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    The New Faith’s Debut Album ‘Me On You’ is released on the 6th of October on Faith Healer Records. The band is made up of Will Charlton – singer, songwriter, Sam Baldwin – guitar, co-writer, Alistair Scott – bass, Stephen Smith – drums and Jenna Wild – keyboards, piano plus an array of backing singers. Horns, sax players and string sections. The band come from Brighton and the album is based around family, love, personal battles and growing up.

    Describing the content of ‘Me On You’, Will states that “The tracklisting reflects the story from beginning to end. I moved to Berlin to follow the European Dream, had a break up and moved to Brighton not knowing where I really wanted to be. I tried to write songs to close the chapter. The idea is that as well as being a narrative of the past, the album is also an account of my relations with other people.”

    ‘Me On You’ is mixed and produced by Dave Izumi, whose flair and flavour comes from his beautifully crafted Echo Zoo Studios in Eastbourne. “It’s full of reel to reel tape machines, old synths, steinway pianos, a rhino’s head, a mousse’s head and Tony Visconti’s old mixer.”

    It sees the band reproduce their highly original songs, handpicked from late night sessions and hours of bedroom recordings and home demos. Two years and a day since Dave first heard the band and called saying he wanted to record them, The New Faith have created a peerless union of relatable lyrics, traditional songwriting and audacious arrangements; a stunning songbook filled with variety and colour.

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    z320 kbps | 467 MB | LINKS

    Disk: 1
    1. In The Air Tonight
    2. I Missed Again
    3. If Leaving Me Is Easy
    4. Thru These Walls
    5. You Can’t Hurry Love
    6. I Don’t Care Anymore
    7. Don’t Let Him Steal Your Heart Away
    8. Why Can’t It Wait ‘Til Morning
    9. I Cannot Believe It’s True
    10. Against All Odds
    11. Easy Lover
    12. Sussudio
    13. One More Night
    14. Don’t Lose My Number
    15. Take Me Home

    Disk: 2
    1. Separate Lives – Phil Collins And Marilyn Martin
    2. A Groovy Kind Of Love
    3. Two Hearts
    4. Another Day In Paradise
    5. I Wish It Would Rain Down
    6. Something Happened On The Way To Heaven
    7. That’s Just The Way It Is
    8. Hang In Long Enough
    9. Do You Remember?
    10. Who Said I Would
    11. Both Sides Of The Story
    12. Everyday
    13. We Wait And We Wonder
    14. Dance Into The Light
    15. It’s In Your Eyes

    Disk: 3
    1. No Matter Who
    2. Wear My Hat
    3. The Same Moon
    4. True Colors
    5. You’ll Be In My Heart (DISNEY)
    6. Strangers Like Me(DISNEY)
    7. Son Of Man (DISNEY)
    8. Two Worlds (DISNEY)
    9. Can’t Stop Loving You
    10. The Least You Can Do
    11. Wake Up Call
    12. Look Through My Eyes (DISNEY) – Brother Bear
    13. No Way Out (DISNEY) – Brother Bear
    14. (Love Is Like A) Heatwave
    15. Going Back

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    Systems In Blue - Melange Bleu (2017) FLAC (tracks + .cue)
    Artist: Systems In Blue | Album: Melange Bleu | Released: 2017 | Genre: Disco | Country: Germany | Duration: 01:11:29

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    Seal - Standards (Deluxe) (2017) FLAC (tracks)
    Artist: Seal | Album: Standards (Deluxe) | Released: 2017 | Genre: Pop | Country: UK | Duration: 00:52:13

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    VA - Vocal Trance Classics Top 40 (2017) FLAC (tracks)
    Artist: VA | Album: Vocal Trance Classics Top 40 | Label: RNM Bundles | Catalog #: RNM 179A | Released: 2017 | Genre: Trance, Uplifting Trance | Country: International | Duration: 02:34:05

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    Smooth Jazz All Stars - Ambient Lounge Smooth Jazz (2015) FLAC (tracks)
    Artist: Smooth Jazz All Stars | Album: Ambient Lounge Smooth Jazz | Released: 2015 | Genre: Smooth Jazz | Country: USA | Duration: 02:02:04

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    VA - BRAVO The Hits 2017 (2017) FLAC (tracks)
    Artist: VA | Album: BRAVO The Hits 2017 | Released: 2017 | Genre: Pop, Rock, Electronic, Dance | Label: Polystar / Universal Music Strategic Marketing | Country: International | Duration: 02:41:23

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    Roby Facchinetti & Riccardo Fogli - Insieme (2017) FLAC (tracks)
    Artist: Roby Facchinetti & Riccardo Fogli | Album: Insieme | Released: 2017 | Genre: Pop, Italo Pop | Label: RCA Records Label / Sony Music Entertainment Italy S.p.A. | Country: Italy | Duration: 00:44:07

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    Blues Overdrive - Overdrive Live! (2017) FLAC (tracks)
    Artist: Blues Overdrive | Album: Overdrive Live! | Released: 2017 | Genre: Blues, Blues Rock | Country: Denmark | Duration: 00:42:52

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    Loreena McKennitt – 4 LP's Жанр : Folk, World, Country, Celtic Носитель : LP Год выпуска : 1991 - 2014 Лейбл : Quinlan Road Страна-производитель : Canada, EU Аудио кодек : FLAC Тип рипа : tracks+.

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    FLAC | 204 MB | LINKS

    Not a collaboration between the artists, as you might think from a glance at the title, but a compilation, featuring four songs apiece from each of the guitarists. Fahey, Kottke, and Lang (a considerably less celebrated name than the other two) all recorded for Fahey’s Takoma label, and all played haunting acoustic guitar instrumentals that relied as much upon feeling and imagination as they did upon virtuosity. While their performances here may not be their very best–you can turn to their solo albums for those–anyone who likes the artists will like what they offer here. Indeed, their approaches are similar enough that casual listeners may mistake this compilation for the work of a single artist.

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    Mark Nomad was drawn to music as a tot, always hearing music around the house, either on the radio or from the harmonica his father often played. He noted the phenomenon of Elvis, was smitten with by Beatles and was impacted by a number of artists including Paul Butterfield and Mike Bloomfield, Jimi Hendrix and the Allman Brothers Band.
    He left college and formed the original Little Village who were a legendary group in the Northeast. His lifelong passion for blues music has always run concurrently with his songwriting, guitar playing and love of many genres. Music is like food; great ingredients prepared simply and with love taste best. A varied diet is recommended!

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    Malcolm Middleton has been a very busy chap these past few years, but there’s a strong chance much of his fan-base have yet to realise. Human Don’t Be Angry, from 2012, was a timed Record Store Day exclusive; a beautifully put together collection of original instrumentals, skits and maudlin pop which received an equally lovely follow up in 2015 (Electric Blue – Human Don’t Be Angry). Then there’s Music and Words; a collaborative pic’n’mix of hysterical spoken word vignettes written alongside visual artist David Shringley.

    Though 2009’s Waxing Gibbous may have been the last ‘proper’ solo record to release under his name, it’s evident that Middleton has been anything but idle. Enter Summer of ’13 – an oddly spry electronic record marking a refreshing departure from the “downbeat/miserablist” (his words, not mine) nature of previous releases. Still, this is Malcolm Middleton we’re talking about, half of the genius behind those sad fuckers Arab Strap – of course some of it’s miserable.

    It opens with the buoyant eletro-pop stomp of ‘Steps’, which perfectly sets the tone for the album’s wry confessionals. “Won’t somebody come and diagnose me with something/ I’m not making progress” decrees Middleton; words any reticent, anxious individual will be able to relate to. Produced by precocious electro wizard Miaoux Miaoux, Summer of ’13 feels like a labour of love, a record that Middleton had to make in order to move onward. He’s always been an eclectic musician, one as likely to lay down a hard rock instrumental as he is something dangerously twee, but here the production brings out another side… a sunnier, danceable side.

    With guest appearances from Gordon Anderson (aka Lone Pigeon, who is also responsible for that brilliantly garish cover art), Scott Simpson (drummer with First Aid Kit), and regular Middleton collaborator Martin John Henry, Summer of ’13 consistently surprises in both tone and musicality.

    Rhythmically, the album feels equally vivid and serene; as suited to hazy evenings in the sun as it would be animating an off-beat indie disco. The final moments of ‘Brackets’ is a perfect example of this. Here, Middleton uses a cathartic refrain of “We’ve taken a long time getting here” over a hypnotic blend of falsetto harmonies, clouded synth and a classic jangle-riff. Sure, it’s clearly indebted to the best of Eighties outsider pop, but what’s so bad about that? It’s beautiful.

    If the idea of Malcolm Middleton pulling all this off still fails to register, the closest musical comparison one can think of is the criminally overlooked 2007 album West Coast by Studio. In fact, the similarity between the fading vocal echo on ‘Information In The Voice’ and that which appears in Studio’s ‘West Side’ is uncanny. Both records carry the same idiosyncratic approach to uplifting electronic pop: an effortless mix of retro and contemporary indie/electro influences which in a just world would have lit the airwaves ablaze. There’s even a moment in the aforementioned track where Middleton is bold enough to threaten a musical ‘drop’…

    There are dips, namely ‘Like John Lennon Said’ which, while pleasant, might put off those averse to existential ruminations built upon Lennon quotes. Whether people take to this sunnier approach has yet to be seen, but given his previous eclecticism, there’s little doubt fans will lap this up. Middleton has made a dance record for the disenfranchised, oh sure it’s a cliché, but Summer of ’13 is one of the most refreshing things you hear all year. Come on you miserable bastards, this here is the soundtrack to your summer of ’16.

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    The Sadies / Northern Passages Жанр : Alt. Country Rock Носитель : CD Год издания : 2017 Издатель (лейбл) : Yep Roc Records Страна исполнителя (группы) : Canada Аудиокодек : FLAC (*.

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    320 kbps | 71 MB | LINKS

    When they began in 2009, Australia’s Bed Wettin’ Bad Boys immediately lived up to their name. Though their music was never a joke, the band could come off as a stumbling, drunken wreck. By the time of their debut album, in 2013, they decided to grow up a bit, which is why they called it Ready for Boredom. “It seemed to indicate this exit from us being a party band,” said singer and bassist Nic Warnock. “Life is becoming more apparent, I guess. I worry about shit more.”

    So how has growing up gone so far? It’s not a great sign that the quartet decided to call their follow-up album Rot, but its songs tell a more hopeful story. Many of them are about finding the maturity and patience to take life as it comes. Guitarist Joe Sukit opens the record singing about the need “to relent control,” and the rest of the way—in songs with names like “Expanding Horizons” and “Turn the Page”—the band returns to themes of acceptance and gratitude. “Well, it’s a long and lonely life,” Warnock hums on “Stunned.” “But for me that’ll do alright/Until something comes along.”

    Luckily, lyrical maturation doesn’t mean turning soft musically. None of Rot’s 11 songs are a mess—the rhythms are tight and the riffs are on target—but the album is still pretty raucous. Bed Wettin’ Bad Boys remain unafraid to scrawl outside the lines and spill into the red. When Sukit strains to sing, “Try to change your life, but life changes you,” during “Device,” the rough density of the guitars makes his struggle palpable. This combination of energy and wisdom aligns Rot with their soulful Aussie brethren Royal Headache (Sukit is a former member; Warnock’s label RIP Society released that group’s first album). But Bed Wettin’ Bad Boys attack their songs with an industrious devotion that sets Rot apart.

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    Alex Williams / Better Than Myself Жанр : Country Rock Носитель : CD Год издания : 2017 Издатель (лейбл) : Universal Music Страна исполнителя (группы) : USA Аудиокодек : FLAC (*.

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    Σαξοφωνίστας (άλτο, σοπράνο) και την ίδια ώρα κοντραμπασίστας (περίεργο) είναι ο Mark Zaleski – που φωτογραφίζεται, μάλιστα, και ως κοντραμπασίστας στο εξώφυλλο τού πιο πρόσφατου CD του, που έχει τίτλο Days, Months, Years[Private, 2016] και που τον βρίσκει (τον Zaleski) σε φάση δημιουργική παρέα με το κουιντέτο του. Ποιοι αποτελούν αυτό το κουιντέτο; Οι Jon Bean τενόρο σαξόφωνο, Glenn Zaleski πιάνο, wurlitzer, Mark Cocheo κιθάρα και Oscar Suchanek ντραμς (σ’ ένα κομμάτι μόνο αντικαθιστά τον Zaleski στο κοντραμπάσο ο Danny Weller).
    Ο Zaleski αν και μόλις στα 31 του δεν είναι «χθεσινός», καθώς έχει εμφανισθεί δίπλα στους Dave Brubeck, Antonio Sanchez, David Liebman κ.ά., ενώ έχει βρεθεί σε περιοδεία ακόμη και με τους JethroTull! Θεωρείται, επίσης, ως ένας από τους καλύτερους νεότερους δασκάλους στα πνευστά, στη Μασαχουσέτη (διδάσκει και Αρμονία στο Berklee College of Music), ενώ, ακόμη, είναι μέλος της περίφημης Either/Orchestra. Δεν είναι λίγα όλα αυτά – κάτι που, τέλος πάντων, φαίνεται και από το παρόν δισκάκι, που αναδεικνύει τόσο το παικτικό όσο και το συνθετικό ταλέντο του.
    Το άλμπουμ ανοίγει με το “Mark in the park”, ένα 9λεπτο κομμάτι που περνάει από πολλά αισθητικά στάδια (rock, funk και λοιπά, ιδωμένα, πάντως, μέσα από μια μοντέρνα τζαζ οπτική), για να ακολουθήσει το επίσης 9λεπτο “Cerina”. Τούτο ξεκινάει μ’ ένα αυτοσχεδιαστικό ντούο στα σαξόφωνα (από τους Zaleski και Bean), εξελίσσεται σε κάτι σε-latin, έχοντας κι ένα πολύ μετρημένο και ιδιαίτερο σόλο στην κιθάρα από τον Cocheo. Τρίτο στη σειρά το φερώνυμο “Days, months, years”, που αγγίζει τα 10 λεπτά και είναι το μεγαλύτερο σε διάρκεια κομμάτι του CD. Μέσω ενός mid-tempo ο Zaleski προσφέρει ένα ολοκληρωμένο και περιπετειώδες track που φανερώνει κάτι βασικό… τις συνθετικές ικανότητες τού πρώτου τη τάξει. Πολύ ιδιαίτερη και η funky προσαρμογή του “Epistrophy” των Thelonious Monk/Kenny Clarke (η πρώτη version του CD), ενώ ένα ακόμη 9λεπτο κομμάτι, το “Katies song”, έρχεται να προστεθεί στα προηγούμενα – μια λυπητερή μπαλάντα, γραμμένη για κάποια παιδική φίλη τού συνθέτη που σκοτώθηκε, νέα, σε αυτοκινητικό. Το “Days, Months, Years” θα ολοκληρωθεί με τη διασκευή τής Mark Zaleski Band στο “Big Foot” του Charlie Parker. Ωραίο το μπάσο, του άλλου μπασίστα Weller εδώ και μια ωραία και εντελώς bluesy διασκευή σ’ ένα από τα όχι και τόσο γνωστά κομμάτια του Bird.

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    The first time Rabih Beaini heard tarawangsa was in my backyard. The Lebanese electronic experimentalist was in Bandung to play a few sets and hear as much music as possible, so I’d invited him to a gig in my neighborhood of Cikalapa, a grid of steep footpaths hemmed in by rice paddies and the surging Cikapundung river. I’d been lucky to move to a music-filled neighborhood, and serendipity placed an annual village arts festival right at our feet.

    It had been raining all day, so the grass in front of the newly built stage was wet beneath our feet as we danced to the amplified music, multi-colored scarves swaying from around our necks.   While the event was outside the typical ritual context of harvest ceremonies, the vibe was still there: incense smoke floated through the air in front of the musicians, a tarawangsa bowed lute and jentreng zither playing looping variations that seemed to hang in the cool night air. Rabih joined with digital recorder in hand, swaying to the sound as young men from the neighborhood fell into trance, some crawling on the ground, others drifting with closed eyes. As the night wore on, I could see the music pulling Rabih in. 

    Months later, Rabih phoned me from Berlin with an idea: he wanted to collaborate with tarawangsa musicians, forming an experimental group which could then tour Europe. It was perfect timing: Rabih had been tapped for an artists’ residency as part of the Europalia International Arts Festival, and the tarawangsa music had been calling him since his return to Europe. 

    Screen Shot 2017-11-15 at 3.31.34 PM.png

    I was initially unsure of the idea. Tarawangsa is traditionally a sacred music, played only in certain ritual contexts tied to the cycle of the rice harvest. In its heartland of Rancakalong, a village in the area of Sumedang east of Bandung, this ritual context is still very much a deep, living tradition. However, I was beginning to see Sundanese musicians open the musical tradition up to new forms and experimentation. The grandest was a “world record”: fifty tarawangsa duos played together simultaneously in a mass concert in the city of Sumedang, a move which showed that the music (or rather, the musicians and their communities) was open to change in the spirit of revival.

    By the time Rabih arrived in Bandung again in April, a new experimental trio had been imagined: Rabih on electronics (an array of samplers and effects pedals, essentially) and the young Bandung duo Tarawangsawelas featuring Teguh Permana on tarawangsa and Wisnu Ridwana on jentreng. Teguh and Wisnu were a rare thing: young, English-speaking, university-trained musicians who had steeped themselves in the tarawangsa tradition, studying with the old masters of Rancakalong. They had run the idea of the experimental trio past the Rancakalong locals and been met with approval: anything to get the music out there.

    Screen Shot 2017-11-15 at 3.28.59 PM.png

    Lesser artists, I think, would be happy to let the “traditional musicians” play while noodling with electronics on top, but Rabih’s vision from the beginning was to create a musical dialogue, with both sides having to accommodate one another. Luckily, Teguh and Wisnu were no staunch traditionalists: in addition to playing traditional Sundanese music, both had also featured in local experimental acts, such as a choir of black metal growlers called Ensemble Tikoro. Rabih, likewise, was ready to respond to the traditional forms of the music without bulldozing his way over them.

    Luckily, the bedrock of tarawangsa music made for a surprisingly sweet match with Rabih’s digital manipulation. Both Rabih’s sound world (most often playing as Morphosis) and tarawangsa’s are built on looping repetition and minimalism, and Rabih’s music seemed to aim towards trance-like transcendence even before it came into conversation with tarawangsa’s world of trance and spirit possession. That didn’t mean, however, that the trio would find their sound immediately. Before sitting down for their first rehearsal, the music was only an idea: to put it into practice would take, well, practice.

    By the time I met with the new trio for the first time at a friend’s house in the hills above Bandung, they’d already had a few meetings to work out their sound. As a project based largely on improvisation, techniques and movements came together as the musicians played together; frustration often yielded to “aha” moments as the trio maneuvered their way onto the same wavelength. Rabih’s challenge was to manipulate the organic textures without losing that ever-elusive “spirit” or straying so far as to make the music unrecognizable. Teguh and Wisnu, meanwhile, were pushed to find ways out of their habit of simply playing the music as their masters had: motifs were deconstructed, sounds rearranged, instrument plucked in unorthodox ways.

    The week of rehearsals culminated in a handful of shows at Spasial, a hip warehouse venue full of local distro designer shops, hipster cafes, and start-up offices. Teguh and Wisnu sat on a Persian carpet, facing not outwards as is traditiono but towards each other. In their eyesight was Rabih, his huge form crouched over a tiny table full of gear. The set had a handful of technical complications (no surprise considering the amount of cables), but the music flowed on, enrapturing a small crowd of Bandungites curious to see local Sundanese sounds collectively reconfigured by a motley trio. The music was tarawangsa, but also not. What they created was a new ritual for a new time and place, the digital ghosts of distorted loops filling in for those of the ancestors.


    Tarawangsawelas and Rabih Beaini play at the Berghain tonight (w/ Bandung bamboo heavy metallers Karinding Attack opening and Jakarta sample-masters Uwulmassa playing a late set), 15/11/17, as part of the Raung Raya extention of the Europalia lineup. More info at the Facebook event page here.


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    01. Prends mon coeur
    02. A House In The Sky
    03. Alone
    04. Downtown
    05. Love You with All My Heart
    06. Poppa Piccolino
    07. Sailor
    08. Silver Dollar
    09. Suddenly There’s a Valley
    10. The Little Shoemaker
    11. True Love Never Runs Smooth
    12. With All My Heart
    13. Put Your Shoes On Lucy
    14. Tennessee Waltz
    15. You’re The One

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    320 kbps | 106 MB | LINKS

    Jay, Florida’s Amanda Cook acquired a love of bluegrass from her father who played banjo throughout her childhood. In early 2007, Amanda formed bluegrass group High Cotton with her father and received her first taste of performing, fueling a fire to continue on a professional level. In 2013, determined to create her own sound, Amanda stepped out on her own and released her first solo album One Stop Along the Road. The project made it to the top 150 Roots Music Bluegrass Album Charts for 2014 and 2015 (#61 for 2015 #56 for 2014). The self-released album also brought Amanda significant regional attention and furthered the desire to grow her brand, resulting in the addition of a full touring band. In early 2017, Amanda signed with Mountain Fever Records and recorded her debut album on the label “Deep Water.” Amanda was excited for her 2nd album project, especially that she and band member Carolyne VanLierop co-wrote the title track Amanda has created quite a loyal fan-base through her palpable delivery of a soul-wrenching song. And her light-hearted, down-to-earth style helps her create an undeniably strong connection with her audience.

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