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    sirom Hailing from Slovenia, Širom play vividly textured and (mostly) imagined, instrumental folk musics. Handmade and global instrumentation meets fearless sound exploration. The 3rd release from Glitterbeat’s new label imprint: tak:til
    Slovenia’s miniature, but incredibly diverse landscapes, echo through its distinctive cultural, historic and linguistic traits. When thinking about Širom’s geographical trajectories, as well as their musical ebb and flow, one has to consider the abundance of water that can be found in the individual regions where they come from. Cascading mountain stream lilt, lazy lowland river meandering and the mysteriously vanishing waters of Karst are most certainly inscribed into Samo Kutin’s, Iztok Koren’s and Ana Kravanja’s…

      109 MB  320 ** FLAC

    …childhood memories and subsequently, their remarkable musical art.
    “In the process of making the second album we decided to shoot a film,” Samo Kutin explains. “The idea was to visit the places we come from, the ones that are more difficult to access, to see how environment in which we grew up in and the memories it awakes, affect our musical improvisation. The film called Memoryscapes is a kind of a document of this experiment, but the experiment itself certainly influenced the creation of the second album.”
    Watching the trio experiment and jam on ribab, frame drums, balafons, percussions and various other unusual or homemade instruments in the sinkhole Bukovnik in Karst, on the snowy mountain top of Kal above the village Čadrg and in bright yellow turnip rape fields in Prekmurje, the soundscapes they create symbolically depict the essence of Širom. The search for idiosyncratic sound where no one else is looking. A passion for exploring diverse sonic qualities as well as examining the constantly changing relations between the material (everything that produces sound), the environment, human experience and musical intervention.
    But the journey towards I Can Be a Clay Snapper began with a rather different chord. Before plunging into improvisational and complex compositional musical waters, Ana and Samo cite punk rock as the starting point of their music ventures. While Ana was busy playing bass guitar in a punk band in Ljubljana, Samo, along with his twin brother Jani, formed numerous local line-ups including the punkish Štrudls; the more acoustic Migowc and Čarangi; while eventually morphing into the experimental collective Salamandra Salamandra, which still enjoys a somewhat legendary status amongst Slovenian music aficionados.
    “As a schoolboy I experienced a strange feeling of shame when listening to music, so I just didn’t. Later, when I indulged myself in music, I realized that this was because it was a very powerful medium for me,” admits Iztok, who cut his teeth in noise, metal and post rock bands such as ŠKM Banda and Hexenbrutal.
    Samo and Ana first met at the improvisational music workshops, conducted by the leading Slovenian “improv-man” Tomaž Grom and Japanese improvisational percussionist Seijiro Murayama respectively. Other shared influences include classical minimalism and global musics. The couple eventually formed the kalimba-based duo Najoua.
    Iztok lent an ear, liked what he heard and invited Najoua to join his band on a European tour, during which time they decided that the three of them should collaborate. But at the beginning it was not a smooth ride, as Samo recalls: “It was not easy to create music that would satisfy all three of us, but that’s kind of crucial, since it is this intersection of different personalities that created Širom. It is through conflict that new ideas emerge.”
    The band’s emergent sound oscillates between a wide array of acoustic folk sounds and contemporary post rock meditations, often drifting from improvisation to structured composition and then back. It is described by the members themselves as imaginary folk or folk from a parallel universe. “Our music creates emotional landscapes. When I was still painting every day (Ana holds a degree in painting) I was trying to paint my dreams but that didn’t work out,” Ana remembers. “I discovered that by using an abstract image I can draw nearer to what I felt in my dreams. Our music is based on a similar principle.”
    According to Samo, the guiding concepts of their music-making are: “To play on acoustic instruments, to work with repetition and a common sound. Each of us can play a simple thing, but the overall result is that a complex thing comes to life. The quality of sound depends on the combination of the instruments and that’s why we modify and prepare instruments or create our own.”
    As an avid sound-seeker, Samo began to develop an interest in building instruments out of everyday objects like drawers, computer boxes and other “junk” (as he lovingly calls his creations) as well as re-tooling the ones he brought back from his globetrotting adventures that have included personal encounters with local musicians in India, Morocco, Mali, Greece and elsewhere.
    Ana, who also nurtures a very personal relationship with music paraphernalia, adds: “There is a different attitude at play if you make an instrument yourself. It already tells you a story. If you buy it, it takes longer to get to know it, to tame it.”
    In the little village of Lesno Brdo, tucked in the rolling hills ten kilometers south of Ljubljana, Ana and Samo organize music performances and festivals on a farm they rent, and divide their time between music making and vegetable farming. A close connection with nature is also important to Iztok who now resides in the capital city. “It’s a sort of a contact with the past but it also has its own life in the present.”
    Fearlessly textured sonic landscapes – both linked to and unbound by – the past and present, geography and tradition, the real and imagined. Hypnotic, otherworldly and epic.
    Širom’s music moves like the restless waters of their homeland. No matter how hushed or slow it may seem, it is never ever standing still.


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  • 09/18/17--12:34: Ladilikan
  • Da kali means “to give a pledge” in Bamana, the most widely spoken language in Mali. The phrase refers to the deepest responsibilities of a griot (or jeli), a commitment to preserving the memory of history, but also adherence to a rigorous ethical and moral code. For this trio—consisting of Fodé Lassana Diabaté on balafon, Mamadou Kouyaté on bass ngoni and Hawa Kassé Mady Diabaté on vocal—da kali expresses a mission to preserve and honor the very essence of that tradition, currently under siege on many fronts. The praise aspect of griotism (jeliya) has been steadily undermined by a high-pressure economy in which griots are no longer attached to individual families, but rather forced to work the wedding/baptism circuit offering flattery and kind words to all assembled, with varying levels of reference to this region’s richly complex history. Today, even that source of income is being eroded by a rising wave of Islamic singers known as zigiri, whose points of reference lie in the Middle East where Islam was born, not in the proud days of Mali’s great empires. In a changing Mali, elite families increasingly opt for the status and safety of religious entertainment rather than music that reflects their own history and culture.

    This is not to say that Trio da Kali is in any way staid or conservative. On their own, they present spare musical perfection. The trio mostly avoids the oft-repeated warhorse songs of the griot repertoire, digging deep to reveal lesser-known treasures. Lassana Diabaté is simply one of the most thrilling instrumentalists in Malian music, his soaring, melodious solos a marvel to behold every time. Hawa Diabaté, daughter of the iconic griot vocalist Kasse Mady Diabaté, has inherited her father’s spectacular vocal skills, as well as his meticulous artistry and charisma. And Mamadou Kouyaté, son of ngoni superstar Bassekou Kouyaté, lays down bass lines that pump and groove with the force of an entire rhythm section.

    The trio’s ungarnished, all-acoustic sound actually seems radical in this era of ever more elaborately produced West African music. And from the start, they have expressed an interest in collaboration and innovation. Lucy Durán, a pioneering scholar of Mande music and a legendary producer of landmark albums, especially from Mali, has nurtured the trio since its inception, and soon identified a set of collaborators worthy of the group’s musicianship and vision: Kronos Quartet.

    The two ensembles first met some years back. They performed together memorably in Berkeley, Maryland and Montreux, and then took time to refine their ideas. By the time they gathered in Switzerland to record these 10 tracks in just four days, the musicians all knew exactly where they needed to go together. And their easy rapport and seamless merge of traditions and sensibilities is palpable throughout. The players of Kronos are no strangers to challenging collaborations, nor to African music. Their 1992 release Pieces of Africa ushered them into a wide-ranging world of African music. A quarter century later, this venture is more focused and satisfying, truly a meeting of masters.

    The opening track, “Tita,” starts with balafon and bass ngoni sketching out the essence of a griot classic, which asserts young peoples’ rights to follow their hearts in love and marriage, rather than the social schemes of their ambitious parents. Hawa sings with poised majesty, her deep clear voice building gradually as Kronos insinuates a presence with restrained chordal backing. As in many of these arrangements, the quartet emerges powerfully at times, much as a solo guitarist might in a modern performance of griot music, then drops to almost nothing as Hawa recapitulates her vocal. There’s a lively exchange between racing balafon and chugging string section stabs near the end of “Tita.” It is as if the Kronos was a single player entering into the hospitable milieu of Mande music as gracefully as any kora or ngoni of old.

    “Kanimba” opens with Hawa’s vocal, harmonized by the quartet, now taking the role of backing singers. The piece opens into an ambling balafon groove, as Hawa celebrates the teasing relationships between siblings that define an integral part of Malian social dynamics. Lassana’s fleet, light-footed balafon solo races along with the quartet and bass churning moodily in the background.

    The arrangements here are nicely varied, allowing either voice, balafon, ngoni or quartet to establish the song’s terrain before introducing other elements. On “Garaba Mama,” a pentatonic piece from Segou, Kronos churns up up a brooding bluster of string sound into which Lassana’s balafon ambles in with a tripping vamp, all setting the stage for Hawa’s lustrous voice. All the sounds in this ensemble are strong and forthright, from Hawa’s serenely confident vocals to Kronos’s ever-surprising interventions, a rich wall of harmony on “Lila Bambo,” whipping, crying violin strikes on “Eh Ya Ye.” Nothing is ever wasted or extra.

    Perhaps most gratifying here are two tracks that nod to American gospel diva Mahalia Jackson. Kronos’s David Harrington noted a similarity in the robust sonority of Hawa’s and Jackson’s vocal timbres. “She even looks like Mahalia,” Harrington quipped upon meeting her. This album’s rendition of Jackson’s “God Shall Wipe All Tears Away,” rendered in Bambara, will send chills down your spine. The ease with which Hawa enters the aesthetic realm of gospel—a genre of music she had not previously heard—is uncanny, and a testament to her outsize musicality.

    Even better is “Ladilikan (Words of Advice),” a composition based on Jackson’s “I’m Going to Live the Life I Sing About in My Songs.” Slow and funky, and graced with the album’s catchiest vocal hook, this track is a masterpiece. Hawa verges on blues belting and when Kronos surges forward in the wake of a high-flying balafon solo, the effect is somewhere between a gutbucket gospel rock rhythm section and a Middle Eastern orchestra on a dark tear. Jackson’s song calls out Christian hypocrites who “go to church on a Sunday and then misbehave on a Monday.” The Malian version turns a critical eye on jihadists in the north of Mali, daring them to attempt the banning of music.

    Durán’s informative notes provide deep context for the songs, completing what must now stand as the most successful encounter between Western classical and traditional African music yet.


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    Mastermix The Chart Remixes Vol. 11 July (2017)

    Artist: Mastermix
    Title: The Chart Remixes Vol. 11
    Label: Music Factory
    Style: Synthpop, Dancehall, Indie, Disco, Grime, Electropop, Tropical
    Release Date: 05-07-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 10 Tracks
    Size: 100 Mb / 00:43:10 Min

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    Circo Diatonico / Дискография Жанр : Folk, World, & Country Производитель диска : Italy Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 160 kbps, VBR V0 Общая продолжительность : 01:55:45 Битрейт аудио : 160 kbps Продолжительность : 01:00:41 01 .

    Тема на форуме



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    Последний альбом в серии наполнен чарующими звуками весны, которая приход в горы и растапливает многомесячные ледники, давая жизнь новым рекам и ручьям. Пение птиц, шум горной реки сопровождается игрой на флейте и гитаре. Мягкая обработка звуковой подложки с помощью синтезатора создает удивительные и волнующие аудио ландшафты, чем-то напоминающие музыку из кинофильмов.

    Музблог Гусли
    http://www.gusli.su/cd12_mountain_paradise/

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    320 kbps | 102 MB | LINKS

    ess Clemmons, who turned countrywards after a brief period as a solo artist who opened for the reactivated Boyzone among others, is obviously a star. On record her voice can soar and boom; in live performance she can transport you into the situations. She is a vocalist and performer whose every word a listener can feel. The late Sir Terry Wogan had her on his Radio 2 show and her first album with the all-British Bandits was a huge success. She’s even getting married at the end of the year, so not much is going wrong in the life of Jess.

    Smoke and Mirrors follows up the punchy Here We Go Again, one of the UK country albums of the decade thanks to its hooky songs. The newbie is, impressively, more of the same quality but not of the same sound: you can tell this by the opening two tracks. Both have a gospel choir that turn Jess into a sort of country Heather Small (from M People).


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    Ty Herndon (Boyd Tyrone Herndon) Жанр : Country, Singer/Songwriter Год выпуска диска : 1995-2016 Страна : May 2, 1962-, Butler, AL, United States Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 05:20:45 Albums: 01.

    Тема на форуме



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  • 09/18/17--16:45: 13-09-17 mestizaje
  • Programa “Mestizaje” Edición día 13-09-2017 Duración : 120 minutos (World music- folk-traditional-etc) Program “Mestizaje” Edition day 13-09-2017 Time : 120 minutes (World music- folk-traditional-etc 1. Pancho Alvarez- España 2017-Celtic Australis- Fol Musica-4 temas 2. Pepe Zaragoza- España 2017-la Placa dels Somnis- SedaJazz Records-2 temas 3. Ales Cesarini feat PayohSoulRebel- Italia-España 2017- Nyabinghi-- SedaJazz Records-2 temas 4. Marinah-España 2017- Afrolailo- Kasba Music- 3 temas 5. Ana Alcaide-España 2017- Leyenda- Ana Alcalde music-3 temas 6. Miguel Angel Vera- España 2017- Momentos- 2 Temas- El Argonauta 7. Luis Delgado- España 2017- Vathek- Luis Delgado Music- 1 tema 8. Viktorija Pilatovic- Lituania 2017- Stories-SedaJazz Records 2 temas 9. Santi Navalón and elektrik Jazz Mantra- España 2017- Silent Songs- SedaJazz Records-1 tema 10. Niall MCguigan Irland 2017- Awareness- Pat Tynan Media—2 temas EN IVOOX http://www.ivoox.com/s_p2_27864_1.html

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  • 09/18/17--18:26: Cambodian Bodega
  • Cambodian%2BBodega.jpg

    On Wednesday, September 20, from 7-10 PM EDT, Bodega Pop Live on WFMU's Give the Drummer Radio spins three hours of Chaiyam, film song, Khmer classical, psychedelic, synth-pop, and more from CDs found in Cambodian bodegas in the Bronx, Portland, and Seattle.





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    Luis Fonsi & Daddy Yankee – Despacito (Remix) (feat. Justin Bieber) (2017) FLAC
    Artist: Luis Fonsi & Daddy Yankee, feat. Justin Bieber | Album: Despacito (Remix) | Released: 2017 | Genre: Pop

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    Dead By April - Worlds Collide (2017) FLAC (tracks)
    Artist: Dead By April | Album: Worlds Collide (Jimmie Strimell Sessions) [EP] | Released: 2017 | Genre: Modern, Pop, Metal | Country: Sweden | Duration: 00:15:27

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    Ultimix VIP Promo Pack May PT2 (2017)

    Artist: Various Performers
    Title: VIP Promo Pack May PT2
    Label: Ultimix Records
    Style: World, & Country, Dancehall, Folk, Indie, Tropical, Future Bass, Electropop
    Release Date: 01-05-2017
    Format: CD, Promo, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 27 Tracks
    Size: 296 Mb / 02:08:43 Min

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    Chris Norman - Don't Knock the Rock (2017) FLAC (tracks)
    Artist: Chris Norman | Album: Don't Knock the Rock | Released: 2017 | Genre: Pop Rock | Country: UK | Duration: 00:46:59

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    VA - Big In Ibiza (2017) FLAC (tracks)
    Artist: VA | Album: Big In Ibiza | Label: Universal Language | Catalog #: UV 037A | Released: 2017 | Genre: House, Deep House | Country: International | Duration: 02:13:59

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    Shabazz Palaces - Quazarz vs. The Jealous Machines (2017) FLAC (tracks + .cue)
    Artist: Shabazz Palaces | Album: Quazarz vs. The Jealous Machines | Released: 2017 | Genre: Hip-Hop | Country: United States | Duration: 00:42:15

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    John Lennon & The Plastic Ono Band - Live Peace In Toronto 1969 (1969/2006) FLAC (image + .cue)
    Artist: John Lennon & The Plastic Ono Band | Album: Live Peace In Toronto 1969 | Released: 1969, 2006 | Label: Mobile Fidelity Sound Lab ‎– UDCD 763, Japan | Genre: Rock, Classic Rock | Country: UK | Duration: 00:39:50

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    David Garrett - Rock Revolution (2017) FLAC (tracks)
    Artist: David Garrett | Album: Rock Revolution | Released: 2017 | Genre: Classical, Crossover | Country: Germany | Duration: 01:04:54

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    320 kbps | 317 MB | LINKS

    Tracks:
    01 – Rock Island Line
    02 – Timber
    03 – Silly Willy
    04 – Blue-Eyed Mermaid
    05 – Hear Them Bells
    06 – The Greatest Builder
    07 – Dealer in Dreams
    08 – Help Me
    09 – I Found a Million Dollar Baby (In a Five and Ten Cent Store)
    10 – Talk to Me Something
    11 – Don’t Call My Name
    12 – Pretty Betty
    13 – Just in Case You Change Your Mind
    14 – So Mean
    15 – Splish Splash
    16 – Judy, Don’t Be Moody
    17 – Early in the Morning
    18 – Now We’re One
    19 – Queen of the Hop
    20 – Lost Love
    21 – Mighty, Mighty Man
    22 – You’re Mine
    23 – Plain Jane
    24 – While I’m Gone
    25 – Dream Lover
    26 – Bullmoose
    27 – Mack the Knife
    28 – Was There a Call for Me?
    29 – La mer (Beyond the Sea)
    30 – That’s the Way Love Is
    31 – Clementine
    32 – Tall Story
    33 – She’s Tanfastic!
    34 – Moment of Love
    35 – Down with Love
    36 – Bill Bailey, Won’t You Please Come Home
    37 – I’ll Be There
    38 – Beachcomber
    39 – Autumn Blues
    40 – That’s How It Went, All Right
    41 – Artificial Flowers
    42 – Somebody to Love
    43 – Christmas Auld Lang Syne
    44 – Child of God
    45 – Lazy River
    46 – Oo-Ee Train
    47 – Nature Boy
    48 – Look for My True Love
    49 – Come September
    50 – Walk Bach to Me
    51 – You Must Have Been a Beautiful Baby
    52 – Sorrow Tomorrow
    53 – Irresistible You
    54 – Multiplication
    55 – What’d I Say, Pt.1 & Pt. 2
    56 – Ain’t That Love
    57 – Things
    58 – Jailer, Bring Me Water
    59 – If a Man Answers
    60 – A True, True, Love
    61 – Baby Face
    62 – You Know How
    63 – I Found a New Baby
    64 – Keep-A-Walking


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  • 09/19/17--00:14: Shri - Drum The Bass (1997)
  • Shri - Drum The Bass (1997)

older | 1 | .... | 1030 | 1031 | (Page 1032) | 1033 | 1034 | .... | 2478 | newer