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older | 1 | .... | 1741 | 1742 | (Page 1743) | 1744 | 1745 | .... | 2464 | newer

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    Ingested - The Level Above Human (2018) FLAC (tracks)
    Artist: Ingested | Album: The Level Above Human | Released: 2018 | Genre: Metal, Death Metal | Country: United Kingdom | Duration: 00:44:25

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    Murat Dalkilic - Asinayiz (feat. Oguzhan Koc) (2017) (24bit Hi-Res Single) FLAC
    Artist: Murat Dalkılıç | Album: Aşinayız (feat. Oğuzhan Koç) | Released: 2017 | Genre: Pop

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  • 05/15/18--23:58: The Kry - Unplugged (1995)
  • The Kry -  Unplugged (1995)

    ???????????: The Kry
    ??????: Unplugged (Live)
    ????: Melodic Rock / CCM
    ??? ??????: 1995
    ??????: FLAC (image+.cue, log, scans)
    ????????: Lossless
    ??????: 355 Mb
    ??: katfile/gigapeta/depositfiles/turbobit

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    MaNga - X (2018) (24bit Hi-Res Single) FLAC
    Artist: MaNga | Album: X | Released: 2018 | Genre: Rock

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    Potatohead People - Nick and Astros Guide to the Galaxy (2018) FLAC
    Artist: Potatohead People | Album: Nick and Astros Guide to the Galaxy | Released: 2018 | Genre: Electronic

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    Thunderegg - Cosmos (2018) FLAC
    Artist: Thunderegg | Album: Cosmos | Released: 2018 | Genre: Rock

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    Vickie Winans - Fresh Takes (2018) FLAC
    Artist: Vickie Winans | Album: Fresh Takes | Released: 2018 | Genre: Gospel, Jazz

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  • 05/16/18--00:30: VA - Funk Box (2017)
  • VA - Funk Box (2017)

    Artist: Various Artists
    Title Of Album: Funk Box
    Year Of Release: 2017
    Label: Warner Music/X5 Music Group
    Genre: Funk, Soul, R&B, Disco
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 3:34:30
    Full Size: 1.36 gb
    Upload: Turbobit

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  • 05/16/18--01:04: Kárpátia - Légió (2013)
  • Kárpátia - Légió (2013)

    ???????????: Kárpátia
    ??????: Légió
    ??? ??????: 2013
    ????: Folk Rock / Ethno Punk
    ??????: Hungary
    ??????: Lossless: FLAC (track's) cue+log+covers
    ??????: 530.09 Mb
    ?????? ??: Turbobit | Hitfile | Rapidgator

    Kárpátia - Légió (2013)

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    Kárpátia - Isten kegyelméből (2018)

    ???????????: Kárpátia
    ??????: Isten kegyelméből
    ??? ??????: 2018
    ????: Folk Rock
    ??????: Hungary (Budapest)
    ??????: Lossless: FLAC (track's) cue+covers+log
    ??????: 276.09 Mb
    ?????? ??: Turbobit | Hitfile | Rapidgator

    Kárpátia - Isten kegyelméből (2018)


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    Gurrumul YunupinguThe untimely passing of Geoffrey Gurrumul Yunupingu late last year was perhaps one of the saddest moments in Australian music in 2017.
    Djarimirri: Child of the Rainbow represents a four-year labour of love that was completed just prior to his passing. Gurrumul stakes his legacy in an album that feels instantly classic and destined to become an iconic Aussie album. Drawing from his traditional Yolngu heritage, Gurrumul presents a series of traditional songs and chants around which huge orchestral arrangements have been woven.
    It would be easy to accuse Gurrumul of watering traditional music to make it more palatable for western audiences, but for a man whose music has travelled around the world, this album feels more like a thoughtful reconciliation of…

    165 MB  320 ** FLAC

    …divergent traditions and musical styles. In the nicest way imaginable, Gurrumul symbolically brings together Indigenous and western music such that they harmoniously co-exist on this album. This is an important message itself, even though at times they furiously chase each other’s tails like yin and yang.

    It seems this album was conceived as an extension of Gurrumul’s 2013 Vivid performance with the Sydney Symphony Orchestra, which celebrated his music. Gurrumul’s vocals have often been described as angelic but on this album they are dreamy and haunting. Singing in his native language, some fans will need to do their research to understand his literal meaning, but while immediate understanding of Gurrumul’s lyrics will elude non-Indigenous speakers, he works to immerse all listeners in a wondrous environment that suggests his homeland. Like Liz Fraser and Jonsi Birgisson, who left language behind to focus on texture and emotion, Gurrumul goes beyond speech. The emotions embedded in this album speak for themselves.

    Moving from the celebratory Galiku (Flag) to more tender Wulminda (Dark Clouds) this album wears its heart on its sleeve and packs plenty of emotional punches. The title track brings together a majestic wash of sound and Gurrumul’s thrilling vocals. Gapu (Freshwater) wears an arrangement that comes across as a hybrid of Glass and Nyman’s styles of minimalism. The tune teems with life and feels like a refreshing splash of water across the face while swimming in a waterhole at a remote location in Arnhem Land. Many of these tracks seemingly celebrate the animals of the land, and like much of this album Gapu (Freshwater) creates an imaginary environment in the mind’s eye that listeners are left to explore. The fluid Gopuru (Tuna Swimming) takes a plunge into the aquatic to discover swarms of fish in the water. Djapana (Sunset) comes with more of a neo-classical vibe than the rest of the album. It’s a sound clash of sorts as the pomp of the orchestra is confronted with the more tribal style of Gurrumul’s vocals.

    Saving the best for last, the poignant the brooding Wulminda (Dark Clouds) drops deep, melancholy vibes upon our ears. Such a fully formed and joyous album released posthumously makes for truly bittersweet listening.


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    julio-de-la-ossa-front

    Julio de la Ossa werd na te hebben meegedaan sinds 1968, in 1975
    dan toch eindelijk “Rey Vallenato”. De juryleden herkenden in zijn
    stijl de authentieke vallenato. Julio de la Ossa , ook wel “el Pequeno
    Gigante del Acordeon” genoemd werd geboren in de staat Sincelejo
    en brengt op deze langspeler zijn tot dan toe beste werk. Het
    kronings album uit 1975 werd reeds geplaatst op 29 juni 2015.
    Gebruik onze zoekbalk om hem te vinden..

    He joined the competition since 1968 but in 1975 Julio de la Ossa
    finally was crowned “Rey Vallenato”. The members of the jury
    recognized the authentic vallenato in his style. Julio de la Ossa,
    also called “el Pequeno Gigante del Acordeon” was born in the
    state of Sincelejo and brings his best songs till then on this
    longplayer. His coronation album was already posted on
    june 29, 2015. Use our search-bar and find it instantly..

    tracks ;

    01 – Orfelina
    02 – Sin cariño
    03 – Amores escondidos
    04 – Me dominas
    05 – La viuda alegre
    06 – El pajarito
    07 – La cita
    08 – Corazon intranquilo
    09 – Flor prohibida
    10 – Amor divino

    downloadbutton


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    Svartsot - Ravnenes Saga [Limited Edition] (2007)

    ???????????: Svartsot
    ??????: Denmark
    ??????: Ravnenes Saga [Limited Edition]
    ????: Viking Metal | Folk Metal
    ????????: Napalm Records GmbH. [NPR 221]
    ???: 2007
    ??????: FLAC (*image + .cue,log, covers)
    ??????: 491Mb
    ??????: Depositfiles | Turbobit (3% ?? ??????????????)

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    VA - 70's Funk Essentials (2016)

    Artist: Various Artists
    Title Of Album: 70's Funk Essentials
    Year Of Release: 2016
    Label: Warner Music/X5 Music Group
    Genre: Funk, Soul, Rhythm & Blues
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 1:39:45
    Full Size: 617 mb
    Upload: Turbobit

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    618RaBC9bTL._SS500.jpg320 kbps | 85 MB | LINKS

    A modern take on Blues, Soul, Rock and a smidgeon or Jazz.


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    R-6031016-1409267034-3604.jpeg.jpg320 kbps | 653 MB | LINKS

    The Artwoods were every bit the rivals of such bands as the Animals and the Spencer Davis Group, but never saw the success as a recording act that either of them enjoyed. Rather, their following was confined to the clubs they played, despite releasing a half-dozen singles and an LP during their four years together.

    Art Wood, the older brother of Ron Wood, had been involved with the London blues scene almost from the beginning, as an original member of Blues Incorporated, the pioneering blues/R&B outfit founded by Alexis Korner and Cyril Davies. He was the backup rhythm singer in the band’s early lineup, before the split between Davies and Korner (and prior to their recording their one and only album); he also had a group of his own that he fronted on the side, called the Art Woods Combo. They later became the Artwoods in 1963 and Jon Lord later joined along with guitarist Derek Griffiths, after their own earlier band, Red Bludd’s Bluesicians, split up. The group’s decision to turn professional in 1964 required a new drummer and Keef Hartley was recruited by way of an ad in Melody Maker magazine. For their bassist, they raided Malcolm Pool from the Roadrunners lineup. In the booming London music scene, getting a recording contract was relatively easy — labels were signing everything in sight that could make a noise that sounded like music — and they joined Decca Records’ roster in 1964.

    The Artwoods’ early records are some of the most fondly remembered British R&B singles, rivals to the work of the Rolling Stones, the Yardbirds, or, ironically enough, the Birds, the outfit of which Art Wood’s younger brother Ron Wood was a member. Their sound was as steeped in soul and funk as it was in blues, which set them apart from many of their rivals. What’s more, they were good at it, with a natural feel for the music and even capable of writing decent originals, which graced the B-sides of their singles. And they had a virtuoso lineup: Jon Lord’s piano and organ sound was a great complement to Wood’s singing, Derek Griffiths’ guitar work was tastefully flashy, and Keef Hartley was animated as well as powerful, with a bigger sound on the drums than, say, Jim McCarty of the Yardbirds. All of these attributes made the Artwoods a top stage attraction. Club audiences always knew they were good for a great show and the band loved playing live. Ultimately, in fact, the group’s success in touring and their love of playing live may have hurt them. They had no problem playing hundreds of gigs a year at venues like Klooks Kleek in Hampstead and dozens of lesser clubs for the sheer enjoyment of it, but they earned relatively little money doing it.

    At the same time, their singles never seemed to connect, despite appearances on programs like Ready, Steady, Go! and other television venues promoting them. Their failure as a recording outfit is inexplicable upon hearing the singles — they weren’t strong songwriters, to be sure, but when covering American-style R&B, their records were soulful, funky, and played not only well but inventively; close your eyes and it seems like they were the U.K. answer to Booker T. & the MG’s. And the vocals — if not as charismatic as what Eric Burdon, Mick Jagger, or Paul Jones were doing with their respective bands — were attractive and memorable and sounded authentically American. And, in contrast to a lot of other British bands of that period, they did manage to capture something of their live sound on those records, which made them very potent. In fairness, Decca even allowed them to cut a complete LP despite their lack of chart success, but the quintet never broke through. Like the Action, another U.K. R&B outfit that made great records that never got heard, the Artwoods never did more than amaze audiences one club at a time and leave behind some great music to be found by pop culture archivists.

    A series of label switches in 1967 to Parlophone and then Fontana gave them some furtive success on the continent (in Denmark, of all places) and after four years of hard work, the Artwoods called it quits after a brief foray under the name the St. Valentine’s Day Massacre. Keef Hartley was the first to go, heading to John Mayall’s band (Macolm Pool followed his lead) and then into his own group, while Jon Lord, who had dabbled in studio outfits like Santa Barbara Machinehead, took up an offer from ex-Searcher Chris Curtis to join a group called Roundabout, which evolved into Deep Purple. Art Wood himself never left music, despite the disappointment inherent in the Artwoods. Like such older contemporaries as Alexis Korner, he made the occasional recording and was one of the members of the revived Downliners Sect during the 1980s and 1990s.


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    19w66t.jpg192 kbps | 105 MB | LINKS

    John Convertino: drums
    Joey Burns: acoustic and electric guitar, vocals
    Paul Niehaus: pedal steel, electric guitar, backing vocals
    Jacob Valenzuela: trumpet, keys, vibes, percussion, vocals
    Volker Zander: upright and electric bass, backing vocals
    Martin Wenk: trumpet, guitar, keys, vibes, accordion, backing vocals
    Jairo Zavala: electric guitar, bouzouki, vocals

    Tracks:
    1 – Roka
    2 – Bend To The Road
    3 – Inspiracion
    4 – Crystal Frontier
    5 – Two Silver Trees
    6 – Red Blooms
    7 – Victor Jara’s Hands
    8 – Man Made Lake
    9 – Fractured Air
    10 – All Systems Red


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    Big Bandναι, υπό την διεύθυνση του Κολομβιανού Juan Andrés Ospina ναι, αλλά τι ακριβώς big band; Μια μεγάλη ορχήστρα, λοιπόν, στην οποία συμμετέχουν 27 οργανοπαίχτες (όχι πάντα όλοι μαζί, αλλά οι περισσότεροι κάθε φορά), διαλεγμένοι από έντεκα(!) διαφορετικές χώρες, ήτοι: ΗΠΑ, Βρετανία, Κούβα, Καναδάς, Ισραήλ, Γαλλία, Ελβετία, Κολομβία, Αργεντινή, Ελλάδα και Πορτογαλία. Θέλετε τα ονόματα των Ελλήνων, έτσι στο μάνι-μάνι; Είναι ο κοντραμπασίστας Πέτρος Κλαμπάνης και η ακορντεονίστα Μάγδα Γιαννίκου, που εκτελεί εδώ και χρέη συμπαραγωγού! Να προσθέσουμε, ακόμη, πως η ηχογράφηση του πρόσφατου CD της ορχήστρας έγινε τον Ιανουάριο του 2017 στη Νέα Υόρκη και πως πρόκειται για μιαν ανεξάρτητη παραγωγή, που έχει και τίτλο δικό μας (οικείο σ’ εμάς εννοώ).
    ajazz%2Bospina.jpg
    ΤοTramontana(ο βορινός άνεμος) είναι ένα ιδιαίτερο, όσο και ευχάριστο άλμπουμ – ας το πούμε από την αρχή. Και τούτο δεν είναι τυχαίο, αφού έχει να κάνει με την καλλιτεχνική προσωπικότητα του Juan Andrés Ospina, ενός μουσικού που διακρίνεται συνεχώς την τελευταία δεκαετία, είτε μέσω των προσωπικών εργασιών του, είτε μέσω της καταλυτικής παρουσίας του σε (βραβευμένα) άλμπουμ τρίτων και βασικά τραγουδιστριών (Marta Gómez, Sofia Ribeiro, Luisa Sobral).
    Εδώ ο Ospina παρουσιάζει τέσσερις δικές του συνθέσεις, μια διασκευή στο στάνταρντ “Like someone in love” του Jimmy Van Heusen και άλλη μία σ’ ένα τραγούδι της συμπατριώτισσάς του Lucia Pulido. Ξεκινώντας από τα δικά του κομμάτια θα λέγαμε πως τα διακρίνει μια… πληθωρικότητα. Και ο λόγος δεν είναι ο… πλουμιστός τρόπος, μέσω του οποίου μας παρουσιάζονται. Βασικά, είναι η γραφή του Ospina, που είναι σύνθετη, καθώς ενσωματώνει σ’ αυτήν λατινοαμερικάνικες, βορειοαμερικάνικες και ευρωπαϊκές αναφορές. Μελωδίες που ανακατεύονται μαγικά, δημιουργώντας ιδιαίτερες αρμονίες, ομαδικά παιξίματα που διαθέτουν μια γοητεία και που πολλαπλασιάζεται (αυτή η γοητεία) μέσω των εκρηκτικών κρεσέντων, διακριτικές αλλά ουσιώδεις ενσωματώσεις της φωνής στο γενικότερο πλάνο (όπως το wordless τραγούδισμα της Sofia Ribeiro στην “Tramontana”), δυναμικές ενορχηστρώσεις, με εξωφρενικά (ανά στιγμές) πνευστά μέρη (είτε ομαδικά είτε σολιστικά – με τα σαξόφωνα, τις τρομπέτες και τα τρομπόνια σε πρώτο πλάνο), με ταυτόχρονα ενισχυμένα κρουστά sections κ.λπ. Γενικώς… χαμός.
    Το ίδιο εκκωφαντική, αλλά ταυτοχρόνως εντυπωσιακή, είναι και η version στη σύνθεση τού Van Heusen, με ωραίο σόλο στο άλτο από τον Uri Gurvich, ενώ το τελευταίο κομμάτι του άλμπουμ, το “Ver llover” της Pulido (με την ίδια στο τραγούδι) διαθέτει πολλά latin ή και afro-latin στοιχεία, μαζί με καταιγιστικά κρουστά και ωραίο σόλο στο σοπράνο από τον Alex Terrier.
    Ακούγοντας την “Tramontana” του Juan Andrés Ospina μού δημιουργήθηκε η αίσθηση ανάλογων ορχηστρικών άλμπουμ του Rabih Abou-Khalil. Ως προς την αίσθηση της μεγαλοσύνης (να μην παρεξηγηθεί αυτό που έγραψα).
    Επαφή: www.jaospina.com

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    Lemongrass - The Remix Sessions Volume 1 & 2 (2010/2017)

    Artist: Lemongrass
    Title Of Album: The Remix Sessions Volume 1 & 2
    Year Of Release: 2010/2017
    Label: Lemongrassmusic
    Country: Germany
    Genre: Downtempo, Chillout, Nu Jazz
    Quality: FLAC (tracks)
    Bitrate: Lossless
    Time: 2:33:41
    Full Size: 984 mb
    Upload: Turbobit

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    51A-SWLt8zL._SS500.jpg320 kbps | 75 MB | LINKS

    On “Medoro Madera”, Rubén Blades inhabits his ‘alter-ego’ Medoro Madera – a Cuban octogenarian who has made brief appearances on his albums since 1997. Here the entire album is devoted to Madera singing mostly songs from the 20s and 30s, backed by Roberto Delgado with a quasi-conjunto version of his orchestra. Blades explains how he creates the Medoro Madera voice saying “I can produce such an effect by channeling the spirit of the old Cuban soneros, my true inspiration for this work, and by doing what in Spanish is known as “impostacion”. This voice technique helped me create a different color, potency and timbre to my natural voice.”


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