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  • 03/28/18--03:42: Tomawok
  • toma.jpeg

    Entrée Dans La Danse Un Peu Avant 2010 à Angers, Thomas Perez Alias Tomawok,
    Melent Reggae, Roots, Digital Ou Hip Hop Sur Fond De Ragga-Dancehall
    Et Fait Danser Les Mots Au Son De Son Flow

    Empieza Los Escenas Poco Adelante De 2010 En Angers, Thomas Perez Aka Tomawok
    Mezcla Reggae, Roots, Digital O Hip Hop Sobre Un Fondo De Ragga-Dancehall
    y Hace Bailar Sus Palabras Al Sonido De Su Flow

    Start The Stage Few Before 2010 In Angers, Thomas Perez Aka Tomawok
    Mix Reggae, Roots, Digital Or Hip Hop Into A Sound Ragga-Dancehall
    And Make Swing The Words With The Sound Of His Flow


    Site Officiel

    toma%2Bclash.jpg
    Clash Pas L'Apache ! 2011

    01 Original Man
    02 Tomawok Style
    03 Cosa Nostra- Feat Mesh M18
    04 Nice Et Jolies
    05 Apache
    06 Police In Helicopta
    07 Unité- Feat Joeysteka
    08 Volando Voy- Feat Gabriela Barrenechea
    09 Dubplate Papa Gab- Feat Mesh M18
    10 Dubplate Broken Stick
    11 Dubplate Dissident Sound
    12 Le Style Et Bad
    13 Tché Tché Coulé [Dj Kafra Remix]- Feat Amkoullel, Chanan & Micmo
    14 Siempre y Siempre
    15 Jump Up
    16 Jump Up- Remix

    toma%2Bwaka.jpg
    Wakatanka 2012

    01 Ni Cobaye Ni Cowboy
    02 La Bonne Solution
    03 My Sound
    04 Party Time- Feat Perfect Giddimani
    05 Françafrique
    06 Let's Go- Feat Takana Zion
    07 Le Bon, La Brute Et Le Truand
    08 Raggamuffin Style
    09 El Estilo De La Calle
    10 Range Ta Salive
    11 L'Ouest Est La
    12 Freedom- Feat Malijah, Mesh M18 & Perfect
    13 Zunguzeng 2012- Feat King Yellowman
    14 Wakatanka- Interlude
    15 Little Big Man
    16 Como El Agua
    17 8 Millions D'Indiens
    18 What Am I To Do- Feat Binghi Root & Tony Scott

    toma%2Binna.jpg
    Inna Di Tipi Mixtape 2012 [Full Uncut]
    Inna Di Tipi Mixtape 2012 [Extract Cut]

    * : Songs In The "Extract Cut" Folder

    - Bad cowboy / J Rod records
    - Raggamuffin / Weedy G
    * Faya bun dem / Mystic Selecta
    * My sound / Special fi Turbulent
    - Party time / Feat Perfect / refix by Pulla / Version bootleg by Lord Lyta
    * Brigade des Stups / Special fi Turbulent
    * Pneumostory / Ripton Hylton / Sonic Sound
    * Everyday / Weedy G / Scratchs dj K-ass
    - Para gustos / Feat Iñaki / RJ Beats
    - Clash pas l’interlude / Da Vibes Remaker
    - R.U Ready / Feat Chip Fu & Mister Flow (Urban poizon) / Konixion
    - Fronteras / Urban poizon feat De la Hoja / Konixion
    - J’refuse / Feat Nouvel R (2008)
    - Babel / Feat Lassy King Massassy, Malika, Puk, Binzen, Aurelius, HB, Kwal (2005)
    - Riddim again / Guerilljah prod (Hardy Digital & Longfingah)
    * Jamais le minimum / Dreadsquad
    - Solid as a rock / Dreadsquad
    - Boom bye bye / Feat Mesh M18 & Titineboy (Grime sin)
    - Mash up / Feat Mesh M18 / Kafra & Reda
    - Original Apachi / 3Beat
    - Comme des lions / Malente & Dex
    * Tu ne comptes pas / Kafra
    - Ganja me burn / Special fi Isaac Maya / Isaac Maya
    - Le style est bad / Remix by Kafra
    - Zunguzeng 2013 / Feat Yellowman / Remix by Isaac Maya
    - Bassajam mash up di place / Special fi Bassajam / Skrillex
    - Garde espoir / Feat Gun Deevine & Bobee Deegital

    toma%2Bweed.jpg
    Weedamuffin 2015

    01 Big Dem Up
    02 Weedamuffin
    03 Revolution
    04 African Children- Feat Sizzla
    05 Pull Up Selecta
    06 No One We Fear- Feat Ward 21
    07 King Kong
    08 Jamaican Herb- Feat Max Romeo
    09 Kaliman
    10 Good Ganja Weed- Feat Ksir Makoza, Perfect & Spectacular
    11 Von Tomawok
    12 La Lutte Finale
    13 Mash Dem Down

    toma%2Bbonus.jpg
    Inédits & Featurings

    - C.M.F Riddim
    - Dubplate Angata Sound System (Makatak Riddim)
    - Dubplate Supah Cannabinol Sound
    - Impro- Feat Eye Ball
    - Pon Di Wok
    - Range Ta Salive
    - Reggae Truck
    - Sleng Teng International Riddim- Feat Dreadsquad
    - Wicked MCs (Doctor H)- Feat Gaia & Jasso
    - Zunguzeng 2013- Feat King Yellowman
    ---
    DJ Vadim- Cowboy Fe Dead
    Dreadsquad- Non Stop
    Dreadsquad- Pull It Up
    Guerilla Jah Prod- Old Monk Riddim- Feat Parly B, Longfinah & Steppa Style,
                                             Bandulu, Tomawok, Wendy Wonder, Gill Us & Sista Zoun
    Guerilla Jah Prod- Riddim Again
    Jstar- Real Apache Style
    Keefaz- Weed Clash
    Lord Bitum- Jerichane
    Nouvel R- J'Refuse- Feat Tomawok & Grud
    Roots Warrior- Apache Style (Dubplate)



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  • 03/28/18--04:17: X-Maleya – Cardio (2018)
  • X-Maleya – Cardio (2018)

    • Artist: X-Maleya
    • Album: Cardio
    • Genre: World Music
    • Released: 2018
    • Format: MP3 / FLAC
    • Quality: 320Kbps / Lossless
    • Size: 118 MB / 338 MB

    Tracklist:
    01 – Ma prière
    02 – Fianga
    03 – Dieu n’oublie personne
    04 – Makossa
    05 – Allo
    06 – Falla
    07 – Dans l’os
    08 – Je t’aime
    09 – Ta fille n’est pas ta femme
    10 – La seule
    11 – Loba
    12 – Caro et lisa
    13 – Mon goût
    14 – Arelis
    Download Links:
    rapidgator: Download

    FLAC:
    rapidgator: Download

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    VA - Top Hits 2001 Volume 1-4 (2001)

    Artist: Various Artists
    Title Of Album: Top Hits 2001 Volume 1-4
    Year Of Release: 2001
    Label: Arcade
    Genre: Pop, Synthpop, Europop, Euro House, Trance
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 7:20:58
    Full Size: 3.20 gb
    Upload: Turbobit / DipFile

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    Don Patrol - A Wire, A Deal And The Devil [Japanese Edition, 1st press] (1992)

    Artist: Don Patrol
    Title Of Album: A Wire, A Deal And The Devil [Japanese Edition, 1st press]
    Release Date: 1992
    Location: Sweden
    Label: BMG Victor Inc. (BVCP-672)
    Genre: Hard Rock
    Quality: FLAC | lossless (image+.cue+covers)
    Length: 47:43 min
    Tracks: 11
    Total Size: 378 Mb (+3%)
    WebSite: Home Page




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    Magdallan - Big Bang [Japanese Edition, 1st press] (1992)

    Artist: Magdallan
    Title Of Album: Big Bang [Japanese Edition, 1st press]
    Release Date: 1992
    Location: USA
    Label: FEMS (APCY-8099)
    Genre: Hard Rock / Melodic Metal
    Quality: FLAC | lossless (image+.cue+covers)
    Length: 01:04:05 min
    Tracks: 15
    Total Size: 478 Mb (+3%)
    WebSite: discogs

    Big Bang - ???????? ?????? ????????????? ?????????? ??????? Magdallan. ?????? ??? ?????? ??? ?????????????? ????? ?????????? Ken Tamplin (Joshua, Shout, Tamplin) ? ?????????? Lanny Cordola (Giuffria, House of Lords, Magdalen, Ken Tamplin).




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    61PBYwaQvsL._SS500.jpg320 kbps | 111 MB | LINKS

    Gritty, visceral, romantic blues music with a roots music feel.

    Tracklist:

    01. Country Blues
    02. Fuzz Blues
    03. Hudson Bay Blues
    04. Jazz Blues Harp
    05. Lap Steel
    06. Shuffle Head
    07. Summer Breeze
    08. Sunrise Blues
    09. Sunrise Blues (Alternate Take)
    10. Ride, Ride
    11. Stand by Your Door
    12. Walkin’ Blues
    13. Eclipse


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    519%2BrSwgXQL._SS500.jpg320 kbps | 101 MB | LINKS

    A collection of folk-roots and blues with hints of the Wood Brothers, Zac Brown and Springsteen.

    Tracks:
    01. We Listened to Ray
    02. Elena
    03. God Knows What It’s Like
    04. When Heroes Fall
    05. Hold You Tonight
    06. Hold Lightly
    07. Most Blessed Man
    08. Bigger Than That
    09. Love Is Bigger
    10. The Parting Glass


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  • 03/28/18--05:16: mansion of invention.
  • R-1012233-1316182884.jpeg.jpg

    now for some kraut synth shit from 79. i'm not wild about the vocals, but klaus schulze is laying down some dreamy jams on here.

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    Ali Farka Touré – The Source (Remastered) (2018)

    • Artist: Ali Farka Touré
    • Album: The Source (Remastered)
    • Genre: World Music
    • Released: 2018
    • Format: MP3 320Kbps
    • Size: 127 MB

    Tracklist:
    01 – Goye Kur (Remastered)
    02 – Inchana Massina (Remastered)
    03 – Roucky (Remastered)
    04 – Dofana (Remastered)
    05 – Karaw (Remastered)
    06 – Hawa Dolo (Remastered)
    07 – Cinquante Six (Remastered)
    08 – I Go Ka (Remastered)
    09 – Mahini Me (Remastered)
    10 – Takamba (Bonus Track)
    Download Links:
    rapidgator: Download

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    Kayhan Kalhor & Mohammad Reza Shajarian - Night Silence Desert (2000)
    + Lossless

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    Gozo / Zbornik Жанр : ethno-punk Страна исполнителя (группы) : Georgia Год издания : 2015 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 32 min Наличие сканов в содержимом раздачи : да Треклист : 1-aero 2-baloon 3-literatura 4-litrabol 5-lokokina 6-stadionze 7-transporti 8-upside down 9-water polo 10-white reeboks Gozo Georgian artist,music,vocal,instruments,poezija and all Gozo-solo .

    Тема на форуме



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    IMG_6690 2.jpg

    Location: Juruan Laok, Kec. Batuputih, Kab. Sumenep, Madura

    Sound: Saronen (also spelled sronen, seronen, sronenan

    Busy noisiness.” I like this interpretation of the Indonesian concept of rame (or ramai), a notion which has been explored by countless ethnomusicologists and anthropologists. That translation was provided by ethnomusicologist Anne Rasmussen; elsewhere Rasmussen quotes ethnomusicologist R. Anderson Sutton’s translation of “busy, noisy, congested, and tangled.” It’s not just a word but an aesthetic and a feeling, one which is almost always positive. What can be an aural cacophony to Western ears can resound as pure, bustling excitement for an Indonesian. 

    When an occasion calls for rame music, few sounds match the busy noisiness of drums, gongs, and reeds. In North Sumatra, the Irish wake-like celebration of a Toba funeral calls for gondang sabangunan, with its buzzing sarunai reeds and pitched taganing drums, while the Sundanese of West Java get worked up into possessed trance states with reak’s wailing tarompet and pounding dogdog. These musics fill the air with rame sounds at every frequency, from the sub-bass of drums and gongs to the shrill upper-register whine of a double reed. 

    In Madura, an island just off the north coast of East Java, the famous bull races or karapan sapi call for rame sounds to match the thunderous rumble of hooves kicking up dust. Saronen fits the bill perfectly: it’s all booming drums, ricocheting gongs, and that sweet, reedy buzz.

    All of these rame drum and reed styles likely share a common ancestor, with the instruments spreading across the archipelago in centuries past and molded to local tastes. The lineage is clear if you take a look at that primary instrument, the double reed (sometimes tagged, in Eurocentric shorthand, with the name of the most similar Western instruments, either oboe or the Medieval-sounding shawm.) Sunda’s version, tarompet, has an etymology also pointing to the West, but the saronen’s name (and the Sumatran sarunai) points towards its ancestor, the Persian-Arabic surnai. These instruments spread across the world from this Middle Eastern locus, heading west to become the Turkish zurna and east to China, where it became the suona

    IMG_6661.jpg

    The Madurese saronen takes the piercing buzz of two lontar reeds (pepet) and shoots it through a teakwood pipe and out through a bulbous bell. The instrument's mouthpiece is secured not only by a bronze fixture (lale), but by a coconut shell mouthpiece (sangot) meant to mimic an aristocratic mustache. The instrument has seven fingerholes, six in the front and one in the back. The Madurese, though, count nine holes (including the top and bottom openings). Why? As the saronen maestro Pak Sudiro explained to me, the saronen is just like a human. We, too, have nine orifices - just count! 

    The saronen varies even across the Madurese world: instruments in Pamekasan and Sampang, in the center of the island, are longer and louder, while the Sumenep style (recorded here) has a higher pitch and more delicate tone. Uniquely, Sumenep saronen bands often play with two saronen (a practice called rampet), with the instruments playing roughly in unison with some variations between the two. Compared to the wild, wailing sounds often found in Java, the Sumenep style is controlled and precise, an aesthetic stemming from the aristocratic grace leaking from Sumenep's once powerful keraton or royal palace.  

    IMG_6673.jpg

    Saronen is such a key instrument that it gives its name to a whole ensemble. The other instruments are pure percussion: you’ve got a family of gongs, from biggest to largest: cor, gempul, cak mong, pancer, and kennong. These are all colotomic time-dividers in the gamelan tradition: the large cor plays most infrequently, dividing long musical cycles, while the smallest pancer and kennong are played by two musicians in a very rame interlocking groove which never quits. The two remaining instruments are able to play more freely: the clashing silver cymbals or kerca and the Madurese barrel drum or ghendhang. Traditionally, saronen bands played with only one ghendhang, and still do when playing in marching formation. Starting in the seventies, perhaps inspired by the busy excitement of dangdut bands and their multi-drummed ketipung and kendang Sunda, saronen bands started using a set of three ghendhang tied together. 

    IMG_6655.jpg

    The music, of course, is pure rame: after a solo saronen opener or pirama, the percussion kicks in, with the gongs setting up those cyclic divisions and that insistent tempo. Soon, the twin saronen sing out piercing phrases in the pentatonic slendro scale, taking frequent breaks to catch their breath and let the gongs, drums, and cymbals fill the space. Some slower pieces fill these spaces with sung poetry or khejhung, a tradition with links to the gamelan-filled theater style called loddrok

    Saronen bands also frequently plays in marching processions, recalling Balinese beleganjur marching gamelan or the gendang beleq marching bands of Lombok. As some musicians play with gongs hanging off their shoulders, the saronen players show off graceful choreographed dance moves. Because of these dance breaks, marching songs have a different character, with long cycles where the reeds fall silent as the musicians strut their stuff. 

    Despite the growing presence of modern musical alternatives like the national dangdut pop style, saronen remains a favorite at events across Madura and Madurese East Java. The music is particularly tied to animal entertainment: in addition to those bull races, saronen also provides a musical backdrop to bull beauty contests (yes, you read that right) called sonok sapi, and for a tradition called kuda kencak where trained horses are clothed in elaborate costumes and forced to prance and dance to the music. Other than the animal realm, saronen is also played for those typical life cycle events, from circumcision parties to weddings, and for rokatan, a kind of annual ritual where a village is cleansed of bad spirits.

    IMG_6712.jpg

    Saronen continues to evolve even as it holds onto its centuries-old roots. Starting in the seventies, saronen groups starting playing dangdut songs in addition to the old-school gamelan-influenced repertoire. As mentioned before, drums were soon added to better play the lively dangdut rhythms. Now, the band I recorded even has another format called campursari, a name commonly used to describe Javanese music which combines gamelan, dangdut, and Western instruments like keyboard. This campursari, though, takes the full saronen ensemble and throws out the saronen, replacing it with metallophones from a village gamelan. This format is used to play dangdut and pop Madura tunes. What’s clear is that while the style may continue to evolve, the rame character at its heart remains.

    Context:

    I arrived in Madura with no contacts at all, simply a desire to hear saronen firsthand. In the end it was just a matter of meeting the right people, never too big of a challenge in a country full of ridiculously generous and helpful locals. Finding a saronen group turned out to be a musical game of six degrees of Madurese separation: my friend Hewod, a colleague from the Indonesian Mouth Harp Association, introduced me to Pak Yanto, a wealthy government worker and lover of the arts in Sumenep. Pak Yanto generously took me into his home, where I set up camp for a few days while searching for sounds. From Pak Yanto, I met Pak Jamin, an older man living on the rural outskirts of the city who often did odd jobs for Pak Yanto’s family. Pak Jamin became a valuable fixer and natural guide: his roots in the kampung in the countryside of Sumenep led me straight to an area ripe with music.

    IMG_6642.jpg

    It was a blue sky Tuesday when Pak Jamin and I headed out into the countryside, the two of us smooshed onto the motorbike I’d rented way back in Surabaya. With Pak Jamin playing navigator, we weaved our way through the surprisingly gorgeous interior of the island, whipping through neon green rice paddies ripe for the harvest and past stands of lontar palms. The asphalt soon turned to rocks and soil as we headed deeper into the villages, Pak Jamin greeting every other farmer on the side of the road as they pointed and asked in Madurese about his pasty white driver.

    At Pak Jamin’s direction, we pulled up into a humble courtyard hemmed in by lontar palms, an outdoor mushola, and a garden guarded by a timid brown calf and a caged persian cat. We were greeted by Pak Sudiro, a man sporting severe cheekbones above a short patchy beard and the requisite Madurese uniform of a peci cap and checkered sarong. As we sat down for hot tea and boiled peanuts, Pak Sudiro and Pak Jamin made small talk in Madurese. It wasn’t long before Pak Sudiro was proudly explaining that I wasn’t the first foreigner to stop by: French ethnomusicologist Helene Bouvier and her anthropologist husband Glenn Smith had stayed in the village for months back in the eighties or nineties as Bouvier studied loddrok theater and Smith researched the Madurese phenomenon of carok, a brutal tradition of revenge killing.

    IMG_6647.jpg

    To the side of the courtyard was a small patio where Pak Sudiro’s band would play. The members streamed in one by one on foot and motorbike, swapping out their clothes for the band’s uniform: silky, shin-length pants, green and black striped t-shirts, and fitted batik headdresses. The group had a practiced cool as they set up their space, hanging a theatrical backdrop in the background, a handpainted facade of a temple-like building rich with neon colors and flowery filigree. 

    It was a tight fit with eight musicians: four on the various gongs, one on cymbals, one on drums, and two, Pak Sudiro and his nephew, leading the ensemble on saronen. The group started the set with a piece called “Sarka Rangsang,” an opener famously played to accompany the bull races. It was a tight sound, with Pak Sudiro’s tightly played saronen rhythms piercing the air. His nephew would try to mirror those lines exactly, but imprecise control of the double lontar reeds meant some notes would squeal flat or sharp, adding an odd dissonance to the busy sound. 

    Screen Shot 2018-03-28 at 8.21.42 PM.png

    The band played nearly non-stop for more than twenty minutes, playing classic saronen pieces like “Lorongan” and pieces borrowed from the Javanese gamelan repertoire like “Gending Puspa.” After this varied set, I went to check on the recording, putting my headphones to my ears as I played the file back on my ZOOM. To my dismay, I heard the file instantly glitching, skipping like a scratched CD. I hoped it was just a playback error, but when I checked the recording later that night, I found the whole session had been ruined by this mysterious glitch in my digital recorder. From the whole session up that point, all I could salvage was the recorded soundcheck, marred as it was by rumbles as I adjusted my tripod - this is what I’m left to share with you here.

    After a coffee break, the band went into processional mode, gong-racks hauled onto shoulders and two drums abandoned for a streamlined sound. With the saronen guys in the lead with graceful white scarves around their necks, the band played through an extended take on “Sarka Rangsang,” with long percussion-only cycles where the saronen players and the cymbal man ran through measured movements, smiling as they lifted their sandaled feet into the air in slow motion. Just as the gong cycle wrapped up, a light rain began to fall, a perfect sign to wrap it up.

    The day was far from over: Pak Sudiro would lead us on motorbike back through the rolling hills to the afternoon ojhung whip fight, where his other group would knock out some beautifully different okol music. While I lamented the glitched recording, it was a day where everything else went beautifully right, the kindness of strangers and the beauty of music filling my soul and reminding me why I love to do what I do.

    +++

    Saronen Irama Baru are:

    Saronen: Sudiro, Totok

    Ghendhang: Magina

    Cor: Sidi

    Can Mong: Subaedi

    Pancer: Yahya

    Kennong: Sihap

    Kerca/Vokal: Ribani


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    Sonny Fortune - Long Before Our Mothers Cried (1974, 2013) FLAC (tracks + .cue)
    Artist: Sonny Fortune | Album: Long Before Our Mothers Cried | Released: 1974, 2013 | Label: SHOUT! Productions - 269 | Genre: Jazz, Post-Bop

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    Kult Der Krahe - Schwarzer Engel (2018) FLAC (tracks)
    Artist: Kult Der Krahe | Album: Schwarzer Engel | Released: 2018 | Label: Massacre Records | Genre: Gothic Metal, Industrial Metal, Metal

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    The Jelly Jam - The Jelly Jam 2 (2004)


    Artist : The Jelly Jam
    Title Of Album: The Jelly Jam 2
    Year Of Release: 2004
    Country : USA
    Genre: progressive rock
    Quality : FLAC (*image + .cue,log,scans)
    Bitrate: Lossless
    Time : 45:36
    Full Size: 433,0 MB


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    The Jelly Jam - The Jelly Jam (2002)


    Artist : The Jelly Jam
    Title Of Album: The Jelly Jam
    Year Of Release: 2002
    Country : USA
    Genre: progressive rock
    Quality : FLAC (*image + .cue,log,scans)
    Bitrate: Lossless
    Time : 45:07
    Full Size: 370,0 MB


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    VA - Armin Van Buuren presents 100 Armind Tunes (2011) FLAC (tracks + .cue)
    Artist: VA | Album: Armin Van Buuren presents 100 Armind Tunes | Released: 2011-11-04 | Genre: Trance | Duration: 13:28:19

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    Mark LotzSomewhere there is a dense green forest. One can barely see through the foliage. Inside this forest is a meadow. There stands Mark Alban Lotz, surrounded by flutes of various sizes and shapes. Next to him is Alan Purves, encircled by an array of bizarre and ancient percussion instruments. Together, these two artists are creating odes to forests, jungles, and deserts, the subconscious mind, peaceful meditations, and odd and humorous tales — music that hearkens back to ancient rituals, dreams, and time before time.
    In some respects the album feels like the Rosseau painting, “The Dream,” come to life. The album kicks off with the wistful “Abu in the Sky.” Purves lays down an African beat and Lotz enters with a flute solo, like a giant bird taking flight…

    128 MB  320 ** FLAC

    …over vast spaces of wilderness.

    “Echoes of Life Hereafter” starts off with Purves establishing a mysterious gait on framed drum. Slowly Lotz enters with sweeping arcs on his flutes. It’s as if one were riding a camel softly across a desert underneath a chilly, panoramic, starry sky. “Endurance,” the longest composition on the album, has a melody that anchors in one’s mind. It suggests both a dance and an adventure, or maybe a dance that becomes an adventure? “River” has the air of India about it, like a canoe ride down the Ganges. Purves’s horns have a sitar sound. And Lotz explores the deep registers of the bass and contrabass flutes to provide a curving counterweight to the steady beat.

    The reverie reaches its apex with the beautiful “Lullaby for Time.” Here Purves’s beat on the frame drum perfectly complements Lotz’s long legato notes on flute.

    The album is certainly not all vision quest. For example, it features novel tunes like “Hog Time,” “Kingfisher,” and the title cut, “Food Foragers.” In these selections, Purves creates sounds resembling pig snorts as he rips or mimics musically the wilds of the Amazon rain forest. On “Hanging Out,” Lotz’s flute line and Purves’s percussion conjure the image of being jostled through a Chinese urban landscape in a rickshaw, as flocks of sparrows in the squares scatter in undulating patterns. “Belly Buttons” will get you off your duff and into your dancing shoes, and the album ends with the infectious “I’m So Sorry Blues.” This latter number feels straight out of the doo-wop lexicon, except in this version, ancient drums and fluttering flutes replace the Sha Na Na vocals.

    Never forceful or heavy, Purves’ gentle percussion lines complement Lotz’s adventurous and meditative flute lines. One could be forgiven for hearing in this album a little of Paul Horn and his seventies collaborations with Nexus. — AllAboutJazz

    Personnel: Mark Alban Lotz: flutes, (piccolo, concert, alto, bass, pvc contrabass flutes, prepared flute, flute head joint, Bansuri, voice, fx); Alan Gunga Purves: percussion, toys (Toy Pigs, DaDa Bells, Balafon, Sruti Boxes, Toy Horns, Klaxon, Toy Accordion, Tin Whistle, Brim Bram, Tambourine, Wee Shakers, Clapboard, Balacone, Whirlies, Toy Carousel, Breath, Hemarimbas, Cow Bells, Shakers, Horns, Tambourine, Floor Tom, Darbuka, Wee Frying Pans, Doppler Squeaks, Frame Drum, Clock. Chimes, Tin Whistles)


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  • 03/28/18--08:47: Platypus - Ice Cycles (2000)
  • Platypus - Ice Cycles (2000)


    Artist : Platypus
    Title Of Album: Ice Cycles
    Year Of Release: 2000
    Country : USA
    Genre: progressive rock
    Quality : APE (*image + .cue,log,scans)
    Bitrate: Lossless
    Time : 46:02
    Full Size: 314,0 MB


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    Platypus - When Pus Comes To Shove (1998)


    Artist : Platypus
    Title Of Album: When Pus Comes To Shove
    Year Of Release: 1998
    Country : USA
    Genre: progressive rock
    Quality : FLAC (*tracks + .cue,log,scans)
    Bitrate: Lossless
    Time : 51:34
    Full Size: 339,0 MB


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