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older | 1 | .... | 1638 | 1639 | (Page 1640) | 1641 | 1642 | .... | 2464 | newer

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    61mVp5WvcnL._SS500.jpg320 kbps | 86y MB | LINKS

    Jesus Jones made a big splash in the music world between 1989 and 1991 with a series of hit singles, including ‘Right Here, Right Now’ and ‘International Bright Young Thing’, plus a number one album ‘Doubt’. Since then they have been touring, albeit under the radar of the casual fan of the band, and are now back with their first new album in seventeen years. Jesus Jones still have their original line-up intact as well, namely vocalist and guitarist Mike Edwards, keyboardist Iain Baker, guitarist Jerry De Borg, bassist Al Doughty and drummer Gen.

    ‘Where Have All The Dreams Gone?’ with its topical lyric opens the album in suitably impressive style. They may have been pretty quiet on the release front, but they are back with plenty of musical ideas and songs that will resonate with their fan base.

    ‘Suck It Up’ has been released as a lead single and a good insight into the band’s sound now, namely a rocking backing and the band’s love a of a bit of dance (or dance rock to keep you rockers on side!) The blissful melodies on ‘Chemistry’ make it another possible single release, whilst ‘One Day At A Time’ recalls the trippier times of the 90′s.

    Those of you who remember Mark & Lard on BBC Radio 1 may think like me that Fat Harry White is guesting on ‘Rounding Out The Square Holes’, with his deep vocal tones. The song is another feel good anthem, in melody if not necessarily lyrically. The electronics really come into their own on ‘Stripped’, perhaps a little too much at times, still a damn fine tune though.

    Jesus Jones may have taken a few years to get ‘Passages’ out, but it has been well worth the wait and an early contender for year end of best of lists.


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    Reactor7x - Illusion Of Chaos [2CD] (2016)

    ???????????: Reactor7x
    ??????: Poland
    ??????: Illusion Of Chaos [2CD]
    ????: Dark Electro | Industrial | EBM
    ????????: Advoxya Records [AD-HUN-112-2CD]
    ???: 2016
    ??????: FLAC (*image + .cue,log, covers)
    ??????: 798Mb
    ??????: Depositfiles | Turbobit (3% ?? ??????????????)

    "Illusion Of Chaos" ????? ??? ????, ???????? ?????-?? ?? ?????? ???????? Die Braut, Nurzery Rhymes, Panic Lift, Life Cried ? Tactical Sekt, ? ?????? ? ??????????? ? ???????????? ????????? ? Reactor7x ??? ?????? ??????????. ???? ??????????? ?????, ???? ?????????? ? ??????-???????? ?????????, ???? ??????? ? ?????????? ?????????, ???? ????????? ???????????? ? ????????? ??????? (?????? ???????????????? ?????????? ???????????? ?????????? ? ??????? ???????????????? ???????? ??????), ???? ??????? ???? ? ????????? ????????? ("Outburst", "Mass For The Dead", "When We Fall", "Schism", "On Your Knees"), ? ???? ????????, ????? ?????????????? ???????????, ?? ????????????? ???????? ??????? ??? ?????????? ?????? ??? ???????.
    X????? ????????? ???????, ? ????????? ? ??????? ? ??????? ??????? ?? ??????? ??????, ?, ????? ???????, ?????????? ?? ??????? ???????? ?????? ? ????? ?? ????????? ???????. ??????, ???? ?????? ?????? ????????? "Illusion Of Chaos" ? ???? ???? ??????????? ????????? ? ??????????? ????????????, ???????????-????????????? Dark Electro ?????.

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    Charlie Musselwhite - Takin' Care Of Business (1995)

    Artist: Charlie Musselwhite
    Title Of Album: Takin' Care Of Business
    Year Of Release: 1995
    Label (Catalog#): Kent Music [KCD-8001-2]
    Country: United States
    Genre: Electric Blues, Blues Rock
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 34:35
    Full Size: 222 mb
    Upload: Turbobit / HitFile / DipFile

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    61%2BosJGT16L._SS500.jpg320 kbps | 84 MB | LINKS

    With their youthful age (the youngest just turned 21) and their true Rock’n’Roll spirit Jetbone stirs up the current music scene. Their well-deserved reputation as a fantastic live band has been growing as a wild fire and the crowds are getting bigger each time.
    Jetbone’s no temporary trend, they’re the real deal. Go see them live, talk to them and you’ll find out that this band is not only about the music. It’s their entire life and lifestyle, it’s what they do.

    There’s a lot of buzz and excitement for this upcoming release that has been recorded and produced by Martin Karlegard and mixed by legendary Stefan Glaumann (Rammstein, Backyard Babies) adding an extra dimension to the band’s already much grown sound, but keeping it honest and sincere as it’s supposed to be with Jetbone.
    Be a part of that new Rock’n’Roll generation – “Come Out And Play”.


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    Augury - Illusive Golden Age (2018)
    Artist: Augury
    Title Of Album: Illusive Golden Age
    Release Date: 2018
    Location: Canada
    Label: The Artisan Era (AE-12)
    Genre: Death Metal, Progressive Metal
    Quality: FLAC (tracks+.cue)
    Length: 44:20 min
    Tracks: 8
    Total Size: 332 MB (+5%)

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    Dua Lipa - Dua Lipa (Japan Edition) (2017)
    Artist: Dua Lipa
    Title Of Album: Dua Lipa (Japan Edition)
    Release Date: 2017
    Location: England
    Label: Warner Bros. Records (WPCR-17628)
    Genre: Pop
    Quality: APE (image+.cue+covers)
    Length: 01:07:50 min
    Tracks: 10
    Total Size: 468 MB (+5%)

    Dua Lipa is the debut studio album by English singer Dua Lipa. It was released on 2 June 2017 by Warner Bros. Records. The lyrical themes revolve around her personal views of love, rising above, sex and self-empowerment. The album has spawned six singles, including the UK top 40 singles "Be the One", "Hotter than Hell", "Blow Your Mind (Mwah)" and "New Rules", with the latter becoming Lipa's first number-one single. The record received positive reviews from music critics.

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    Lana Del Rey - Lust for Life (Japan Edition) (2017)
    Artist: Lana Del Rey
    Title Of Album: Lust for Life (Japan Edition)
    Release Date: 2017
    Location: USA
    Label: Universal Music (UICS-1324)
    Genre: Indie Pop, Alternative, Soft Rock
    Quality: FLAC (image+.cue+covers)
    Length: 01:12:06 min
    Tracks: 16
    Total Size: 593 MB (+5%)

    Lust for Life is the fifth studio album and fourth major-label record by American singer Lana Del Rey, released on July 21, 2017. The lead single, titled "Love", was released worldwide on February 18, 2017, and the album title was announced on March 29, 2017, through a trailer on Del Rey's official Vevo channel on YouTube. The title track, which features Canadian singer The Weeknd, was released on April 19 as the second single. The album also features guest appearances from ASAP Rocky, Stevie Nicks, Sean Lennon, and Playboi Carti.

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    Marco Mendoza - Viva La Rock (2018)
    Artist: Marco Mendoza
    Title Of Album: Viva La Rock
    Release Date: 2018
    Location: USA
    Label: Mighty Music (PMZ252CD)
    Genre: Hard Rock
    Quality: FLAC (tracks+.cue+covers)
    Length: 43:10 min
    Tracks: 10
    Total Size: 348 MB (+5%)

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    Rejjie Snow - Dear Annie (2018)
    Artist: Rejjie Snow
    Title Of Album: Dear Annie
    Release Date: 2018
    Location: Ireland
    Label: 300 Entertainment (538361082)
    Genre: Hip-Hop
    Quality: FLAC (tracks+.cue)
    Length: 52:19 min
    Tracks: 20
    Total Size: 378 MB (+5%)

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    Threat Signal - Under Reprisal (2006)
    Artist: Threat Signal
    Title Of Album: Under Reprisal
    Release Date: 2006
    Location: Canada
    Label: Nuclear Blast
    Genre: Modern Death Metal, Metalcore
    Quality: FLAC (image+.cue)
    Length: 47:07 min
    Tracks: 11
    Total Size: 378 MB (+3%)

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    VA - In Perfect Harmony - Sweet Soul Groups 1968-77 (2003)

    Artist: Various Artists
    Title Of Album: In Perfect Harmony - Sweet Soul Groups 1968-77
    Year Of Release: 2003
    Label (Catalog#): Kent Soul [CDKEND 219]
    Genre: Soul, Funk, Rhythm & Blues, Psychedelic
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 1:18:13
    Full Size: 402 mb
    Upload: Turbobit / DipFile

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    Hooded Menace - Ossuarium Silhouettes Unhallowed (2018)

    ???????????: Hooded Menace
    ??????: Finland
    ??????: Ossuarium Silhouettes Unhallowed
    ????: Death Metal | Doom Metal
    ????????: Season Of Mist [SOM 433D]
    ???: 2018
    ??????: FLAC (*image + .cue,log, covers)
    ??????: 405Mb
    ??????: Depositfiles | Turbobit (3% ?? ??????????????)

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    Baby Washington - The Sue Singles (1996)

    Artist: Baby Washington
    Title Of Album: The Sue Singles
    Year Of Release: 1996
    Label (Catalog#): Kent Soul [CDKEND 136]
    Country: United States
    Genre: Soul, Funk, Rhythm & Blues
    Quality: FLAC (tracks,cue,log,d.booklet)
    Bitrate: Lossless
    Time: 1:14:01
    Full Size: 230 mb
    Upload: Turbobit / HitFile / DipFile

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    VA - 100 Northern Soul Classics [4CD Box Set] (2017)

    Artist: Various Artists
    Title Of Album: 100 Northern Soul Classics
    Year Of Release: 2017
    Label (Catalog#): Not Now Music [NOT4CD012]
    Genre: Soul, Funk, R&B, Northern Soul
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 4:06:10
    Full Size: 1.37 gb
    Upload: Turbobit / DipFile

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    SynlakrosS - Death Bullets For A Forajido (2016)

    ???????????: SynlakrosS
    ??????: Spain
    ??????: Death Bullets For A Forajido
    ????: Melodic Death Metal
    ????????: Independent Label
    ???: 2016
    ??????: FLAC (*image + .cue,log, covers)
    ??????: 509Mb
    ??????: Depositfiles | Turbobit (3% ?? ??????????????)

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    VA - Ain't Gonna Hush: The Queens Of Rhythm & Blues [3CD Set] (2015)

    Artist: Various Artists
    Title Of Album: Ain't Gonna Hush: The Queens Of Rhythm & Blues
    Year Of Release: 2015
    Label (Catalog#): Fantastic Voyage [FVTD217]
    Genre: Soul, Funk, Rhythm & Blues, Rock & Roll
    Quality: FLAC (tracks,cue,log)
    Bitrate: Lossless
    Time: 3:05:08
    Full Size: 610 mb
    Upload: Turbobit / DipFile

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    91yyZ6V8CVL._SL1500_.jpg320 kbps | 110 MB | LINKS

    His fourth studio album to be produced by Richard Hammerton, following in the footsteps of 2015’s Blood Money and 2014’s Temperature Rising, the new album is one of Danny’s most personal and emotional albums of his career.

    “When I began writing this album, I knew that it was going to be one of the toughest challenges of my career,” says Danny. “It wasn’t lack of material, it wasn’t a lack of desire, but I realised from the beginning that, if this record was to achieve the things I wanted it to say, I would have to go deep inside of myself with these songs and confront memories and emotions I didn’t really want to face.”


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    290v22e.jpg320 kbps | 143 MB | LINKS

    “The third “Live sounding album” for Normal Records. It was originally released under Return To Sender. a Mail Order only subsidiary, with limited editions of 2000 copies through Glitterhouse Mail Order. This was an actual LIVE recording, unlike the other two. It was also filmed for the purposes of the Documentary ‘A Night At Sea’ which was originally screened on ABC TV in Australia in 2000. There was a typo..which is reflected on the Spine. It says Life@The Basement, while the cover says Live@The Basement. I prefer the former title.” Louis Tillett


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    51TOgJZutvL._SS500.jpg320 kbps | 97 MB | LINKS

    With “Dedication”, Beady Belle has drawn together all the threads of inspiration at the core of who she is and has woven a brand new tapestry that is vibrant, organic, energetic, cool, emotional, intimate, and unequivocally funky. Soul and R&B have always been close to Beady Belle’s heart, and with “Dedication”, she is fully immersed in these twin worlds.


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    51GzMU2vDmL.jpg320 kbps | 97 MB | LINKS

    About two minutes and ten seconds into Emma Tricca’s new album you realise that you are in the company of someone a bit more special than your average folky singer with an acoustic guitar. The bottom drops out of the opening track, Winter, My Dear, and what remains – a short, wordless vocal refrain – leaves you with a tingling sense of openness, a feeling of something suddenly discovering its freedom, like the first flight of a fledgling. It’s a magic that exists not just in the moments of epiphany (and this album has a few of those) but in the very bones of the sound. St. Peter is full of shimmering, finely crafted layers. Tricca has employed an enviable array of talented collaborators to help achieve this unique effect, but it is her own approach to music-making that really marks this out as a serious piece of work.

    At every turn of this remarkable album, Tricca goes against the grain, even when that means resorting to an unfashionable way of working. Where once it would have taken considerable effort for a folk singer to travel, to encounter and absorb new cultural influences, it is now much easier. What a six month trip to Africa or Asia once represented can now ostensibly be achieved through an evening’s trawl through Bandcamp or Youtube. But dipping into something is not the same as experiencing it, and Tricca is well aware of that. She is well-travelled in the old, literal sense. Originally from Rome, she has spent time in London and Oxford, and St. Peter was recorded in Hoboken, New Jersey. On her previous album – 2014’s Relic – she allowed her geographical influences to seep into her songs in a way that valued subtlety over stridency, and the result was beautiful and sometimes eerie, recalling the best work of Bridget St. John, early Bob Dylan or Jessica Pratt.

    St. Peter takes a step into the unknown. The folk influences are still there, but Tricca has added something else to her sound. The three and a half years between albums has allowed her to forge links with a wealth of willing co-conspirators: Sonic Youth’s Steve Shelley plays drums, Jason Victor of The Dream Syndicate provides guitars. Giant Sand main-man Howe Gelb puts in an appearance, as does Judy Collins, one of Tricca’s formative influences. Shelley’s drums play a particularly important role in Fire Ghost, in which the muffled sea-boom recalls John Cale’s Emily. Percussion is rarely expected to provide ambiguity, but Shelley pulls it off. Tricca’s lyrics are equally enigmatic, addressing an unknown subject who is compared to a lighthouse keeper, a symbol of liminality and introspection that hints at one of her major influences, the Poeti Crepuscolari: the Italian poetry movement that was a darker shadow of the French symbolists.

    Tricca’s muses remain primarily in the folk world, but her means of channeling them are tweaked ever so slightly – Julian’s Wing’s is not unlike early Joni Mitchell until the fuzz of its instrumental core emerges like one of Yo La Tengo’s softer moments, while Buildings In Millions begins with a damp creep, like moss over rock, before it is punctuated by insistent drums and a glimmer of electric guitar, which in turn builds to a quietly dramatic melodic wall.

    Salt is a departure of another kind: country rock in the style of Neil Young or Jason Molina, with grungy, descending chords and suitably frazzled lyrics (not to mention the emotional hit of violin). Green Box is a delight of high and lonesome fingerpicked guitar until roughly half-way through, when it halts itself to insist on a different kind of progress, as a slower, more distorted kind. And then Tricca gives in to gentleness again, with Mars Is Asleep. She is, on top of everything else, a formidable singer, and this track shows her at her most controlled and pristine.

    The Servant’s Room is perhaps her most ambitious statement. It begins as a slow, loping folk-rocker in the style of Fairport Convention, complete with seventies-style guitar effects, but at a certain point you notice the piano that flits in and out of the song, and once you’ve noticed it you can’t ignore it, like Charlie McCoy’s guitar part on Bob Dylan’s Desolation Row. By the end of the song, you wonder how something so innocuous can be so beautiful. But it is not a one-off. Solomon Said is seven and a half minutes of unsettling spoken-word narration set against a building guitar figure. It is unsettling, uncanny and fragmentary, Judy Collins’ magnificent voice recites her own song “Albatross”, remaining deadpan while the music around her slowly rouses itself into a maelstrom of discord worthy of John Cale…exceptional.

    Final track So Here It Goes begins in the same discordant manner, before clearing like a pool of water to reveal an image of Tricca at her purest. But even here all is not as it seems. The unease which has been simmering under the song for its first half breaks out and the whole piece becomes the kind of dirty industrial glam stomp that David Lynch might well have found a use for in the recent Twin Peaks reboot.

    And that is the essence of the album, really. There is a surprise around every corner (surprises that are made even more compelling by the fact that there is a distinct and overarching theme at work), and Tricca shows a constant willingness to experiment. Except it feels less like a willingness to experiment – which seems to imply passivity – and more like a sheer bloodyminded dislike of monotony and disregard of the safe confines of genre. She approaches folk music in the same way that Julia Holter approaches classical music: with the intention of bending it to her will, of creating something new on her terms. The constraint of song is simply a frame in which anything can be drawn, and Tricca has the artistic vision to recognise and embrace that. She is one of the most uniquely talented songwriters around, and St. Peter is her best work to date.


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