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  • 05/03/18--01:35: Nat Simons – Lights (2018)
  • 71dN44WU7yL._SL1000_.jpg320 kbps | 86 MB | LINKS

    This is the story of Natalia García Poza, from ’85 from Madrid who, trapped by American music, changed her name to Nat Simons. He composed his first songs, uploaded them to MySpace and verified how they had great acceptance. That led him to play in different venues of the capital, guitar, harmonica and his voice, and to get known in the Madrid music scene with just over twenty years. The wave continued to take shape and getting bigger and bigger. Thus, he recorded a first album, “Home on High”, in 2014 and an EP, “Trouble Man”, in 2015, both with a very good reception from critics and audiences. Specialized radios gave him a place of honor among the albums that played, and that’s how he came to the night when Nat was the opening act of none other than The Jayhawks, in Barcelona. It was there where her leader, Gary Louris, discovered her and set out to work with her.

    And we come to the present, to the publication of “Lights”, an album recorded in Durham, North Carolina, where the artist spent a season living in a roadside motel and composing their songs, which Gary himself produces, who also is encouraged to lend guitar and voice to the album. Next to Louris and Nat we find the folk duo Hiss Golden Messenger, and together they create this beautiful album of American music, which turns the artist into one of the best exponents of the genre in Spain.

    They compose “Lights” ten luminous songs, which play different genres within the country, with a touch of blues, some other pop, but always with a common denominator, all the themes fit comfortably in the American. If you like the genre, the album will fascinate you. There are more lyrical themes, such as “Happiness” or “Golden Feather”, other more powerful, such as “People” (without being in any case aggressive), “Desire”, more blues, “Into the Woods”, very folk, guitar and voice; and “You just can’t Imagine”, with a more pop touch and in which the voice of Nat remembers very much the one of Imelda May (also goes in that line the fantastic “The way it is”). A voice his, in any case, with personality and about to reach maturity; and an album with a general tone that is friendly and noisy, very beautiful to listen to and that deals with different topics, from love to loneliness among the crowd.


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    It_takes_a_year.jpg
    William Ackerman y Anne Robinson habían sido los artífices de un nombre mítico en el panorama musical instrumental, un fenómeno que desde California iba a extenderse paulatinamente, primero por Estados Unidos, hasta alcanzar un nivel mundial conforme mejoraban los sistemas de distribución y marketing. Windham Hill, el sello discográfico en cuestión, era una 'gallina de los huevos de oro', pero primero había que cuidarla y alimentarla, antes de recibir los dorados beneficios. Del 76 al 80 destacaban los protagonistas de esta aventura que tuvieron muy buena prensa pero no ganancias, y aunque su propósito no fuera lucrarse sino disfrutar trabajando con su propio potencial musical, al fin y al cabo había que comer, y pagar a sus músicos: "Se trataba de un puñado de artistas -destaca Will- cuya música cayó fuera de las categorías comerciales de su tiempo, y se convirtió en un pequeño movimiento". Robinson y Ackerman vendían álbumes por correo y acudían con su vieja furgoneta Volvo a tiendas de alimentos saludables y librerías metafísicas, donde dejaban sus discos, pero ambos seguían con sus trabajos, Will de carpintero en Windham Hill Builders y Anne en la librería The plowshare. Ya llegaría George Winston para que todo explotara definitivamente, y de paso para que la vida en común de William y Anne llegara a un punto sin retorno, pero mientras tanto, el talento de Ackerman continuaba intacto, casi virginal y maravilloso, como acabó demostrando en su segundo plástico y tercera referencia de la compañía, publicado en 1977 con el título de "It takes a year".

    Según sus palabras, Ackerman quiso intentar un sonido diferente para su segundo disco, "intenté algo retirado deliberadamente del lenguaje folk y blues. Yo no iría tan lejos como para llamarlo cualquier tipo de clasicismo, no soy un intelectual". "It takes a year" no se separa excesivamente, sin embargo, del lenguaje musical de "In search of the turtle's navel", aquel primer plástico de Windham Hill en 1976. "The bricklayer's beautiful daughter" es el emblemático comienzo de la obra, un suave lirismo impregna la canción de poesía, un ímpetu entusiasta que se desplaza enseguida al oyente, atrapado en la jaula de metal de las cinco cuerdas. Este maravilloso inicio, posiblemente la composición más conocida del guitarrista, tal vez suene más complaciente que en la generalidad del álbum de debut de Ackerman, pero su aparente sencillez no es tal, su técnica de interpretación hace honor a unas piezas para guitarra acústica verdaderamente inspiradas, que acaparan totalmente el espacio y el tiempo de un oyente fascinado. Su título, tan folclórico ('La bella hija del albañil'), parece recrear viejas trovadas celtas. A este respecto, las cuerdas de metal también pueden sonar tan dulces como un arpa y viajar hasta esas lejanas aldeas irlandesas, sólo hay que escuchar la estilosa "Balancing" para realizar el viaje. Es sin embargo un desplazamiento ficticio, ya que las impresiones generales del trabajo son puramente norteamericanas. La segunda tonada destacada del trabajo es "The impending death of the Virgin spirit", otro título extravagante para otra bellísima composición con la que Will sigue contando historias, camufladas en notas musicales con evidente gracia; en esta ocasión la historia es tan emotiva como rendir memoria a su madre, que se suicidó cuando él tenía doce años. La canción que titula al álbum ("It takes a year") es otra pieza reflexiva, como un paseo en barca por un río calmado pero con un pequeño oleaje, suficiente como para no bajar la guardia, como no se puede bajar ante el aluvión de buen gusto que presentaba Ackerman en esta su obra de confirmación. Por ejemplo en la movida "The townshend shuffle", con sus aires sureños, una alegre y cuidada melodía fingerstyle, la primera en un trabajo dominado por un sentimiento general de melancolía; la segunda muestra de este acercamiento al bluegrass llegará al final de todo con "The rediscovery of Big Bug Creek Arizona", un sonido muy metálico para acabar de forma explosiva. Entre tanto, el álbum disfruta de la calma folclórica de "Tribute to the philosophy of James Estell Bradley" -otra tonada con aromas de campo y espacios abiertos-, justo antes del tema que de mítico título, "The search for the turtle's navel", soleada, vacacional, como si la estuviera tocando despreocupado a los pies del gran árbol que ilustra la portada. Es difícil comprender por qué esta composición, originaria de 1970 (una de sus primeras creaciones, de hecho), no fue incluida en su debut discográfico. Como ya había sucedido con su primer trabajo, "It takes a year" también contó con un curioso cambio de portada en una edición alemana por parte de la compañía Pastels. En las demás, ese enorme y frondoso árbol. Aparte de en los típicos samplers del sello ("Windham Hill Records sampler 81", por ejemplo), "The bricklayer's beautiful daughter" fue incluida en el recopilatorio "Jane Fonda's Workout Record", una especie de banda sonora para las posturas de entrenamiento, música para ponerse en forma con la conocida actriz norteamericana.

    "It takes a year" fue producido de nuevo por Scott Saxon y grabado en Mantra Studios (San Mateo). Construido acto seguido de "In search of the turtle's navel" con piezas compuestas entre 1970 y 1976, este disco y aquel parecen hermanos, ambos exploran en un folk americano sin palabras, donde la guitarra es más que la protagonista, es el vehículo por medio del cual surge una nueva ideología, la cultura del sello que popularizó en todo el mundo la nueva música instrumental acústica, solos de guitarra, piano o variados conjuntos en los que convivían folclore, jazz, blues y una pizca de clasicismo. El rabioso ímpetu del punk y la eclosión de la música disco, lejos de frenar la progresión y el crecimiento de Windham Hill, provocó mas bien el efecto contrario, una reacción de la audiencia tradicionalista, una acuciante necesidad de reivindicar lo artesanal, lo acústico. William Ackerman, como Manfred Eicher en Europa con ECM Records, han hecho más por la música (y han entrado por ella en la historia) que cualquier banda de punk o disco, aunque no sean recordados por el gran público y multitud de libros como aquellos. Vale la pena dejarse atrapar por este genio de la guitarra cuyo importante papel, aunque distante en el tiempo, hay que reconocer en su justa medida.

    ANTERIORES CRÍTICAS RELACIONADAS:






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    Mirwais - Production [Japanese Edition] (2000)

    Artist: Mirwais
    Title Of Album: Production
    Year Of Release: 2000
    Label (Catalog#): Epic/Naive [ESCA 8178]
    Country: Switzerland
    Genre: Electro, House, Trip-Hop
    Quality: FLAC (tracks,cue,log)
    Bitrate: Lossless
    Time: 50:47
    Full Size: 341 mb
    Upload: Turbobit / HitFile / DipFile

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    DJ Meyi Presenta Audio Remix Vol. 3 (2018)

    Artist: Different Performers
    Title: DJ Meyi Presenta Audio Remix Vol. 3
    Label: Gonzalo Barrientos (Audio Remix)
    Style: Dembow, Pachanga, Salsa, Descarga, Cumbia, Boogaloo, Merengue, Samba
    Release Date: 01-05-2018
    Format: CD, Compilation, Mashup
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Codec: MP3
    Tracks: 197 Tracks
    Time: 15:06:53 Min
    Size: 1660 MB

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    Η Δόξα Καγιούλη είναι μια νέα τραγουδοποιός, που, ως νέα, κάνει τώρα την εμφάνισή της στη δισκογραφία. Το mini CD της, που τιτλοφορείται «Αγαλιανά» [Μετρονόμος, 2018], περιέχει πέντε τραγούδια της κι ένα ορχηστρικό (μουσικές και στίχοι όλα δικά της) σε ενορχηστρώσεις Γιώργου Παυλάκου. Τα τραγούδια τής Καγιούλη αποδίδουν η ίδια (2) και ακόμη η Μάρθα Φριντζήλα, ο Ηλίας Βαμβακούσης (μαζί με την Καγιούλη) και ο Βασίλης Γισδάκης.
    ajazz%2Bkagiouli.jpg
    Δεν έχουν όλα τα τραγούδια τής Καγιούλη το ίδιο ύφος – παρότι ο γενικός χαρακτηρισμός «έντεχνα», αλλά χωρίς μπουζούκι, είναι καλός και τα περιγράφει μέσες-άκρες.
    Η εισαγωγή, ο «Αποχωρισμός», είναι καλό τραγούδι, αλλά νομίζω πως θυμίζει πολύ κάτι από Μελίνα Κανά / Θ. Παπακωνσταντίνου (από τα «Λάφυρα» του 1998) και αυτό είναι ένα θέμα. Στο ίδιο πάνω-κάτω ύφος και το «Για δες ομορφιά» με τη Φριντζήλα, αλλά το τρίτο κομμάτι, το «Εσύ να τραγουδάς» κινείται αλλού. Πρόκειται για μια μπαλάντα, που είναι στηριγμένη βασικά στην ωραία μελωδική γραμμή της – αν και είναι κάπως πληθωρικά ενορχηστρωμένη (με αποτέλεσμα το τραγούδι να βαραίνει άνευ λόγου). Το τέταρτο κομμάτι αποκαλείται «Δύση κι ανατολή» κι έχει για βασικό προσόν του την ερμηνεία τού Γισδάκη, ενώ το «Στη μέση της μέρας» είναι μάλλον το ωραιότερο τραγούδι του CD.
    Θα πω κάτι για την Δόξα Καγιούλη – κάτι βασικό νομίζω. Πρέπει να απαλλαγεί το συντομότερο δυνατό από κάποιες πολύ βαριές, μέσα της, αναφορές και να γίνει πιο τολμηρή σε όλα. Και στους στίχους και στις μουσικές και στις ενορχηστρώσεις (που δεν είναι δικές της στο παρόν δισκάκι). Έχει την πρώτη ύλη, έχει τα πρώτα βασικά προσόντα για να προχωρήσει σε πολύ πιο προσωπικές (και ακόμη πιο ενδιαφέρουσες) διαδρομές.
    Επαφή: www.metronomos.gr

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    Corrupted - El Mundo Frio (2005)

    ???????????: Corrupted
    ??????: El Mundo Frio
    ??? ??????: 2005
    ????: Sludge / Doom Metal
    ??????: Japan (Osaka)
    ??????: Lossless: FLAC (cue+covers+log)
    ??????: 402.08 Mb
    ?????? ??: Turbobit | Hitfile | Rapidgator

    Corrupted - El Mundo Frio (2005)

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    Janos Starker - Cello Fury (2012)

    Artist: Janos Starker
    Title Of Album: Cello Fury
    Year Of Release: 2012
    Label (Catalog#): ABC Records [HD-210]
    Country: Hungary/US
    Genre: Classical Music
    Quality: WAV (image+.cue,log,scans)
    Time: 64:43
    Full Size: 746 mb
    Upload: Turbobit / DipFile

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    Top Hot 100 USA 02 May (2018)

    Artist: Different Performers
    Title: Top Hot 100 USA
    Label: USA Sound Promo
    Style: Emo Hip Hop, Trap, Cloud Rap, Dark Pop, Future Bass, Alternative, Indie, Funk, Synthpop, Country
    Release Date: 02-05-2018
    Format: CD, Top, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Codec: MP3
    Tracks: 100 Tracks
    Time: 05:57:19 Min
    Size: 818 MB

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    91MxK%2Bk4inL._SL1425_.jpg320 kbps | 478 MB | LINKS

    The 25th anniversary of Liz Phair’s landmark album Exile in Guyville. On May 4th, Matador Records will release Girly-Sound To Guyville: The 25th Anniversary Box Set. This release is an extensive, limited edition 7-LP or 3-CD box set to celebrate the anniversary of her classic album. The box set contains the first official restored audio of all three 1991 Girly-Sound tapes from the original cassettes. It also contains the 1993 Exile In Guyville album remastered by Emily Lazar at The Lodge. Also included is a lavish, thick book, which contains an extensive oral history by Jason Cohen, plus essays by Liz Phair and journalist Ann Powers. The vinyl version of the book also contains never before published photos, unseen artwork, and ephemera.

    Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless.

    Disc: 1
    1. 6’1”
    2. Help Me Mary
    3. Glory
    4. Dance of The Seven Veils
    5. Never Said
    6. Soap Star Joe
    7. Explain It To Me
    8. Canary
    9. Mesmerizing
    10. Fuck and Run
    11. Girls! Girls! Girls!
    12. Divorce Song
    13. Shatter
    14. Flower
    15. Johnny Sunshine
    16. Gunshy
    17. Stratford-On-Guy
    18. Strange Loop

    Disc: 2
    1. White Babies
    2. Shane
    3. 6 Dick Pimp
    4. Divorce Song
    5. Go West
    6. Don’t Holdyrbreath
    7. Johnny Sunshine
    8. Miss Lucy
    9. Elvis Song
    10. Dead Shark
    11. One Less Thing
    12. Money
    13. In Love w/Yself
    14. Hello Sailor
    15. Wild-Thing
    16. Fuck And Run
    17. Easy Target
    18. Soap Star Joe
    19. Any In Alaska

    Disc: 3
    1. GIRLSGIRLSGIRLS
    2. Polyester Bride
    3. Thrax
    4. Miss Mary Mack
    5. Clean
    6. Love Song
    7. Valentine
    8. Gigolo
    9. Flower
    10. Batmobile
    11. Slave
    12. Open Season
    13. Whip Smart
    14. Suckerfish
    15. California
    16. South Dakota
    17. Bomb
    18. Easy
    19. Chopsticks


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    Saara Aalto - Wild Wild Wonderland (2018) FLAC (tracks)
    Artist: Saara Aalto | Album: Wild Wild Wonderland | Label: Warner Music Finland | Released: 2018 | Genre: Pop | Country: Finland | Duration: 00:42:36

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    Willie Nelson - Last Man Standing (2018) FLAC (tracks)
    Artist: Willie Nelson | Album: Last Man Standing | Released: 2018 | Genre: Folk, World, Country | Country: US | Duration: 00:33:33

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    Stimulator Jones - Exotic Worlds and Masterful Treasures (2018) FLAC (tracks)Artist: Stimulator Jones | Album: Exotic Worlds and Masterful Treasures | Released: 2018 | Genre: RnB, Funk, Soul | Country: US | Duration: 00:38:56

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    Skindred - Big Tings (2018) FLAC (tracks)
    Artist: Skindred | Album: Big Tings | Label: Napalm Records | Released: 2018 | Genre: Metal, Reggae, Rapcore | Country: great britain | Duration: 00:37:28

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    Sting & Shaggy - 44/876 (2018) Delux FLAC (tracks)
    Artist: Sting & Shaggy | Album: 44/876 | Released: 2018 | Label: A&M Records | Genre: Reggae, Pop Rock

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    Kylie Minogue - Golden (2018) Deluxe FLAC (tracks + .cue)
    Artist: Kylie Minogue | Album: Golden | Released: 2018 | Label: BMG | Catalog: 538360772 | Genre: Pop

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    Talich Quartet - Beethoven: Complete String Quartets [7CD Box Set] (2012)

    Artist: Talich Quartet
    Title Of Album: Beethoven: Complete String Quartets
    Year Of Release: 2012
    Label (Catalog#): La Dolce Volta [121]
    Genre: Classical Music
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 8:21:57
    Full Size: 2.56 gb
    Upload: Turbobit / DipFile

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  • 05/03/18--06:31: DeWolff – Thrust (2018)
  • 61SE2niNsVL._SS500.jpg320 kbps | 117 MB | LINKS

    The first decade for DeWolff wasn’t bad. Roger Glover loves them, Seasick Steve dreamt they were The Allman Brothers (apparently true) and they’ve met Robert Plant. More pertinently they are major stars back home in Holland. Five albums at the top of the charts and a festival to celebrate their tenth anniversary.

    Now, with “Thrust” they are making a bid to build on that and take the sound to the whole world.

    The first thing to say about “Thrust” is that it doesn’t actually, well, thrust at all. It meanders somewhere between blues, soul and psychedelics, and moreover it is often said a band is born out of time. Well, that is certainly true of DeWolff – it is meant as a compliment (and would no doubt be taken as one too) to say that these 11 songs have no interest in sounding like its 2018 whatsoever.

    That being said, the opening track “Big Talk” has its lyrics rooted in the here and now. Specifically, the rise of the Dutch right-wing idiot (and yeah, we’ll happily publish that) Geert Wilders, but you can – if you just want to enjoy the music – do that.

    Fuzzy, and sounding like an American band rather than a Euro one, and its authentic too, given that the band record in their own analogue studio, but it’s true skill is where other bands (hello, Rival Sons!) might disappear into lengthy jams, DeWolff don’t.

    Instead, they inject a sense of urgency by having minimal gaps between cuts, meaning that even the likes of the organ heavy rocker “California’s Burning” or the soul drenched – and absolutely gorgeous – ballad “Once In A Blue Moon” just keep coming at you.

    And, these boys can write a catchy 70s infused stomper at the drop of a hat, it seems. Never better than “Double Crossing Man” – which is shot through with the spirit of John Fogarty and CCR. Under three minutes too, it is close to perfection as you’re going to get.

    “Tombstone Child” is an arena rocker in waiting, and dare we suggest that if it was on a Lenny Kravitz record then he’d have another gold disc on his wall, and “Deceit And Woo” – apparently written on the day of Trump’s inauguration – is back to the political. It slams too, if politics ain’t your bag, and it does a really nice blues thing for kicks.

    “Freeway Flight” on the other hand, with its odd harmonies, is first gentle, but moreover proof that they’ll do things in their own way, while “Tragedy Not Today” is the sound of a band who is totally comfortable in its own skin.

    A rock influenced album, but so much more, “Sometimes” even nips off down some path signposted reggae for a wander, “Swain” wouldn’t be amiss on some Motown compilation from the 1960s, while the brilliant closer “Outta Step And Ill At Ease” is exactly the sort of thing Seasick Steve had in mind when he said they were like the Allman Brothers.

    DeWolff are – so they claim – outta step and ill at ease in la la land – and if I was to hazard a guess I’d say “la la land” was the world in 2018. Who can blame them either, for looking back to the past to find some relevance in the present? “Thrust” does. Lyrics from today, music from last century. It is a brilliant combination and it makes for a fabulous album. And one that sets up their second decade just fine.


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    61bQpSjbJvL._SS500.jpg320 kbps | 94 MB | LINKS

    Singer-songwriter and former Fiery Furnace Eleanor Friedberger has announced her fourth solo album Rebound, the follow-up to 2015’s New View. For the new record, Friedberger says she was inspired by the sounds and aesthetic of “’80s dark goth pop,” and unlike New View, Rebound makes use of drum machines and a Juno synthesizer.


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    61WEnt%2B9a3L._SS500.jpg320 kbps | 119 MB | LINKS

    One of music’s most enduring voices and composers, Rita Coolidge will release her dramatic and poignant new solo album, Safe in the Arms of Time, on May 4th on Blue Élan Records. The album marks the two-time Grammy winner’s return to songwriting, and as she did in her acclaimed 2015 memoir, Delta Lady, she drew inspiration for her new material from her personal journey. Coolidge, who co-wrote three of the album’s 12 wondrous cuts says,

    “I’ve written so many songs assuming a role like an actor, but this time I got to write from experience. This is the best record I’ve ever done. I’m extremely proud of it.”

    — rita coolidge


older | 1 | .... | 1698 | 1699 | (Page 1700) | 1701 | 1702 | .... | 2462 | newer