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King Crimson – VROOOM VROOOM (Live, 1995/96) (2018)

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71ubzXJmlgL._SL1200_.jpg320 kbps | 301 MB | LINKS

CD1
1. VROOOM VROOOM (Live, Mexico City, Aug. 96) 05:00
2. Coda Marine 475 (Live, Mexico City, Aug. 96) 02:39
3. Dinosaur (Live, Mexico City, Aug. 96) 05:09
4. B’Boom (Live, Mexico City, Aug. 96) 04:52
5. THRAK (Live, Mexico City, Aug. 96) 06:38
6. The Talking Drum (Live, Mexico City, Aug. 96) 04:04
7. Larks’ Tongues In Aspic, Pt. II (Live, Mexico City, Aug. 96) 06:14
8. Neurotica (Live, Mexico City, Aug. 96) 03:39
9. Prism (Live, Mexico City, Aug. 96) 04:25
10. Red (Live, Mexico City, Aug. 96) 07:01
11. Improv – Biker Babes Of The Rio Grande (Live, Mexico City, Aug. 96) 02:28
12. 21st Century Schizoid Man (Live, Mexico City, Aug. 96) 07:34

CD2
1. Conundrum (Live in NYC, Nov. 95) 01:57
2. Thela Hun Ginjeet (Live in NYC, Nov. 95) 06:44
3. Frame By Frame (Live in NYC, Nov. 95) 05:11
4. People (Live in NYC, Nov. 95) 06:12
5. One Time (Live in NYC, Nov. 95) 05:52
6. Sex Sleep Eat Drink Dream (Live in NYC, Nov. 95) 04:55
7. Indiscipline (Live in NYC, Nov. 95) 07:16
8. Improv – Two Sticks (Live in NYC, Nov. 95) 01:50
9. Elephant Talk (Live in NYC, Nov. 95) 05:14
10. Three Of A Perfect Pair (Live in NYC, Nov. 95) 04:16
11. B’Boom (Live in NYC, Nov. 95) 03:47
12. THRAK (Live in NYC, Nov. 95) 06:43
13. Free As A Bird (Live in NYC, Nov. 95) 03:03
14. Walking On Air (Live in Los Angeles, Jun. 95) 05:34


King Crimson – The Night Watch (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) (2018)

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71-Jpbv9zpL._SL1200_.jpg320 kbps | 199 MB | LINKS

CD1
1. Easy Money (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 06:13
2. Lament (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 04:14
3. Book Of Saturday (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 02:58
4. Robert Fripp Announcement (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 01:09
5. Fracture (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 11:28
6. The Night Watch (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 05:27
7. Improv – Starless And Bible Black (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 09:13

CD2
1. Improv Trio (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 06:08
2. Exiles (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 06:36
3. Improv – The Fright Watch (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 06:04
4. The Talking Drum (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 06:34
5. Larks’ Tongues In Aspic, Pt. II (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 07:51
6. 21st Century Schizoid Man (Live at the Concertbebouw, Amsterdam, Nov. 23, 1973) 10:38

Union Pacific – Maqueta/Demo

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caratula_no_disponible11.- ¿Por Que dejaste el mundo atras?
2.- Improvisacion 1
3.- Improvisacion 2
4.- Improvisacion 3
5.- Pesadillas

 

 

 

Durante su corta existencia, esta banda solo logró publicar oficialmente dos singles. Aparte de esto, grabaron al menos una maqueta (demo), compuesta por 3 improvisaciones y un par de temas acabados

Union Pacific – Maqueta/Demo

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caratula_no_disponible11.- ¿Por Que dejaste el mundo atras?
2.- Improvisacion 1
3.- Improvisacion 2
4.- Improvisacion 3
5.- Pesadillas

 

 

 

Durante su corta existencia, esta banda solo logró publicar oficialmente dos singles. Aparte de esto, grabaron al menos una maqueta (demo), compuesta por 3 improvisaciones y un par de temas acabados

King Crimson – Heavy ConstruKction (Live in Europe, 2000) (2018)

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61pT04MI6RL._SS500.jpg320 kbps | 433 MB | LINKS

CD1
1. Into The Frying Pan (Live in Munich, June 2000) 06:19
2. The ConstruKction Of Light (Live in Bonn, June 2000) 08:29
3. ProzaKc Blues (Live in Paris, June 2000) 05:25
4. Improv – Munchen (Live in Munich, June 2000) 08:35
5. One Time (Live in Warsaw, June 2000) 05:44
6. Dinosaur (Live in Warsaw, June 2000) 05:25
7. VROOOM (Live in Pozna?, June 2000) 04:43
8. FraKctured (Live in Europe, 2000) 08:46
9. The World’s My Oyster Soup Kitchen Floor Wax Museum (Live in Bonn, June 2000) 07:38
10. Improv – Bonn (Live in Bonn, June 2000) 09:21

CD2
1. Sex Sleep Eat Drink Dream (Live in Barcelona, June 2000) 04:29
2. Improv – Offenbach (Live in Offenbach, June 2000) 06:31
3. Cage (Live in Offenbach, June 2000) 03:54
4. Larks’ Tongues In Aspic, Pt. IV (Live in Paris, June 2000) 08:38
5. Coda – I Have A Dream (Live in Europe, 2000) 04:09
6. Three Of A Perfect Pair (Live in Gardone Riviera, June 2000) 03:45
7. The Deception Of The Thrush (Live in London, June 2000) 08:26
8. Heroes (Live in Warsaw, June 2000) 06:07

CD3
1. Sapir (Live in Europe, 2000) 05:39
2. Blastic Rhino (Live in Europe, 2000) 04:11
3. Lights Please, Pt. I (Live in Europe, 2000) 58
4. ccccSeizurecc (Live in Europe, 2000) 06:01
5. Off And Back (Live in Offenbach, June 2000) 04:11
6. More (And Less) {Live in Europe, 2000] 03:13
7. Beatiful Rainbow (Live in San Sebastián, June 2000) 06:58
8. 7 Teas (Live in Europe, 2000) 04:07
9. Tomorrow Never Knew Thela (Including Tomorrow Never Knows) [Live in Europe, 2000] 04:49
10. Uböö (Live in Europe, 2000) 07:58
11. The Deception Of The Thrush (Live in Europe, 2000) 10:43
12. Arena Of Terror (Live in Pozna?, June 2000) 03:24
13. Lights Please, Pt. 2 (Live in Europe, 2000) 04:53

King Crimson – Absent Lovers (Live in Montreal, 1984) (2018)

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715w-x1AvqL._SL1200_.jpg320 kbps | 241 MB | LINKS

CD1
1. Entry Of The Crims (Live at The Spectrum, Montreal, Jul. 84) 06:19
2. Larks’ Tongues In Aspic, Pt. III (Live at The Spectrum, Montreal, Jul. 84) 05:12
3. Thela Hun Ginjeet (Live at The Spectrum, Montreal, Jul. 84) 05:59
4. Adrian Announcement 1 (Live at The Spectrum, Montreal, Jul. 84) 01:07
5. Red (Live at The Spectrum, Montreal, Jul. 84) 05:45
6. Matte Kudasai (Live at The Spectrum, Montreal, Jul. 84) 03:49
7. Industry (Live at The Spectrum, Montreal, Jul. 84) 07:23
8. Dig Me (Live at The Spectrum, Montreal, Jul. 84) 04:07
9. Three Of A Perfect Pair (Live at The Spectrum, Montreal, Jul. 84) 04:30
10. Indiscipline (Live at The Spectrum, Montreal, Jul. 84) 08:11

CD2
1. Sartori In Tangier (Live at The Spectrum, Montreal, Jul. 84) 04:38
2. Frame By Frame (Live at The Spectrum, Montreal, Jul. 84) 03:57
3. Man With An Open Heart (Live at The Spectrum, Montreal, Jul. 84) 03:44
4. Waiting Man (Live at The Spectrum, Montreal, Jul. 84) 06:26
5. Sleepless (Live at The Spectrum, Montreal, Jul. 84) 06:07
6. Larks’Tongues In Aspic, Pt. II (Live at The Spectrum, Montreal, Jul. 84) 07:26
7. Discipline (Live at The Spectrum, Montreal, Jul. 84) 05:32
8. Heartbeat (Live at The Spectrum, Montreal, Jul. 84) 05:15
9. Elephant Talk (Live at The Spectrum, Montreal, Jul. 84) 04:53
10. Adrian Announcement 2 (Live at The Spectrum, Montreal, Jul. 84) 03:04

Sun Kil Moon – This Is My Dinner (2018)

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71DVjlkBpSL._SL1200_.jpg320 kbps | 200 MB | LINKS

Sun Kil Moon have shared details of their new album, This Is My Dinner. It’s out November 1 via Caldo Verde. Among its 10 tracks are a chapter from a John Connolly novel set to music, a cover of the “Partridge Family” theme song “Come on Get Happy,” and a new rendition of AC/DC’s “Rock ‘N’ Roll Singer” (which Mark Kozelek previously covered on a 2000 EP of the same name and 2001’s What’s Next to the Moon).

The most recent Sun Kil Moon album, Common as Light and Love Are Red Valleys of Blood, arrived in 2017. Since then, Kozelek has released collaborative LPs with Jesu, Parquet Courts’ Sean Yeaton, and Ben Boye and Jim White. Earlier this year, he released a self-titled solo LP.

Choying Drolma - Chö (Remastered) (1997;2016) [Hi-Res]


The Ray Hamilton Orchestra - Romantic Panpipes

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The Ray Hamilton Orchestra - Romantic Panpipes - Panpipe Melodies (2009) (2CD)

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Link download:  4share.vn

The Ray Hamilton Orchestra - Romantic Panpipes - Movie Themes (2011) (2CD)
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Link download:  4share.vn

The Ray Hamilton Orchestra - Romantic Panpipes - Love Themes (2011) (2CD)
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Link download: http://4share.vn

The Ray Hamilton Orchestra - Romantic Panpipes - El Condor Pasa (2011) (2CD)
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Link download:4share.vn

The Ray Hamilton Orchestra - Romantic Panpipes - Easy Listening (2011) (2CD)
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Link download: 4share.vn
Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: hanguyen@hpmtech.vn

Global A Go-Go: October 31, 2018, Segment 1

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A special All Hallows Eve edition of Global A Go-Go: a famous Scottish ballad that's set on Halloween; Dia De Los Muertos material by Lila Downs; devils, duppies and jumbies of the Caribbean; and a chilling love song by Ebo Taylor

TED NUGENT ?Discography? (9 x CD ? Box + 1st Press ? 1975-1988)

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TED NUGENT ?Discography? (9 x CD ? Box + 1st Press ? 1975-1988)

TED NUGENT ?Discography? (9 x CD ? Box + 1st Press ? 1975-1988)

Performer: TED NUGENT
Album / collection: ?Discography 1975-1988?
Series: Original Album Classics? + 1st Press Series ?
Label / country: ⒸⓅ 1975-1988 Epic | Atlantic | Sony BMG Music. Made in Europe, USA.
Source: Rip by KoGGaN? scans by inet...
Official DR value: 8?8?8?11?12?13?13?12?12
Catalog (Barcode): much
Genre / Style: Rock, Hard Rock
Year (info): 1975-1988 (9 × CD, Box-set + 1st Press, Compilation)
Format: WV (image + .cue)
Bitrate: lossless
Covers: in archive
Amount of tracks: 97
Total time: 6:42:32
Size RAR: ~ 2.61 Gb
Password / ?????? : 1965
Upload: TurboBit.net, GigaPeta.com
Recovery 3%

TED NUGENT ?Discography? (9 x CD ? Box + 1st Press ? 1975-1988)

Stern-Combo Meissen - Der Weite Weg (1979) [Reissue 2001]

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Stern-Combo Meissen - Der Weite Weg (1979) [Reissue 2001]

???????????: Stern-Combo Meissen
??????: DDR (East Germany)
??????: Der Weite Weg
????: Symphonic Prog /
??? ??????: 1979 / 2001
??????: APE (image+.cue, log, covers)
????????: Lossless
??????: 254 Mb
??: turbobit/uploadboy/gigapeta/katfile

The Sound of Silek: Gandang Sarunai

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DSC03203.jpg

Location: South Solok, West Sumatra

Sound: Gandang Sarunai

I’m in West Sumatra, and I’m out of my element. 

Over the years of doing Aural Archipelago, I’ve found a kind of comfort zone in the disparate worlds of traditional music that I encounter here. Coffee and clove cigarette-filled introductions with musicians have been commonplace, a familiar routine built up around tracking down, recording, and investigating music in far-flung places. My Indonesian vocabulary is now centered around a locus of musical terms: lagu (song, piece), irama (rhythm), alat musik (instrument), nyanyi (sing.) It’s not always an easy journey, but at this point I at least know what to expect.

I’ve been thrown into a different world this time. My friend Albert, a young ethnomusicologist from Solok, West Sumatra, has invited me to his hometown to take part in Lapuak Lapuak Dikajangi, a nearly month-long exploration of silek, a complex network of disparate martial arts traditions found across the Minangkabau heartland of West Sumatra and abroad. I’m the only music guy invited: other artists have come in from across Indonesia to explore the world of silek through their respective fields, from photography to performance art and painting. 

Soon we are fully immersed in this overwhelmingly deep tradition, meeting daily with silek gurus who describe their art form in countless ways: as self-defense, spiritual practice, esoteric science. We learn that there are almost as many strains of silek in West Sumatra as there are villages, such as silek harimau (tiger silek, a style made famous by the silek-inspired action movies Merantau and The Raid) whose deadly moves are based on the movements of the Sumatran tiger. 

Though it’s actually refreshing to be out of my element (that’s why I moved to Indonesia in the first place!), I start asking around and reading about the role of music in silek. The relationship, I find, is complicated. To understand more, I begin to tear through The Fighting Art of Pencak Silat and Its Music, an amazing collection of essays edited by Uwe Patzold and Paul Mason in 2016. Mason’s chapter, “Silek Minang in West Sumatra, Indonesia” is particularly illuminating. In it, Mason describes how no one style of music is inextricably tied to silek; rather, silek is often accompanied by whichever music is common and on-hand in the area, be it the handheld talempong paciek gong chimes or a gendang tambuah drum band.

In many ways, actually, silek is an art form at odds with music. Some say silek finds its truest form in rehearsal and in non-performative contexts, as in intimate backyard sessions between guru and students: in these cases, the sound of silek is simply the padding of footsteps, the slapping of skin on skin, and quietly whispered mantras. Mason writes that, even in a music-filled silek performance, “many audience members do not recognize the musical accompaniment as part of the performance.” “Ask a Minangkabau person about music for silek,” Mason writes, “and most will respond ‘there is no music for silek minang.’” When music accompanies silek, it seems, it is almost an intrusion. As allowing themselves to follow the music’s rhythm makes their actions more predictable and thus more easily foiled, silek fighters “must attempt to insulate their concentration from musical sounds.” 

I had a hunch, though, that the uneasiness of this pairing may not always hold true, that there may be a Minangkabau musical form with surprisingly close ties to silek. I’d heard about a style called gandang sarunai, a combination of two interlocking drums called gandang and a double reed instrument called sarunai. I could find nothing in the literature on gandang sarunai about a link to silek, but my intuition suggested there may be. As I wrote recently, this format - interlocking drums accompanied by a double reed wind instrument - is often tied to martial arts practices across Indonesia and beyond. In South Sulawesi, the music called ganrang konjo once accompanied the martial art style called manca’; in nearby Selayar, the music of ganrang adat still does, as does the Sulawesi-rooted style of gendhang dhume’ in the remote Madurese islands of Kangean. The Sundanese have kendang pencak, two sets of multi-part kendang drums matching the intensity of a wailing tarompet. Even abroad, in mainland Malaysia, Malay-style silat is performed to the sounds of gendang silat, a format featuring interlocking drums and a serunai. By following these patterns in performance and material practice, we can get a tempting glimpse at possible patterns of dissemination of martial arts traditions across archipelagic Southeast Asia and beyond. The musical similarities made me wonder: is gandang sarunai also a part of this extended musical-martial arts network? 

To find out, I headed from our homebase in Solok to Solok Selatan (South Solok), one of the few areas in West Sumatra where this music is played. Far from the mountainous heartland of West Sumatra that the Minangkabau call darek, the area is nonetheless a center of its own, an ancestral area from which Minangkabau tribes or suku once spread out to farflung migratory areas or rantau like the Pasisia Selatan or South Coast. Sitting not far from the southern border with jungley Jambi and the very active Kerinci volcano, the primary villages in Solok Selatan sit in a fertile valley bordered by the Bukit Barisan mountains and spotted with geothermal hot springs. The area is equally rich culturally, with the main town, Muara Labuah, famously spotted with more than a thousand rumah gadang, traditional Minangkabau communal homes with dramatic buffalo horn-like roofs pitching into the sky. 

Not far from Muara Labuah is the area traditionally called Sungai Pagu, the center of gandang sarunai in West Sumatra. I headed there with my friend Datuak, a local artist who had studied gandang sarunai in the past. It was already dark when we headed out of town on Datuak’s motorbike, clad in plastic ponchos to keep out a persistent drizzle that hadn’t stopped since we’d arrived. The road slithered past the horns of rumah gadang jutting darkly into the cloudy skies, past wandering hunting dogs and glistening rice paddies. 

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We soon arrived at the home of Pak Yasrial, an artist at the center of Solok Selatan’s world of gandang sarunai. Pak Yasrial ushered us into a living room where musicians were already gathered, mostly older men sitting cross-legged with small glasses of coffee and clove cigarettes strewn across the floor. Datuak and I went down the line shaking hands and joined them on the carpet, spreading out our offerings: six packs of cigarettes, a big bag of ground coffee, and sugar. Together with the goodwill fostered by their previous relationship with Datuak, this seemed to be enough: soon enough there were drums before us and we were diving deep into gandang sarunai.


It soon became clear that the drums were the heart and soul of this music. Even as physical objects, a reverent kind of intentionally seemed to be poured into their construction. The drums are stout and double-headed, identical in construction but thought of as a male/female pair, jantan and batino. One head of each drum is made with the thick skin of a kijang deer and struck with the rounded corner of a buffalo horn or tanduak. The other head is goat skin, struck by the hand. The skins are secured to bulging jackfruit wood bodies with nylon string subbing in for the traditional palm fiber as rattan rings inside give the heads a proper tightness.

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In play, the drums (themselves called gandang sarunai) are placed against each other in opposition, but the rhythms played are complimentary: in a musical format mirroring many others across the region, one drum plays a relatively simple dasar (literally “basic”) part while the other plays the more complex peningkah or filler part. This relationship, Mason suggests in his chapter on silek, is also mirrored in the structure of the martial art: 

“Some artists suggest that the interlocking patterns of the percussion instruments are a strong metaphor for the interlocking movements of the silek minang performers. The beauty of the art relies on the synchronous performance of essential footsteps by the two performers, which the percussion instruments symbolically replicate.“

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In gandang sarunai, the symbolic relationship between this form of drumming and the martial art is made even more explicit when the drummers are accompanying silek: rather than sit head on, the drummers slant their bodies away from each other in a position the musicians call berlawanan. This mimics the positioning of bodies in silek, where it is common practice to never face one’s opponent directly so as to better protect oneself from attack. 

With the drums at the center of the music’s form, the sarunai is almost an afterthought. The form, for one, is not really important: in the group that we recorded, the sarunai consisted of a thin bamboo body with four fingerholes, a wooden corong or bell, and a buzzing reed made from a strategically broken rice stalk plucked, still green, from the paddies. It’s not unthinkable, though, to sub this style of sarunai for a sarunai bambu, a version with a single idioglot bamboo reed and a buffalo horn bell. Even the music that the sarunai plays is fairly inconsequential: gandang sarunai songs are differentiated by the drum rhythms, while the sarunai plays a mostly unchanging, looping melody throughout. Still, the sarunai is important for the way it complements silek. In his article, Mason touches on a possible reason why sarunai and similar aerophones are often played to accompany silek: “The loud and buzzing sounds of a reed aerophone are a dynamic and logical match between combat displays and audience engagement,” he writes. “[…]The circular breathing used to play the woodwind instruments evokes a penetrating sonic representation of the unrelenting attention required by the silek minang practitioners during a fight.” The gandang sarunai musicians agreed: when in combat, one’s attention must be as unbroken as the sound of sarunai.

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The primary role of silek in the world of gandang sarunai can also be seen in the music’s repertoire. Unique for music in this area, gandang sarunai has a very well-defined set of lagu pokok, or key pieces. Numbering twelve in total and almost always played in a back-to-back medley in the same order, the repertoire is opened by two pieces specifically for accompanying silek, “Gandang Solok,” and “Gandang Pado-Pado.” Both feature gandang rhythms that are thought of as being more consistent than the other more rhythmically diverse pieces, thus allowing for a steadier groove to match the intense focus of the silek practitioners. While the fighters may not time their movements to the rhythms of the drums, the reverse is often true: with certain drum flourishes, the peningkah part is timed to match certain movements in a choreographed fight display.

The drummers are able to anticipate such movements because, quite often, they are silek practitioners themselves. As the musicians explained to me that night, silek and gandang sarunai are sejiwa: of one spirit. In the past, silek practice was highly entwined with gandang sarunai. As Pak Yasrial explained, he and others learned gandang concurrently with silek in the local surau, a kind of Islamic prayer room-cum-male social space unique to the Minangkabau. Both disciplines, Pak Yasrial went on, require close and intimate study with a guru to master. Silek gurus are famously picky, requiring their pupils to enact a series of rituals or persyaratan to be accepted as a student. The same is true for those wishing to learn gandang: a hopeful pupil must present his gandang teacher with a chicken to be slaughtered and a set of black and white cloths. At each practice session, the pupil must bring gifts for his teacher, cigarettes and snacks. After the complete repertoire of twelve pieces has been learned, the pupil must then gift his teacher once more with more cloth: if not, the pieces will vanish instantly from his memory.

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While gandang sarunai clearly shares a special link with the world of silek, it is not exclusively of that world, just as talempong can accompany a silek fight just as well as it does a wedding procession. Of the ten other gandang sarunai pieces (Gandang Duo, Sikapiciak, Duo Iliu, Sikudidi, Sikudidi Mandi, Barabah di Ateh Paki, Kumpai Anyui, Tajak Guya, Siamang Tagagau, and Cancang Mudiak Aiu), only one, “Gandang Sikapiciak”, is tied to a specific performance context, often being played to accompany tari piriang (the famous “plate dance” where dancers skillfully move about while balancing porcelain plates in their hands.)

The other pieces in the gandang sarunai canon are a beautiful illustration of the Minangkabau concept of alam takambang jadi guru, or “nature as teacher.” Just as the first creators of silek harimau were said to create the style’s deadly moves by observing a tiger’s movements, the rhythms and song titles of gandang sarunai are largely taken from nature. Take “Gandang Siamang Tagagau,” or “Surprised Gibbon”: Pak Yasrial explained that the gandang rhythms in that piece are inspired by a frightened siamang gibbon jumping from the trees to the ground and back again. “Gandang Barabah di Ateh Paki” or “Barabah Bird Above the Ferns,” illustrates a yellow-vented bulbul hopping from fern to fern, the plants swinging and swaying under its weight.

Such titles are not only a window into the poetic mind of the Minangkabau but also a peek into a rich cultural landscape that is now in a state of flux. Gandang sarunai was once a key ingredient in the ceremonies that hold Minangkabau ritual life together, from baralek, the Minang wedding ritual, to rituals like mengangkat datuak, wherein a respected village male is given a gelar adat or ritual title to befit his position in the complex hierarchies of Minangkabau adat or customs. While people are still getting married and honorific titles are still a thing, events are just as likely to have a synthesizer-filled pop Minang band filling the space, and the importance of adat has shifted with a modernizing populace and ever-changing systems of government. Even silek, once part of the package at these events, has changed: with few people interested in the esoteric version of silek that was paired with gandang sarunai, the music has had to divorce from this long-standing association.

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These days, gandang sarunai is most often performed as a demonstration of “local arts” at government functions, or when asked to perform for music students at West Sumatra’s art university, ISI Padang Panjang, where gandang sarunai has entered the curriculum. The music has even begun to change with the times, as people find the combination of just gandang and sarunai to be monotonous. Now, the band often performs with three musicians playing handheld talempong paciek gong chimes, a lively sound that is also more pan-West Sumatran (the talempong melodies being played aren’t even from around the Solok area, but from Lintau, hundreds of kilometers away.) The irony is that with the talempong chiming away, the once-primary gandang take the backseat, reduced to mere accompaniment.

However shaky the future of gandang sarunai (or gandang sarunai as it once was), the music filled Pak Yasrial’s living room that night with a vital energy. Pak Yasrial himself filled in the simpler dasar role as his older brother, Pak Sarifuddin, whipped out a complex rhythmic counterpoint, buffalo horns against deer skin providing a resonant bassy boom. The older brother was functionally deaf, I was told, but could play the gandang with masterful control nonetheless. The key, I was told, was raso, a kind of feeling or intuition which is central to silek as well. Pak Sarifuddin, I was also told, had studied the dasar parts with his father, but was only revealed the complexities of the peningkah part in dreams, long after his father had died. He then passed these parts onto his younger brother, who in turn is looking for his own disciple to keep the tradition alive.

Pak Yasrial insists with a laugh that these days, studying ganrang should be more accessible: no chicken sacrifice necessary, just the will to learn.

VA – The Many Faces of Tina Turner (2018)

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10h6jah.jpg320 kbps | 358 MB | LINKS

One of the most dynamic female soul singers in the history of music, Tina Turner oozed sexuality from every pore in a performing career that began the moment she stepped on-stage as lead singer of The Ike & Tina Turner Revue in the late ’50s. Her gritty and growling performances beat down doors everywhere, looking back to the double-barreled attack of gospel fervor and sexual abandon that had originally formed soul back then. After almost fifty years in the music business, Tina Turner has become one of the most commercially-successful international female rock stars to date. Her sultry, powerful voice, her time-tested beauty and her unforgettable story, all contribute to her legendary status. In The Many Faces of Tina Turner we will explore a different side of her career that features her early work -along her then-husband Ike Turner, her legendary duets, many of her collaborators and a tribute to her fantastic catalog. With fantastic artwork and remastered sound, The Many Faces of Tina Turner in an essential addition to the Many Faces collection, and remember that the album is not available on streaming platforms!

CD 1
01. Ike & Tina Turner – Box top
02. Tina Turner – Hot legs
03. Tina Turner – Rock and roll music
04. Al Green – Let’s stay together
05. Barry White – Just the way you are
06. Ann Peebles – I can’t stand the rain
07. The Trammps – Disco; Disco inferno
08. The Temptations – Ball of confusion that’s what the world is today
09. Heaven 17 – Rocket man
10. The Fixx – One thing leads to another
11. John Waite – Missing you
12. Sting – All this time
13. David Bowie – Let’s dance
14. Rod Stewart – The day will come

CD 2
01. Ike & Tina Turner – Proud Mary
02. Ike & Tina Turner – River deep mountain high
03. Ike & Tina Turner – Shame shame shame
04. Ike & Tina Turner – I’ve been loving you too long
05. Ike & Tina Turner – Get back
06. Ike & Tina Turner – Ain’t that a shame
07. Ike & Tina Turner – Down in the valley
08. Tina Turner – Sugar sugar
09. Ike & Tina Turner – Nutbush City limits
10. Ike & Tina Turner – Push
11. Ike & Tina Turner – Baby get it on
12. Tina Turner – Stand by your man
13. Ike & Tina Turner – It’s gonna work out fine
14. Ike & Tina Turner – Shake a hand

CD 3
01. Darlene Love – River deep mountain high
02. Alannah Mules – I can’t stand the rain
03. Tiffany – What’s love got to do with it
04. Jane Child – We don’t need another hero
05. Deniece Williams – What you get is what you see
06. Kip Winger – On silent wings
07. Richard Kendrick – Better be good to me
08. Ross Stevens – Proud Mary
09. Rose Reiter – I don’t wanna fight
10. Michel’le – Rock me baby
11. Jasy Andrews – Private dancer
12. Nancy Kerrigan – The best
13. Kip Winger – So fine
14. Richard Kendrick – River deep mountain high [acapella]

Julie Felix – Rock Me Goddess (2018)

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618ePSiCYJL._SS500.jpg320 kbps | 125 MB | LINKS

This is her first new studio album in ten years. It is a wonderful mix of folk music and much more with political and moving songs ending in the wonderful moving song ‘Woman’ encompassing the ‘Me Too’ movement. Guests include Peter Knight (Steeleye Span/Gigspanner). Rock Me Goddess and 80 years young with such a vibrant new album for all ages.


Cris – Siempre te metes en lios (1989)

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cris - siempre te metes en liosCerca de ti
Cuando es amor
Hoy soñare
El mensajero
Taxi, siga a ese coche
Siempre te metes en lios
Propiedad privada
No puedo estar sin ti
Un rincon en el sur

 

 

Segundo disco de la cantante asturiana antes de formar el duo Amitades Peligrosas junto con Alberto Comesaña

THE CALLAS with LEE RANALDO

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The Callas (Άρης Ιωνάς κιθάρες, φωνή, Λάκης Ιωνάς μπάσο, φωνή, Χρυσάνθη Τσουκαλά ντραμς, φωνή, Μαριλένα Πετρίδου κρουστά) και Lee Ranaldo (ο κιθαρίστας των Sonic Youth, όπως όλοι γνωρίζουν) βρέθηκαν για πρώτη φορά με αφορμή τοσάουντρακ της ταινίας των πρώτων The Great Eastern το 2016 – κάτι πουεπαναλαμβάνεται και στοάλμπουμ “Trouble and Desire”, την τρίτη long-play κυκλοφορία τουγκρουπ για τηνInner Ear.
a%2Bjazz%2Bcallas.jpg
Να πούμε, για αρχή, πως η παρουσία του Ranaldo στο συγκεκριμένο LP είναι κάπως σαν να… ευλογεί, καθώς τα επτά μικρής διάρκειας κομμάτια του (έχει γράψει μουσική), υπό τους τίτλους “Octopus No.1” έως και “7”, αποτελούν εισαγωγές κατά βάση στα επτά τραγούδια των Callas (τρία αγγλόφωνα, ένα γαλλόφωνο-αγγλόφωνο και τρία ελληνόφωνα), που κάθε φορά ακολουθούν. Ένα «κόλπο», ας το πούμε έτσι, που λειτουργεί «μια χαρά», δίνοντας στο “Trouble and Desire” μιαν επιπλέον διάσταση – κάπως πιο αφαιρετική, improv και cinematic. Όμως, και σε κάθε περίπτωση, τα επτά τραγούδια των Callas είναι εδώ το κυρίαρχο υλικό και επ’ αυτών μπορεί να γίνει, πιο πολύ, κουβέντα.
Το “The magic fruit of strangeness” που ξεκινά τη σειρά, είναι ένα τραγούδι με έντονο drumming και γενικότερα ρυθμικό τμήμα, που κινείται κοντά, θα λέγαμε, στους Nick Cave & The Bad Seedsτων μέσων του ’80. Η επαναληπτικότητά του είναι προφανής, με τις κιθάρες και τη φωνή να γεμίζουν την εγγραφή – αν και θα χρειαζόταν άλλη τόση διάρκεια, ενδεχομένως, ώστε να λειτουργούσε (το τραγούδι) ακόμη περισσότερο εκστατικά. Η «Μελανιά» έχει ελληνικούς στίχους προφανώς, με το γενικότερο concept, ιδίως στο ρεφρέν, να με παραπέμπει στους Εν Πλω, που θα αποτελούν πάντοτε τρανή αναφορά, για όποιον θέλει να συνδυάσει ροκ μονοτονία, με δυνατά κιθαριστικά breaks και μιαν ιδέα (ή και περισσότερες) ελληνικότητας (και ελληνικούς στίχους εννοείται). Πολύ καλό τραγούδι, με αξιοπρόσεκτη, και εδώ, ρυθμική δουλειά. Το φερώνυμο “Trouble and desire”, που θα κλείσει την Side A είναι σίγουρα το ωραιότερο της πλευράς, μια ροκιά, ψυχεδελικής διάστασης, με αγγλικές, κατ’ αρχάς, late sixties παραπομπές… Syn, Ruperts People, Attack και τα ρέστα, αλλά και με αμερικάνικη πάνκικη ολοκλήρωση (άκου Alley Cats, X και τα συναφή). Δεν ξέρω ρε παιδί μου, αλλά και αυτό το κομμάτι τελειώνει γρήγορα – ενώ θα μπορούσε να πηγαίνει ένα-δυο λεπτά ακόμη.
Και η Side Bανοίγει φυσικά μ’ έναν σύντομο Lee Ranaldo και με την Τσουκαλά να αφήνει τα λόγια πάνω σ’ ένα χαλί drone-κιθαρισμών, πριν χτυπήσει το “Miroir” με τα γαλλικά λόγια και την επωδό στα αγγλικά. Και αυτό το τραγούδι, όπως και όλα τής πρώτης πλευράς, έχει κάτι που σε ξεσηκώνει. Στέκεται, δηλαδή, πολύ καλά σ’ ένα πρωτογενές rockεπίπεδο ή και punk (τα όρια δεν είναι σαφή), βάζοντας γερά θεμέλια για όλη την πλευρά. Το «Πετώ», που ακολουθεί, είναι το πιο παράξενο και ιδιόμορφο τραγούδι του άλμπουμ, με τους Ιωνάδες να δείχνουν την αγάπη τους για το ρεμπέτικο πρώτα-πρώτα συν ό,τι άλλο (όχι μόνο στη μουσική, στον ήχο, αλλά και στο λόγο, που είναι απλός και πριμιτίβ, σημερινός μεν, αλλά και με μιαν απλότητα, άλλων εποχών, να τον σκεπάζει). Το “Acid books” είναι το προτελευταίο τραγούδι τού “Trouble and Desire” και είναι δυναμίτης. Μου αρέσουν πολύ τα φωνητικά, εδώ έτσι όπως εναλλάσσονται από αντρικά σε αντρικά/γυναικεία κ.ο.κ., με τις κιθάρες να σκοτώνουν, αλλά και με το τραγούδι γενικότερα να κινητοποιεί σε όλη του την έκταση. Θα ξαναπώ, όμως, πως και εδώ μου λείπει ο χρόνος (ο περισσότερος χρόνος).
Το LPθα κλείσει με το «Γλυκιά μου όμορφη», που είναι κι αυτό… ρεμπετοειδές, σε πιο αργό τέμπο, αλλά και με ανεβασμένες κιθάρες.
Συνοψίζοντας θα έλεγα πως το “Trouble and Desire” είναι το καλύτερο έως σήμερα LP των Callas (για να μην πω… το καλύτερο με διαφορά), καθώς έχει κομματάρες μέσα, τις οποίες ασυζητητί τις γουστάρεις κι έτσι όπως είναι (εννοείται). (Πέραν δηλαδή από τις όποιες δικές μου ψιλο-παρατηρήσεις).
Επαφή: www.inner-ear.gr

Cris – Siempre te metes en lios (1989)

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cris - siempre te metes en liosCerca de ti
Cuando es amor
Hoy soñare
El mensajero
Taxi, siga a ese coche
Siempre te metes en lios
Propiedad privada
No puedo estar sin ti
Un rincon en el sur

 

 

Segundo disco de la cantante asturiana antes de formar el duo Amitades Peligrosas junto con Alberto Comesaña

Semana Cubana Trio Matamoros – El Cubanisimo vol.1 Egrem / Areito LD-4054

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trio-matamoros-front

tracks ;

01 – El trio y el ciclon
02 – La china en la rumba
03 – Beso discreto
04 – Bolinchan
05 – El puerquito en la yuca
06 – Pobre bohemia
07 – Mata y beby
08 – Conciencia
09 – Puro amor
10 – Las ruinas de mi bohio
11 – Sangre de conga
12 – Tu veras

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Charles Bradley – Black Velvet (2018)

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a3436107681_16.jpg160 kbps | 71 MB | LINKS

November 5th, 2018 would have been Charles Bradley’s 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to release his fourth and final album, Black Velvet.

Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles’ entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy “TNT” Brenneck created in the studio together over their decade-long partnership. It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: “Can’t Fight the Feeling,” “Fly Little Girl” and the heart-wrenching single “I Feel a Change”; hard core rarities like his funk-bomb duet with LaRose Jackson, “Luv Jones,” the psychedelic groover, “(I Hope You Find) The Good Life” and the ever-illusive alternate full band electric version of “Victim of Love”; sought-after covers of Nirvana’s “Stay Away,” Neal Young’s “Heart of Gold” and Rodriguez’s “Slip Away”; and the title track “Black Velvet,” a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.

Black Velvet is a celebration of his life, and is destined to join Charles’ first three albums alongside the cannon of essential soul records for the ages.

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