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VA - Silk Music Pres. Vintage & Morelli 02 (2018) FLAC (tracks)

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VA - Silk Music Pres. Vintage & Morelli 02 (2018) FLAC (tracks)
Artist: VA | Album: Silk Music Pres. Vintage & Morelli 02 | Released: 2018 | Genre: House, Trance | Country: Serbia | Duration: 01:18:36

Interpol – Marauder (2018)

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81pl2AA22pL._SL1500_.jpg320  kbps | 103 MB | LINKS

On August 24th Interpol will release their new studio album Marauder on Matador Records . Marauder is Interpol’s sixth studio LP—their first since 2014’s El Pintor. They worked with Dave Fridmann on Marauder, marking the first time they recorded an album with an outside producer since 2007’s Our Love to Admire. In a press release, frontman Paul Banks said, “Marauder is a facet of myself. That’s the guy that fucks up friendships and does crazy shit. He taught me a lot, but it’s representative of a persona that’s best left in song. In a way, this album is like giving him a name and putting him to bed.”

Banks added, “This record is where I feel touching on real things that have happened to me are exciting and evocative to write about…. I think in the past, I always felt autobiography was too small a thing for me to reference. I feel like now, I’m able to romanticize parts of my own life.”

Status Quo - Down Down & Dignified at the Royal Albert Hall (Live) (2018) FLAC (tracks)

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Status Quo - Down Down & Dignified at the Royal Albert Hall (Live) (2018) FLAC (tracks)
Artist: Status Quo | Album: Down Down & Dignified at the Royal Albert Hall (Live) | Released: 2018 | Genre: Rock and Roll, Rock | Country: UK | Duration: 01:21:32

Louis Armstrong / Glenn Miller / Benny Goodman / Count Basie / Ella Fitzgerald - The Jazz Collector Edition (1989) FLAC (tracks + .cue)

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Louis Armstrong / Glenn Miller / Benny Goodman / Count Basie / Ella Fitzgerald - The Jazz Collector Edition (1989) FLAC (tracks + .cue)
Artist: Louis Armstrong / Glenn Miller / Benny Goodman / Count Basie / Ella Fitzgerald | Album: The Jazz Collector Edition | Released: 1989 | Label: LaserLight Digital | Catalog #: 15 910 | Genre: Swing, Jazz | Country: US

VA - Ultimate Country (2015) FLAC (tracks + .cue)

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VA - Ultimate Country (2015) FLAC (tracks + .cue)
Artist: VA | Album: Ultimate Country | Released: 2015 | Label: Sony Music | Catalog #: 88875085562 | Genre: Country | Country: US/EU

The Lemon Twigs – Go To School (2018)

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81tgVNXj%2B8L._SL1000_.jpgVBR~275 kbps | 118 MB | LINKS

The Lemon Twigs are getting in on the musical revival with their second album ‘Go To School’, though there’s a fair chance Cher doing ‘Fernando’ with Andy Garcia will stop this one from topping the charts.

Compared to the aforementioned musicals, ‘Go To School’ has a highly original premise. Here, New York-based bros Brian and Michael D’Addario tell a bonkers tale about an adopted chimp, Shane, who is raised by adopted parents and “thwarted actors/musicians Bill and Carol”. Shane doesn’t quite fit in at his new school, shockingly. Basically, it’s the Grange Hill episode you wished you’d seen on TV as a child

Orchestre SBB – Self Titled Musi-Club MC 103

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orchestre-sbb-front

We hadden al twee keer eerder een plaatje van deze
Super Boboto du Congo ofwel Orchestre SBB du Congo.
Ééntje uit 1975 en een andere uit 1979. Van deze hebben
we helaas geen jaar van uitgave gevonden. Blog vriend
Aidan is de man die ze opduikt in Afrika en deze kant op
brengt. Dank je Aidan. Stuk voor stuk heerlijke platen..

We had us two albums by these guys on earlier occasions.
SBB du Congo or Orchestre SBB or les Super Boboto du Congo
were here with a record from 1975 and one from 1979, this one
comes without a year of release unfortunately. Our friend Aidan
brought back this one and the last we had from Africa. Thanks
a whole lot Aidan. One by one wonderful elpees..

tracks ;

01 – Mitoga
02 – Cilia
03 – Avenue de la paix
04 – Nono

downloadbutton

VA - The Great Collection of the Classical Music [66CD Box] (1994)

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VA - The Great Collection of the Classical Music [66CD Box] (1994)

Artist: Various Artists
Title Of Album: The Great Collection of the Classical Music
Year Of Release: 1994
Label: Sony Classical
Genre: Classical
Quality: FLAC (tracks +.cue,scans)
Bitrate: Lossless
Full Size: 16.80 gb
Upload: Turbobit

Lorkin O’Reilly – Heaven Depends (2018)

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51VT5GYaDhL._SS500.jpg320 kbps | 80 MB | LINKS

“Heaven Depends” is the result of late night-writing sessions in the kitchen after long days working construction in Poughkeepsie N.Y. With songs that range from traditional reels to twanging Townes-esque imagery, the album is a musical representation of an immigrant’s journey. Using a multitude of instruments set against a backdrop of alternative tunings and fingerpicking “Heaven Depends” invites the listener on a complicated, yet ultimately beautiful journey.

The Flower Kings - Banks Of Eden (2012)

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The Flower Kings - Banks Of Eden (2012)

???????????: The Flower Kings
??????: Sweden
??????: Banks Of Eden
????????! ? ??? ??? ???? ??? ????????? ???????? ??????.

????: Progressive Rock
??? ??????: 2012
????????: (CD-Rip) Inside Out (IOMSECD 358)
??????: 919 + 887 kbps FLAC (image. cue. log. Full scans)
??????: 776.26 Mb
?????????????: Depositfiles/Turbobit/Hitfile/Cloud.mail

VA - Soul Woman (2018) FLAC (tracks + .cue)

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VA - Soul Woman (2018) FLAC (tracks + .cue)
Artist: VA | Album: Soul Woman | Released: 2018 | Label: Univeral Music On Demand | Catalog #: SDRM LCO7341 | Genre: Soul, RnB | Country: US/EU

VA - Ultimate Classic Pop (2018) FLAC (tracks + .cue)

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VA - Ultimate Classic Pop (2018) FLAC (tracks + .cue)
Artist: VA | Album: Ultimate Classic Pop | Released: 2018 | Label: Union Square Music Ltd | Catalog #: ULTIM5CD038 | Genre: Pop | Country: EU/US

Dance With The Dead - Loved to Death (2018) FLAC (tracks)

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Dance With The Dead - Loved to Death (2018) FLAC (tracks)
Artist: Dance With The Dead | Album: Loved to Death | Released: 2018 | Genre: Rock, Synthwave | Country: USA | Duration: 00:43:16

RSF - RSF (2018) FLAC (tracks)

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RSF - RSF (2018) FLAC (tracks)
Artist: RSF | Album: RSF | Released: 2018 | Genre: Disco, Leftfield | Country: UK | Duration: 00:49:58

Costa - Baltic Waves (2018) FLAC (tracks)

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Costa - Baltic Waves (2018) FLAC (tracks)
Artist: Costa | Album: Baltic Waves | Released: 2018 | Genre: Chillout, Trance | Country: Russia | Duration: 01:58:56

Bob Marley - The Kingston Legend (2018) FLAC (tracks)

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Bob Marley - The Kingston Legend (2018) FLAC (tracks)
Artist: Bob Marley | Album: The Kingston Legend | Released: 2018 | Genre: Reggae, Rap | Country: US | Duration: 05:29:10

if music could talk: If Music Could Talk - Aug 19 2018 - calypso, soul, boogaloo, old school hip hop, and more, Segment 1

Inventing Daul: Modern Madurese Expression in Pamekasan

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IMG_7417.jpg

[^^^ Track titles forthcoming! Waiting on the info from friends in Semut Ireng]

Location: Pamekasan, Madura (East Java Province)

Sound: Daul (also called ul-daul and tongtong)

One of the loveliest times to be in Indonesia is during Ramadan, the holiest month of the Muslim calendar. Often called bulan puasa or “fasting month” in Indonesia, Ramadan is not only a kind of spiritual reset for Indonesia’s Muslims, but also an occasion for communal gathering. Friends and family gather each evening to buka bersama or break their day-long fast together, with informal vendors lining city streets pre-sunset to sell sweet fast-breaking snacks called tajil. The early morning is an equally important social moment: families gather before the early morning prayer, subuh, to eat a big, final meal before a day of hunger.

Accompanying this early morning Ramadan ritual is a whole genre of Indonesian arts I’ve called Ramadan Wake-Up Jams. Communities all across Muslim Indonesia play in informal neighborhood bands to wake up their neighbors for this pre-fasting meal: in West Java, folks play obrog-obrogan; in Lombok, tongkek; in East Java, styles get hyper-local, with special “musik patrol” varieties in Banyuwangi and Jember

This tradition is huge in Madura, an island off the northeast coast of Java. The Madurese people who call the island (and large swaths of East Java) home are renowned for being devout Muslims, so it’s no surprise that the holy month is an especially festive time in these parts. Here, the local “wake-up jam” variant is called daul, a Madurized take on the name of that pre-fasting meal, sahur. The music has its roots in the eighties, when gangs of young people around Madura would patrol their neighborhoods in the early morning hours of Ramadan, banging on empty galon water bottles and gendhang drums, singing “uuur, sahur!, uuul, daul!” In East Madura, these impromptu bands would throw in bamboo slit drums or tongtong perreng, leading to the other popular name for this music, tongtong.

The modern daul trend was led by Semut Ireng, a troupe based in Pamekasan on Madura’s south-central coast. As Semut Ireng’s founder, Pak Hanan, explained to me, modern daul took its current shape in 1999, at the time of an electrical blackout that plagued the whole island. Playing music for sahur had fallen out of fashion since the eighties, but suddenly there was a need for communal noise-making: a plague of thefts were sweeping Madura as maling sapi or cattle thieves were taking advantage of the pitch black nights to make off with folks’ prized cows. Communities around Pamekasan started up nightly patrols, or siskamling, to protect their property. To make their presence known, they started playing music again, creating a new take on the music they’d once played during those early Ramadan mornings in the eighties.

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Those early formats had been processional, with bands banging on anything they could carry or hang from their shoulders with a sarung. Pak Hanan claims to be the originator of the trend in daul bands towards massive, homemade percussion: when teaching in the countryside, he spotted a large, blue plastic barrel or bak. The bak, usually a place to store fish, was being used to collect rainwater in front of a neighbor’s house. In a lightbulb moment, Pak Hanan had the idea to flip the bak over, whacking the plastic barrel with a soft mallet for an awesome bass drum sound.

Modern daul bands always have a handful of these bak, now sometimes joined by large industrial drums with rubber stretched across the top (with the occasional addition of a cheap rubber flip flop glued to the top to absorb the beat of the mallet!) Semut Ireng also popularized the use of cheap, locally made saron (metallophones from the gamelan tradition) to carry a song’s melody. With the boom and clack of massive drums all around, there’s no room for subtlety with these saron, so gone is the traditional technique of playing with one hand and damping the note with the other. Instead, saron players double-fist it, making up for the dry sound of the cheap, iron instruments by banging out sixteenth-note flourishes on each tone of the melody.

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While other bands have begun to popularize a new variety of daul called daul kombo which plays upbeat dangdut songs in a diatonic style with the addition of Western instruments like bass and keyboard, Pak Hanan prides Semut Ireng on maintaining a “traditional” flavor even in this modern, creative style. Local flavor is found in the addition of percussion like rebana, a frame drum often used in Islamic music like hadrah, traditionally handheld but here placed in a frame and played sharply with two sticks to lead the whole ensemble. Another key ingredient is the kentongan, a wooden slit drum made popular in Jember-style musik patrol but with roots in Madurese styles like okol. Finally, Pak Hanan is insistent on keeping the saron and group vocals pentatonis, or pentatonic, eschewing more popular diatonic pop styles for classic Madurese songs or lagu daerah with melodies in the common slendro scale. 

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Despite these elements borrowed from deep-rooted Madurese traditions, daul is firmly in the world of kreasi baru, literally “new creation,” an Indonesian term used to describe modern compositions and arrangements based on traditional music, often with a Western flair. Daul may not use any Western instruments, but its arrangements - full of instrumental breaks, group choruses, and drum solos, are clearly inspired by Western forms.  Pak Hanan stresses the importance of these creative arrangements as a key aspect of what makes daul music fresh. Despite having no formal music education, Pak Hanan’s daul arrangements have a surprising sophistication, transforming traditional songs with tight, flowing structures. 

Far from the cyclical structure of traditional Madurese music like okol and saronen, daul’s linear arrangements and structure seem to draw inspiration from the tradition of drumben (drum bands), percussion-heavy marching bands made popular by public school extracurricular programs. Some daul bands have even made these marching band roots even more clear with the addition of horn sections, trumpets and all. 

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I wish I could have seen daul played in its usual context: the music is most popularly played during festivals and parades during Ramadan and government-sponsored competitions. With the popularity of huge instruments like those bak barrels, bands can no longer carry all of their instruments like the old days. In recent years, bands load up their instruments onto huge, homemade floats called odong-odong. With dragon-like shapes inspired by Chinese-Indonesian barongsai costumes, the floats are amazingly decked-out creations overflowing with LED lights, built-in sound systems, and specialized racks designed to hold all the instruments. 

Just like the other Ramadan Wake-Up Jams that I’ve explored in other posts, daul has stayed vibrant while other more old-school arts fall by the wayside. The music is consistently embraced by young people (almost all male) while other styles remain the realm of an older generation. I’ve mused on this before: maybe it’s the appeal of playing loud music in the middle of the night, or the sheer, primal pleasure of banging on things. It could also be the refreshing lack of rules: while more traditional styles get weighted down by restrictions, daul has a kind of “anything goes” aesthetic which keep things fresh and fluid, with new variations always around the corner. I’m looking forward to seeing how this music continues to change from this holy month to the next.

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Context:

Trawling the internet for information on daul music, it didn’t take me long to realize that this whole modern tradition seemed to be orbiting around one legendary group, a sanggar or arts community called Semut Ireng (“black ant” in Madurese) in Pamekasan, one of Madura’s largest cities on the island’s southern coast. Seduced by videos of huge bands parading the streets in those brilliant odong-odong floats, I knew I’d have to go there one day to see this whole scene for myself. 

That day finally came this past February. A compulsory trip to East Java to renew my passport at the American consulate in Surabaya became an excuse to spend a few weeks bumming around that corner of Indonesia. With Madura right across a narrow strait from that bustling city, I just couldn’t resist. Soon I was heading out on motorbike with some friends from Java, crossing the Suramadu bridge and zooming across the trans-Madura highway with Pamekasan in our sights. 

I’d tried to reach out to Semut Ireng over social media without luck, so our method of tracking them down was a bit old school. We knew they were based in the neighborhood called Parteker, so we just headed there and started asking around. It soon became clear that wouldn’t be too hard: I pulled up to a woman surrounded by young kids and asked where we could find Semut Ireng, and as she pointed me in the right direction the kids around her started miming a daul band, giggling as they played air drums around my motorbike.

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We pulled up to a house with a warung out front labeled “Angkringan Semut Ireng” or “Black Ant Cafe.” Welcoming us in were Pak Hanan, the founder of Semut Ireng, and his son Rizal. Both had a kind extroversion, bright eyes and wide smiles. We sat on the cushioned floor of their new cafe (“my old bedroom!” Rizal explained) and chatted about daul with Rizal as Pak Hanan set up a new widescreen TV so local kids could come and watch football matches. The whole history of daul was unspooled for us in that space, a history that, in their words, revolved in so many ways around their humble sanggar or music group. 

The guys were too busy setting up their new cafe to arrange a performance, so we agreed to meet in a week after my trip to Kangean. True to their word, I pulled up to the same house-turned-cafe a week later and found they’d invited the whole gang to come play - twenty five kids in all. This was the third generation, Rizal explained, with kids as young as eight all the way up to twenty-somethings all jamming together.

We set up in their practice space, a narrow driveway between their new football-watching room and the house next door (poor neighbors, I thought!) A truck pulled up with a pile of percussion in the back, hawled over from a storage space across town. A gang of teenagers unloaded it all, arms straining as they assembled the makeshift orchestra of shrimp barrels and metallophones and gleaming slit drums. 

The driveway made for a funny recording spot: with all of the instruments backed up against one side, I was able to just barely fit a tripod with my digital recorder in front of the array, its plastic legs just narrowly avoiding the gendhang player. When the band began to play, the proximity of it all was made all the more clear: daul is loud! I quickly shoved some earplugs in before the clatter of the saron and the earthshaking bass of those barrels ruined my hearing forever.

The band played nearly perfectly, with Pak Hanan giving pointers in between songs. The kids were so well-practiced as to have that casual bordering on bored look, but I was thoroughly enraptured, happy to be blasted with this special sound even without the flashing neon lights and dragon floats I’d hoped for. It may not have been Ramadan or right before dawn, but I could feel in this music what had captured the spirits of a whole new generation of Madurese kids: catchy rhythms, pummeled saron melodies, and the joy of embracing your local culture while having fun doing it. 

 

 

Saint Just - La Casa Del Lago (1974)

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Saint Just - La Casa Del Lago (1974)


Artist: Saint Just
Title Of Album: La Casa Del Lago
Year Of Release: 1974
Label (Catalog#): EMI (7243 4 79469 2 9)
Country: Italy
Genre: progressive rock
Quality: FLAC (*tracks + .cue,log,scans)
Bitrate: Lossless
Time: 39:11
Full Size: 233,0 MB

Sage - By Sage (1970)

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Sage - By Sage (1970)


Artist: Sage
Title Of Album: By Sage
Year Of Release: 1970
Label (Catalog#): Radioactive Records (RRCD081)
Country: USA
Genre: psychedelic rock, southern rock
Quality: FLAC (*image + .cue,log,scans)
Bitrate: Lossless
Time: 29:08
Full Size: 179,0 MB

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