The first is an old and solid friendship, the second is the love of so with Funkadelia was revealed and disseminated by George “Dr. Funkenstein “Clinton and the P-Funk All-Stars while the third is the desire to spread the first two points to invade the minds of those who listen and engage as many people as possible. We know what we want: to be unique, and only very Funkadelics. Like a basketball team going forward playing and passing the ball to the table in the most spectacular possible. No matter. We are heroes, superheroes of truth and this text should have demonstrated it. Spread groove where we’ve been and let the funk happen smoothly so gladly do it and then wake up the funk in someone who already is funky and does not know, or practically all. We like to appear and be smug. We like to spread shit and shake our heads under a rhythm. Ghetto, ghetto, ghetto!
Our dreams and limit is have no limit. Unfortunately we’re not black. Here in Italy we are not created to call the other brother. Religion, music, art, suffering, nothing has helped. But one day we’ve received the call of the groove and we all answered: STAN-G, Uele, FUNKY ‘DU, DJ FUNKEE, FEEL HIP-HOP & MORIS: together we are the FUN*KEY. We defend the Earth against the dark forces and the imobility. We believe in the funk and funk played on planet Earth. Keys created to bring smiles through fun and fun through the funk.
As a group we are born in September 17, 1999, anticipating a little the birth of the new millennium. Our music is kind of funk’n’roll lowers his head forward to anything and anyone: an explosive mix of rock, soul & hip-hop! Besides playing constantly throughout Sardinia, we’ve been playin’ around the world. We released two beautiful self-produced demo: Coloring Black and White (2006) and 4 / 4 = 1. In 2006/2007, we joined the project in Balentia Stoccada ‘E Funk: we put the funk, the tools and put them in Italian and rap bases, scretch and rap in Sardinian, a good fusion between hip-hop and live music that we intend to repeat short (just keep an eye on raga!). Now, we can record not one, but even in the next 2 CD release!


Trips and Falls is formed by Jacob Romero(guitar, voice, various instruments), Paul Gareau (drums, percussion, various instruments), Amanda Caron (vocals, shakers) Ashleigh Delaye (bass, glockenspiel) . They are from Montreal and make music as they like, and listening their songs we’ll see that they are in a good track, that’s was just I’ve felt when I’ve listened In the real life he wears corduroy pants, and imediately I listened another ones @ myspace. Impressed with the band’s purpose, I’ve decide to send some questions to Jacob to publish here, and I’ve got it, few words about a great work, that we must know.
Unbb – What’s the real meaning of music for you?
I don’t know. I try to imagine life without music and that’s a pretty hard thing to imagine. I would say that we are sort of spoiled today as we can listen to music whenever we want. There is so much media, where not too long ago you would have to actually be at a performance to listen to music. However, music has become such an integral part of life as it can shape your whole day, or you can shape your whole day with the music that you listen to. I listen to music in different situations and certain music seems to be more appropriate at certain times. For me music means, well I don’t want to say it means everything, but it certainly means quite a lot. It stirs up emotions, thoughts, images, it can be a total experience. When I play and when I listen it is a part of my entire experience. That’s awesome.
Unbb – How do you see the pop music nowadays?
I am not even sure I like the term pop music anymore, or indie or indie pop or any of that. The term “pop” has been so overused that I find it sort of silly to have any sort of definition for “pop music” anymore. I suppose in a strict sense it could just mean popular and in that sense I guess I do not really listen to that much contemporary pop music. So, I guess I would say that I do not really regard pop music nowadays in any sort of a favorable light. I know I can be a bit pretentious, but in my more positive outlook I see “pop music” as always changing and sort of wide open. All sorts of things can be pop music, and that’s cool.
Unbb – Tell me about your “early days”, how did you begin?
We were born, we played in our bedrooms growing up, and then met up somewhere while we were doing other things. Paul (the drummer) and I met at University, and discovered that I played guitar and dabbled in singing and he played the drums. However, we were not doing anything with this and we both didn’t really know why. We had both played in other bands previously but had sort of given up on it for a while. Paul’s friends were in a band and needed some musicians so he asked me to play and I sheepishly said yes. Then out of that experience we decided to form our own band. I was always looking for somebody to write lyrics for music I was writing but I never found that so I just decided to try myself. Wrote some songs, practiced them and decided to record an album. Found Ashleigh (bass) and Amanda (vocals) and they fit right in. It has worked out so far, made one album last year and are currently finishing another one. Just trying to make music that we like and hopefully other people like it too.

DETACHMENTS – subversion and conversion

Detachments are a London-based, Northern-affirmed trio led by Lancastrian masterdom, Sebastien Marshal, guitarist Max Moreau (Antwerp, Belgium), and drummer, Pete Dawson (Leeds).

Their musicality is both wide and niche, incorporating the Northern electronic permutations of Factory Records, Eighties androgyne synth-poppers, to modern pioneers such as DFA and Warp Records. Imagine a hybrid victim of New Order, The Cure and Depeche Mode.

Their ability to present abstruse, cold veneers with wistful melodies in pop structures is their magna carta. Their sinewy, incisive rhythms are often interwoven with layers of lush melancholic tonality; sharpshooter shot through with infectious, barbed hooks. “Tuneful pathologies” as the NME ascribes.
Detachments have been working hard with Trevor Jackson, Tim Goldsworthy, and Andrew Weatherall in the studio. Alongside this illustrious talent, the group has collaborated with the enigmatic Salem to dream-pop effect. It’s time for subversion and conversion.


Olivia is a good name. By itself, just like that, no last name, no further explanations. Sounds like the name of a band. It isn’t, though not by far. Olivia is a singer. But also writes songs, plays piano, is a gifted lyricist and a singular producer. And even when she sings, Olivia is more than just a vocalist: she manages to blend her mellifluous voice with the distinguished beat of her compositinos, always with a clear, personal style, permeating the tracks of her two albuns, “Olivia” (2000) and “Perto”(2003), with na extremely pleasant tone. At once enjoyable and sophisticated, her albuns unveils an elaborate melodic work, offering a mix of guitar sounds, textures, grooves and eletronic ambiences of several colors. Olivia’s voice seems simple, but not as simple as that. Her delicate femininity conveys a to-the-point sensuality, supported by strong melodies and dancing grooves_ a femininity dressed in complex arrangementes, carefully tailores. They are good records to listen to, dance to, sing along, and to let yourself be carried away by the dreamy sounds, such as the beautiful classical influences turned fresh, authentic pop. A mix of our legacy and of everything we have grown to expect from contemporary artists. Let her music play on: it is food for the senses. The project Jazzy Stuff!: The third cd: “2por2” and the fourth: “12” While some trends overdo it on production and overload the listener with poorly refined and heavy sounds, Olivia offers two elegants CDs that are highly refined and extremely delicate, though still extremely rich. With a gifted and highly expressive voice she interprets Tom Jobim, Miles Davis, Arthur Hamilton, Jorge Benjor, Baden Powell, Paulinho da Viola, Ary Barroso, Caetano Veloso and with great sensitivity and style she gives us surprising renditions of the Beatles, Led Zeppelin, Ben Harper, AC/DC, Cream, Deep Purple, Rolling Stones and The Doors. Olivia is the perfect union of technique and emotion, producing a sound that is both sensitive and touching. Olivia recorded and produced a new album, in a folk rock style, singing Frank Krischman`s songs. “Full Bloom” is a result of São Paulo-Austin connection!! Listen “Iwill take you home” and check out the new Album: FULL BLOOM, a colaboration with Frank Krischman. At stores now!

Ebaahi Soundz, a Ghanaian music and dance troupe

Fans of highlife, afrobeats and African funk, among others, generally discover new music due to either insane passion or dumb luck (count me as the latter). Most music from the Dark Continent is short on popularity and long in obscurity, oftentimes discovered accidentally in international bins at record stores (or, as it were, on blogs). The music’s barely traceable influence is hidden even further into the folds of a tribal culture largely devoid of a cohesive, or at least well documented, historical record. Reference points and genre associations—normal and somewhat less exhausting avenues of musical exploration—are scant, and a broad label is needed. But the fact that the music is even lumped into some nebulous idea of “African music” further blurs its identity. In Africa, things like borders and political spheres are something of a diplomatic technicality imposed, not by cultures, but by imperialism, across generations of multi-ownership and its need to better identify land-holdings. That is, how do you draw a circle around a region comprising hundreds of distinct tribes and dialects and call it a unified thing? Digressions aside, Ebaahi Soundz are the latest example of discovery, and the newest spin in a summer jams soundtrack with an increasingly African lilt.

Ebaahi Soundz, a Ghanaian music and dance troupe, offers a remarkably pure form of highlife, the genre born in Ghana in the early 20th century. Oshit, a six-track meander through Accra, is available thanks primarily to the aptly named blog, Awesome Tapes from Africa. Otherwise, it’s just not easy to find—damn near impossible, in fact. Presumably recorded in 1992, Oshitℇ is a melodic blend of folk tales sung in Ga and Twi, the primary dialects spoken in and around Accra, Ghana’s capital. The first B-side track, “KIPANLOGO,” is titled after a folk music/dance form from the same region, and in the absence of language comprehension (i.e. we don’t know what they’re saying.), it’s the only track that offers any idea of subject matter, given its easy Googleability. (No such luck with the others.) Continue reading