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CASSIUS


Cassius could be the hardest men in dance music. Don¹t mess with Cassius. They took their name from the world's greatest heavyweight boxer, because he decided he didn't want it any more. But for the last decade, they've made some of the sweetest music, produced a portfolio of house, hip hop and leftfield music with more high-fat content than foie gras on toast, traveled their heavyweight sound across the world and spend ten years building Paris a name to rival London, Detroit, Chicago and New York when it comes to show-stopping records. In combination they're among the most successful outfits currently operating both in France and in the global house music demi-monde, and they return this year with the most highly anticipated album since Daft Punk's 'Discovery'.
Like all the best creative teams, Cassius are a duo. The pair - Philippe Zdar grew up in the Alps while Hubert (Boombass) is Parisian - isn’t exactly short on gilt-edged production skills and musical ability either. When it comes to funky music, Cassius have pedigree coming out of their well-trimmed ears. Hubert is a tireless evangelist of hip hop, he produced MC Solaar's milestone album, Qui Seme Le Vent Recolte Le Tempo in the early Nineties, the first indication in years that a nation famous for saccharine lolita pop could turn the voice of its own immigrant underclass into commercially viable music capable of ranking on the world stage. Solaar's album was the first peak in a wave of dance music _ hip-hop, house, drum & bass, reggae and techno _ that now dominates the French charts.

Boombass and Philippe met though Hubert's dad at his recording studio in Paris in 1988, where Hubert was working under his father's tutelage and Zdar had landed a job as a tea boy. They took one look at each other, and thought 'tunes'. The echo of their sound first arrived in Britain when Boombass stripped the vocals from the underground hip hop tracks he'd been producing and delivered the ultra-taut breaksmanship of La Funk Mob's 'Ravers Suck Our Sound' EP for Mo’ Wax. Philippe Zdar, meanwhile, headed for another zone of the dance floor and, as Motorbass - the partnership he forged with Etienne 'Super Discount' De Crecy, invented Motorbass's Pansoul, an album of deep midnight house music, in 1996. Then they regrouped. Just short of the millennium, when France's Daft Punk-headed assault on dance music's international stage was gathering speed, they released 1999, their own remix on the filter disco blueprint as defined by their colleagues Thomas Bangalter and Guy-Manuel de Homem Christo of Daft Punk. Edgier than Daft Punk's debut album Homework, Boombass and Phillipe's grounding in the sounds of hip hop, reggae and two-step showed on 1999, where hyperbolic vocals samples - like on the thumping title track - sat atop basslines so heavy they could pulverize the Eiffel Tower at a hundred paces. Three years and countless parties, holidays, remixes, collaborations and studio sessions later, they deliver Au Rêve, a 14-track album whose title means 'at the dream'.

"We were in a dream when we made this", suggest Zdar. "It's good to dream and find images and ideas," adds Boombass, "but there's nothing mystical about it". Au contraire, the album is packed full with tracks so intent on stamping their way through the floorboards of your local disco. What differentiates Au Rêve from its predecessor is far less reliance on the loop-and-filter minimalism of house music into a wilder stylistic field. These days, the sampler is just an instrument among many in the Cassius arsenal, and the tracky filter disco prototype just another style they've mastered. "Au Rêve is not just beats and basslines," says Zdar. "You have to transcend the genre. We wanted to make songs and write poems".

Principal among Au Rêve's peaktime moments is the Jocelyn Brown-fronted single 'I'm A Woman'. Brassy doesn't begin to describe what must be French house music's least restrained moment yet. Thank Erick Morillo for that one - he passed on Jocelyn's number. "Straight after 1999 we contacted her and did the track, because we'd seen the potential to do a track in a studio with a singer. So we invited loads of people onto the album. Jocelyn is like a girlfriend now.'

While 'I'm A Woman' is a classic of empowered female disco, it's chest beating male-vocal counterpart is 'The Sound Of Violence'. A juddering and unashamed paean to male sexual dynamism (key lyric: 'I feel like I wanna be inside of you/when the sun goes down'), it's sung by Steve Edwards, previous collaborator of Charles 'Presence' Webster and native of that global house vocalist hotspot, Sheffield, England.

If you notice Cassius's far more song driven approach to house music at a time when sample technology remains pre-eminent, you may also notice the gratuitous use of screaming acid-laced guitar solos on both tracks. 'Très rock," beams Boombass. "We love the guitars, some people are like, I hate guitars! For me it's great, and it sounds good on the track". It's a trick, which begins to make sense when you consider the Cassius home-listening diet. "We've been listening to a lot of Seventies West Coast music," says Boombass. "All the classics of musique blanche, stuff like Crosby, Still & Nash. Sure, we're always listening to new music in clubs, lots of rap, reggae and house. But at home it’s Neil Young's Harvest". "The aim since 'Motorbass' has been to make album that lasts," adds Zdar. "An album like Daft Punk's Homework is an album I listen to all the time, even though it's five years old. The beats still sound fresh in a club."

Au Rêve, like any decent dream, heads into places it takes a powerful imagination, or a powerful stimulant, to conceive of. We begin with Chicago house, head for the West Coast and rock out, then, on 'Thrilla', make for the hood for a rumpshaking hip-house floorquake, then to Dusseldorf on the Kraftwerk-esque electro-baroque workout 'Telephone Love'. In a very real sense, Au Rêve is all over the place - in the best possible way. Not that Cassius see it that way. For them, there's nothing unusual in such rampant genre philandering. "It might all seem different for you, but it's all the same for us," says Zdar. "We never said we'd try and do lots of different things - we did 35 or 40 tracks and chose them. We didn't think about it too much."

And nor should you. It's the best possible advice. In 2002, dream your summer the Cassius way.

Citim:

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Po citoj ato që tha atdheuyne
e mbyte fare....moj brune po shakiren se ke qejf e.....

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BRITNEY SPEARS

Britney Spears may have titled her new single "Me Against The Music," but she has rarely been more creatively in tune than she is right now. "I feel like I've hit a great new stride as an artist," she says with pride. "I've worked hard, and I feel like I've grown on so many levels."

In truth, "Me Against The Music" is hardly about declaring war against grooves. "Actually, it's about the intensity that people approach music with," Britney shares. "It's about getting totally lost in the music and pushing yourself to the edge in every way you can imagine. I love thoroughly immersing myself in music, and I wanted to capture that intensity in a song."

Britney's musical intensity and her evolution from a teen renegade into a provocative young woman are undeniable throughout "In The Zone," her fourth Jive Records collection. First and foremost, the project shows her flexing notably strong and mature songwriting muscles. She co-wrote 7 of the project's 12 sterling new compositions, collaborating with such heavy hitters as Red Zone ("Me Against The Music," "The Hook Up"), The Matrix ("Shadow"), Moby ("Early Mornin'"), and Cathy Dennis ("Toxic," "Showdown"). Also contributing hit worthy material to the album is R. Kelly ("Outrageous"), Ying-Yang Twins on “(I Got That) Boom Boom.”

Perhaps most significant is the appearance of pop icon Madonna, who lends her voice to the single "Me Against The Music." Collaborating with one of her all-time greatest musical influences was a dream come true for Britney. "The experience was beyond words or description." she says. The two forged what has become a powerful bond while rehearsing for their now-notorious performance on the MTV Video Music Awards this fall. "As we were working together, there were moments when I simply could not believe that I was standing there on stage next to her. It was never even in the realm of fantasy for me."

The musical union of Britney and Madonna within the taut, classic-funk groove of "Me Against The Music" is quite real, though, and it reveals each of them at their most kinetic and soulful. The song's accompanying video clip, directed by Paul Hunter, shows Madonna enticing Britney through a maze-like underground club, only to disappear into thin air when Britney gets close enough to touch her. The clip is rife with symbolic gestures of Madonna passing the baton pop power to Britney --- an image that the young artist finds exciting, humbling, and perhaps a bit premature.

"There is only one Madonna --- and there will always only be one," she says. "My goal is to have a career that is equally as special, but one that is completely unique to who I am. I'm honored by all that Madonna brought to this song. I really love the flow we share --- both on the track and as friends. I think you can feel the chemistry and positive energy we shared. It's completely natural and relaxed."

The natural and relaxed vibe of "Me Against The Music" is indicative of every note and beat comprises "In The Zone," an album that runs the stylistic gamut from streetwise hip-hop and electro-trance to new-wave-etched rock and well-crafted pop. From top to bottom, Britney effectively expands the parameters of mainstream musical consciousness with songs that lure listeners with infectious hooks, and then captivates them with layers of clever lyrics and deft instrumentation.

"Putting this record together was an incredible journey for me," Britney says. "I had the freedom to explore and experiment with some of the most exciting people in music. In the end, that allowed me to make a record that is a pure reflection of where I am right now."

What we learn from album highlights like the rambunctious "(I Got That) Boom Boom," which features the Ying Yang Twins, and "Everytime," a stark, delicate collaboration with Guy Sigsworth, is that Britney has grown into a fearless artist. "Those songs are particularly special to me, because neither of them sounds like anything I've ever done before," she says. "'Boom Boom' is so rough and edgy and fun, while 'Everytime' is so raw and spare. It's me stripped to my core as a singer and as a songwriter. It's as honest as I've ever been in my music. I loved working with Guy on that track. He made me feel comfortable and safe enough to go the full distance, emotionally and as a performer." Britney also has high praise for Moby, who worked with her on the mid-tempo "Early Mornin.'" "He's such a pure-hearted guy," she says. "He's so cool. He played me a really cool track, and I thought it was brilliant. It's turned out to be one of my favorite songs on the album."

She describes "Early Mornin,'" which unfolds with a deceptively insistent, easy-paced dance groove as a day-after-the-party jam, which balances some of the more assertive, dance floor-friendly cuts on "In The Zone." "Some songs are generally about going out and wanting to have a good time," she says. "One of the things I did while working on this album was write about a lot things like going out with my girlfriends, everyday experiences that I was going through. 'Early Morning' is about just going out and feeling bad the next day." Elsewhere on "In The Zone," Britney shows her sultry side, particularly on the steamy, turntable-ready "Breathe On Me," a Mark Taylor production that she characterizes as being "very vibe-y, trance-y. It's about being with a guy and not even having to really be with each other, but just the intensity and the anxiety between not saying anything. You don't even have to touch me, just breathe on me."

Among the more sensual songs on the album is "Touch of My Hand," on which Britney seductively floats her voice atop an arrangement of pillowy strings and languid, Middle-Eastern-kissed guitar lines. "It's tastefully done," she says of the track. "And I think it's real. It's nice and it's real. It's whatever your take is. Some people may think it's a little much, but that's where I'm at with my life. ... It's not freaky freaky, it's just a little freaky." Stepping out on a creative limb has been the basis for Britney's entire career. Dubbed by MTV as "one of the last teenage pop superstars of the 20th century," Spears enjoyed her breakthrough success at the end of 1998. She appeared in local dance revues and church choirs as a young girl, and at the age of eight auditioned for The Mickey Mouse Club. Although she was too young to join the series, a producer on the show gave her an introduction to a New York agent. She subsequently spent three summers at the Professional Performing Arts School Center. She also appeared in a number of off-Broadway productions as a child actor, including 1991's "Ruthless." She returned to the Disney Channel for a spot on The Mickey Mouse Club, where she was featured for two years between the ages of 11 and 13. Her demo tape eventually landed in the hands of a Jive Records executive who quickly signed her to the label. She toured American venues for a series of concerts sponsored by U.S. teen magazines, eventually joining "N Sync on tour. It all added up to 1999's wildly infectious "...Baby One More Time" album to make its bow on the charts at No. 1. The set not only spawned a smash hit with the title tune, but also scored with the charming ballad "Sometimes" and the funky "(You Drive Me) Crazy." Before the album finished its impressive worldwide attack of the charts, it garnered Britney 4 MTV Europe Awards, including best pop performer, and 4 Billboard Music Awards, most notably female artist of the year.

The massive demand for new Britney material was satisfied when her 2000 sophomore collection, "Oops! ... I Did It Again," was released to a Spears-starved world in May. Once again, the title cut flooded radio airwaves, as did the anthemic "Stronger" and lovely "Don't Let Me Be The Last To Know." She also racked up more awards that year by taking home an American Music Award as favorite new artist, a Billboard Music Award as album artist of the year, and 2 Teen Choice Awards. Britney would later earn Teen Choice Award honors in 2001 and 2003. Ever-prolific, the artist returned in 2001 with "Britney," a spirited, assertive collection on which she began to reveal her mettle as a tunesmith, not to mention as a vocalist of increasingly soulful depth. She earned high praise for the wickedly sultry "Slave 4 U," as well as for the forceful "Overprotected" and the gentle "I'm Not A Girl, Not Yet A Woman." The album's was quickly followed by Britney's motion picture debut, "Crossroads," which proved that she has the talent and box-office pull to be a multifaceted superstar. "One of the true joys of my life and career has been trying out new things," Britney says. "I've loved every step of this journey I'm on. I love singing and dancing and acting and songwriting... it all energizes and inspires me." It's that philosophy that has sent Britney "In The Zone," a project that shows this ever-growing and ever-exciting at her absolute best... or as she would say, "for now." "I can't imagine ever reaching the point where I've hit the wall," she concludes. "There's always something new and challenging to tackle. I can't wait to see what happens next."

kto jane goca puntore si mor nuk pertoni me shkrujt gjithe ate shkrim


eeee lum ai qe ju fut ne der e

Citim:

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Po citoj ato që tha Don_Mondi
kto jane goca puntore si mor nuk pertoni me shkrujt gjithe ate shkrim


eeee lum ai qe ju fut ne der e

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Dr.Dre

More than any other rapper, Dr. Dre was responsible for moving away from the avant-noise and political stance of Public Enemy and Boogie Down Productions, as well as the party vibes of old school rap. Instead, Dre pioneered gangsta rap and his own variation of the sound, G-Funk. BDP's early albums were hardcore but cautionary tales of the criminal mind, but Dre's records with NWA celebrated the hedonistic, amoralistic side of gang life. Dre was never much of a rapper -- his rhymes were simple and his delivery was slow and clumsy -- but as a producer, he was extraordinary. With NWA he melded the noise collages of the Bomb Squad with funky rhythms. On his own, he reworked George Clinton's elastic funk into the self-styled G-Funk, a slow-rolling variation that relied more on sound than content. When he left NWA in 1992, he founded Death Row Records with Suge Knight, and the label quickly became the dominant force in mid-'90s hip-hop thanks to his debut, The Chronic. Soon, most rap records imitated its sound, and his productions for Snoop Dogg, Warren G and Blackstreet were massive hits. For nearly four years, G-funk dominated hip-hop, and Dre had enough sense to abandon it and Death Row just before the whole empire collapsed in late 1996. Dre retaliated by forming a new company, Aftermath, and while it was initially slow getting started, his bold moves forward earned critical respect.

Dr. Dre (b. Andre Young, February 18, 1965) became involved in hip-hop during the early '80s, performing at house parties and clubs with the World Class Wreckin' Cru around South Central Los Angeles, and making a handful of recordings along the way. In 1986, he met Ice Cube, and the two rappers began writing songs for Ruthless Records, a label started by former drug pusher Eazy-E. Eazy tried to give one of the duo's songs, "Boyz N the Hood," to HBO, a group signed to Ruthless. When the group refused, Eazy formed NWA -- an acronym for Niggaz With Attitude -- with Dre and Cube, releasing their first album in 1987. A year later, N.W.A. delivered Straight Outta Compton, a vicious hardcore record that became an underground hit with virtually no support from radio, the press or MTV. N.W.A. became notorious for their hardcore lyrics, especially those of "Fuck tha Police," which resulted in the FBI sending a warning letter to Ruthless and its parent company Priority, suggesting that the group should watch their step.

Most of the group's political threat left with Ice Cube when he departed in late 1989 admist many financial disagreements. While Eazy-E appeared to be the undisputed leader following Cube's departure -- and he was certainly responsible for the group approaching near-parodic levels with their final pair of records -- the music was in Dre's hands. On both the 1990 EP 100 Miles and Runnin' and the 1991 album Efil4zaggin ("Niggaz 4 Life" spelled backward), he created dense, funky sonic landscapes that were as responsible for keeping NWA at the top of the charts as Eazy's comic-book lyrics. While the group was at the peak of their popularity in 1991, Dre began to make efforts to leave the crew, especially after he was charged with assaulting the host of a televised rap show in 1991. The following year, Dre left the group to form Death Row Records with Suge Knight. According to legend, Knight held NWA's manager at gun point and threatening to kill him if he refused to let Dre out of his contract.

Dr. Dre released his first solo single, "Deep Cover," in the spring of 1992. Not only was the record the debut of his elastic G-funk sound, it also was the beginning of his collaboration with rapper Snoop Dogg. Dre discovered Snoop through his stepbrother Warren G, and he immediately began working with the rapper -- Snoop was on Dre's 1992 debut The Chronic as much as Dre himself. Thanks to the singles "Nuthin' But a 'G' Thang," "Dre Day" and "Let Me Ride," The Chronic was a multi-platinum, Top 10 smash, and the entire world of hip-hop changed with it. For the next four years, it was virtually impossible to hear mainstream hip-hop that wasn't affected in some way by Dr. Dre and his patented G-Funk. Not only did he produce Snoop Dogg's 1993 debut Doggystyle, but he orchestrated several soundtracks, including Above the Rim and Murder Was the Case (both 1994), which functioned as samplers for his new artists and production techniques, and he helmed hit records by Warren G ("Regulate") and Blackstreet, among others, including a hit reunion with Ice Cube, "Natural Born Killaz." During this entire time, Dre released no new records, but he didn't need to -- all of Death Row was under his control and most of his peers mimicked his techniques.

The Death Row dynasty held strong until the spring of 1996, when Dre grew frustrated with Knight's strong-arm techniques. At the time, Death Row was devoting itself to 2-Pac's label debut All Eyez on Me (which featured Dre on the breakthrough hit, "California Love") and Snoop was busy recovering from his draining murder trial. Dre left the label in the summer of 1996 to form Aftermath, declaring gangsta rap was dead. While he was subjected to endless taunts from his former Death Row colleagues, their sales slipped by 1997 and Knight was imprisoned on racketeering charges by the end of the year. Dre's first album for Aftermath, the various artists collection Dr. Dre Presents...The Aftermath received considerable media attention, but the record didn't become a hit, despite the presence of his hit single, "Been There Done That." Even though the album wasn't a success, the implosion of Death Row in 1997 proved that Dre's inclinations were correct at the time. Both Chronic 2001 and its companion volume 2001 Instrumental followed in 1999.

Brooke Fraser

The debut album from 19 year old Brooke Fraser is "What To Do With Daylight."

Brooke wrote all 11 tracks on the album and played instruments on each song.

The album's contrast of haunting, soul-searching confessions and lighthearted, joyful tunes reflects the different sides of Brooke's personality - the young woman who has been involved with World Vision for two years, and is travelling to Cambodia with the charity group; and the teenager who spends hours hanging out with friends and forming her next plan of attack against zits.

Talented guest musicians who performed on Brooke's album include infamous New Zealand muso Godfrey de Grut, Spearhead bassist Carl Young and producer / drummer Brady Blade.

Brooke's first single Better exploded onto the music charts, peaking at #3 with her second single "Lifeline" looking likely to do the same.

Her musical influences range from soulful crooners Marvin Gaye and James Taylor to new millenium artists including John Mayer and India Arie. She also plays a variety of musical instruments, including the piano, which she began studying at seven, and the guitar, which she taught herself at 16.

Brooke Fraser is an incredible talent who writes beyond her years and will surely have a long and stellar career.

"What To Do With Daylight" is out now.