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    Dreamland.jpg

    Tracklist:

    01 梦界 Dreamland
    02 溪音 Rivulet
    03 神的足迹 Footprint Od The God
    04 中国幻想曲 Chinese Fantasy
    05 森林之声 Voice Of The Wood
    06 都市日出 特别推荐 City Sunrise
    07 山鼓 特别推荐 Mountain Drums
    08 迷之旅 特别推荐 Puzzle Trip
    09 云蒸霞蔚 Over The Cloud
    10 春叶 Spring Leaves

    Link download:Fshare.vn 4share.vn

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    The Jasmine Minks - Cut Me Deep: The Anthology 1984-2014 [2CD] (2014)

    Artist: The Jasmine Minks
    Title Of Album: Cut Me Deep: The Anthology 1984-2014
    Year Of Release: 2014
    Label (Catalog#): Cherry Red [CDBRED608]
    Country: UK
    Genre: Indie Pop/Rock, Alternative, Jangle Pop
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 2:37:52
    Full Size: 1.13 gb
    Upload: Turbobit

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    West Music Club - Natural (2013)

    Artist: West Music Club
    Title Of Album: Natural
    Year Of Release: 2013
    Label (Catalog#): Igloo [IGL 247]
    Genre: Jazz, Vocal Jazz
    Quality: FLAC (tracks,cue,log)
    Bitrate: Lossless
    Time: 1:16:36
    Full Size: 430 mb
    Upload: Turbobit

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    Κιθαρίστας (κλασικός) με μακρόχρονη πορεία σε σκηνές και στη δισκογραφία, ο Κώστας Μακρυγιαννάκης (με συμμετοχές «Στο Πάρκο των Σκύλων» του Μανώλη Φάμελλου το 1996, όπως και στο «Από ’Δω και Πάνω» του Γιάννη Αγγελάκα το 2005) έχει τώρα ένα δικό του άλμπουμ, στην κυπριακή εταιρεία Louvana Records, που αποκαλείται Fragments. Πρόκειται για ένα σόλο-κιθάρα CD, το οποίον αποτελείται από τρία μέρη – τα Sketches, την Pop Sonata και το Lapses of Light. Το κάθε μέρος συνιστά (και) μια ξεχωριστή ενότητα, που αναπτύσσεται μέσα από επιμέρους θέματα, και γι’ αυτόν ακριβώς το λόγο αξίζει να δούμε αυτές ακριβώς τις ενότητες ξεχωριστά.
    a%2Bjazz%2Bmakrygiannakis.jpg
    Τα “Sketches” είναι πέντε, τα “Recitativo no1” “2” και “3”, καθώς και δύο συνθέσεις του γάλλου συνθέτη του μπαρόκ François Couperin (1668-1733). Τα τρία ρετσιτατίβα έχουν μικρές διάρκειες (2:49, 1:56, 1:36), αποτελώντας απλές, αλλά δεξιοτεχνικές ασκήσεις (ή σκετς). Η μελωδικότητα, όπως και η αφηγηματικότητά τους είναι προφανείς και το μόνο που λείπει (ας το πούμε έτσι) είναι ο λόγος για να υπαχθούν και τα τρία στα… τραγούδια. Αν τα ρετσιτατίβα έχουν τις θέσεις «ένα», «τρία» και «πέντε», οι συνθέσεις του Couperin είναι οι «δύο» και «τέσσερα». Έξοχα κομμάτια, μεταγραμμένα για λαούτο ήδη από τα χρόνια του συνθέτη τους, ακούγονται τώρα από την κιθάρα του Μακρυγιαννάκη και μαγεύουν. Ειδικώς το “La voluptueuse” μου θύμισε το πιο γνωστό (και μεταγενέστερο) “Plaisir d'amour” του Jean-Paulgide Martini από το 1784 (και δεν πρέπει να είναι καθόλου απίθανο ο Martini να ήταν επηρεασμένος από τον Couperin).
    Η Pop Sonata αποτελείται από τρία θέματα, τα “Intro / Impro (con sortina)”, “Quasi recitativo” και “Toccata percussiva (con sortina)” και όπως γράφει ο ίδιος ο συνθέτης είναι επηρεασμένη από το “Shine on you crazy diamond” των Pink Floyd, τις πιανιστικές μπαλάντες του Billy Joel, όπως και από ρυθμικά patterns της βραζιλιάνικης μουσικής, μαζί με το naïve στυλ των Wham. Αν και δεν ξέρω πόσο φανερά είναι όλα τούτα στα θέματα της Pop Sonata (το brazilian στοιχείo σίγουρα πάντως είναι φανερό), εκείνο που ξέρω είναι πως και τα τρία tracks διαθέτουν μιαν «άνεση» και μιαν ευφράδεια, που υπό συνθήκας θα μπορούσε να οδηγήσει σε πιο «καθημερινές» ποπ καταστάσεις.
    Στο τελευταίο μέρος, το Lapses of Light, ο Μακρυγιαννάκης κουρδίζει την κιθάρα του σε DADGAD (ρε μπάσο, λα, ρε, σολ, λα, ρε). Είναι το κούρδισμα κιθάρας που είχε κάνει ο Jimmy Pageστο “White summer” με τους Yardbirds και αργότερα στο “Black mountain side” των Led Zeppelinκ.ά. – ένα κούρδισμα, που το είχε ξεσηκώσει, φυσικά, από τον Davey Graham, που πρώτος (κατά πάσα πιθανότητα) το παρουσίασε στη δισκογραφία. Τα έξι tracks, που αποτελούν το Lapses of Light είναι γραμμένα για κάποια παράσταση χορού και εδώ ο Μακρυγιαννάκης χρησιμοποιεί και πεντάλια (looper και delay), προκειμένου να επιτύχει τα ηχοχρώματα που θέλει. Αναμφισβήτητα, πρόκειται για θελκτικές συνθέσεις, με μπαρόκ, «κλασικά», ρομαντικά και φολκλορικά στοιχεία, που ολοκληρώνουν με τον καλύτερο τρόπο αυτό το… διαφορετικό εν πολλοίς ακρόαμα.

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    R.E.M. - And I Feel Fine: The Best Of The I.R.S. Years 1982-1987 [2CD Remastered] (2006)

    Artist: R.E.M.
    Title Of Album: And I Feel Fine: The Best Of The I.R.S. Years 1982-1987
    Year Of Release: 2006
    Label (Catalog#): Capitol Records [09463-69942-2-2]
    Country: United States
    Genre: Rock, Alternative
    Quality: FLAC (tracks,cue,log,scans)
    Bitrate: Lossless
    Time: 2:34:50
    Full Size: 1.10 gb
    Upload: Turbobit

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    81RCFl6xdnL._SL1500_.jpg320 kbps | 86 MB | LINKS

    Who Do You Trust? is the upcoming tenth studio album by American rock band Papa Roach. It is scheduled to be released on January 18, 2019, through Eleven Seven Music. It will feature 12 tracks, including the lead singles “Renegade Music” and “Who Do You Trust?” The album was announced along with the release of the track “Not the Only One”.


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    Dwarfs of East Agouza…Hailing from the Agouza district of Cairo, Egypt, The Dwarfs of East Agouza consists of Alan Bishop (acoustic bass & alto sax), Maurice Louca (keyboards & drum machine) and Sam Shalabi (electric guitar). Following their acclaimed first album Bes, this new long play is composed of two hypnotic journeys: “Rats Don’t Eat Synthesizers” and “Ringa Mask Koshary” which was recorded in Cairo in September of 2015.
    …Forging their sound in the fires of psychedelia, free jazz/ improv, and electronic music, their’s is a strange song. Dissonant synthesiser loops and stabbing free-guitar work clash on Rats Don’t Eat Synthesisers’s two book-length tracks. Two tracks that are as arresting and violent musically as the works of Burroughs are literarily.

    84 MB  320 ** FLAC

    The title track’s introductory groove, a loop of hand percussion and synthesisers, lays down the pathway for the snarling lead guitar to walk. Angry as a hornet-nest, the sound tears at the consciousness. Leaving claw marks and stings in its wake. The atonal clusters of notes sound akin to Robert Quine’s – of Richard Hell and The Voidoids – playing. And by coupling that most experimentally NYC of sounds with the Africa-tinged rhythm, The Dwarfs of East Agouza have placed one foot in the New World and one in the cradle of evolution. The third foot stomps on the cosmos.

    While the groove remains steady and constant, the lead guitar varies its cacophonous riffs at sonic-speed. Firing through them after only three or four repeats of each ostinato. Listening to the seemingly thoughtless spitting of notes feels like looking for patterns in a sandstorm. But by digging through the shifting dunes, a buried temple reveals itself. And inside are chambers upon chambers of musical knowledge to discover.

    As the synthesised groove drops out, the guitar’s final flurries of riffs also give way to shots of sound: trebly clangs and electronic thumps against a descending bassline. And for the final five seconds there is only silence as the sandstorm’s dust settles down.

    “Ringa Mask Koshari,” dominates Rats Don’t Eat Synthesisers’s run-time. Before the synth’s shimmering entrance, the nebulous guitar chords and noises set an ominous tone. As if a Lovecraftian monstrosity lurked in the shadows. To herald the beat the synthesiser takes on a harsher, more processed sound. With nothing organic or lifelike about it, it instead revels in its unidentifiable fakery. Rolling in the mud of its unknown alien world.

    The beat moves from vicious to berserk, sitting at the crossroads of satanic invocation and brutalist dance music. After almost 15 minutes of battering-ram intensity, the beat recedes back into the chaotic waters it appeared from. Like Sun Ra at his most transcendent/inscrutable, Rats Don’t Eat Synthesisers ends at a high-noon apex. And The Dwarfs Of East Agouza stake a claim to their territory that is the newfound, unexplored hinterland.


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    Subject Esq - Subject Esq (1972)


    Artist : Subject Esq
    Title Of Album: Subject Esq
    Year Of Release: 1972 (2008)
    Country : Germany
    Genre: progressive rock, krautrock
    Quality : FLAC (*image + .cue,log,scans)
    Bitrate: Lossless
    Time: 73:02
    Full Size: 449,0 MB


    Pre Sahara.

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    Snafu - Situation Normal (1974)


    Artist : Snafu
    Title Of Album: Situation Normal
    Year Of Release: 1974 (1994)
    Country : UK
    Genre: hard rock, blues rock
    Quality : FLAC (*image + .cue,log,scans)
    Bitrate: Lossless
    Time: 37:39
    Full Size: 250,0 MB

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  • 12/15/18--06:01: Snafu - Snafu (1973)
  • Snafu - Snafu (1973)


    Artist : Snafu
    Title Of Album: Snafu
    Year Of Release: 1973 (2010)
    Country : UK
    Genre: blues rock, hard rock
    Quality : FLAC (*image + .cue,log,scans)
    Bitrate: Lossless
    Time: 38:51
    Full Size: 304,0 MB

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    The Traveling Wilburys - Wil-Berry Jam (2011)


    Artist : Traveling Wilburys
    Title Of Album: Wil-Berry Jam
    Year Of Release: 2011
    Label (Catalog#): Warner / Forever Music (TWPR-30240)
    Country : UK/USA
    Genre: pop rock
    Quality : FLAC (*image + .cue,log,scans)
    Bitrate: Lossless
    Time: 29:13
    Full Size: 317,0 MB


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    The Amazing World of Arthur Brown - The Voice of Love (2007)

    ...Не «Сумашедший», а «Удивительный Мир Артура Брауна». Конечно же, скромность и смирение никогда не были неотъемлемой частью артистического образа Брауна, но The Voice Of Love - возможно самый скромный альбом, когда-либо выпущенный Артуром Брауном.[DR10]

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    qzrn0k.jpg320 kbps | 116 MB | LINKS

    Somewhere along the line, artists labelling themselves “Texas Country” started gradually losing favor, with more inclusive taxons like “Americana” or “country” (or vaguer ones like “Red Dirt”) opening their doors to whomever wanted out of the Lone Star pigeonhole. But Austin-based singer-songwriter James Steinle, young as he might be, is already starting to feel like someone that could restore Texas Country’s good name for all the right reasons. Steinle’s precocious gift for detail, texture, and sense of place typically roots itself in the unmistakable environs of South and West Texas, and while such specificity has been a bit of a ball and chain to less self-aware artists in the past, Steinle takes command of it like an indispensable tour guide to places he’s clearly determined to explore, document, and understand. The names of towns, snippets of Spanish slang and bits of geographic and natural detail spur more than just a sense of recognition; there’s a real sense of place.

    This isn’t technically Steinle’s first crack at it; he released a worthwhile EP several years prior and has been a steady presence on the Austin-area roots music scene since then, workshopping the songs that make up South Texas Homecoming in whatever modest-sized venues could use an aspiring cowboy singer on an off-night. But this album’s a big step forward, sequentially and otherwise, with Steinle teaming up with producer John Ross Silva and local aces like Scott Davis, Geoff Queen and Brian Beken to breathe big, boisterous life into lived-in tunes that deserve no less. Finding a sweet spot somewhere between the gentlemanly storytelling of Max Stalling and the rough-hewn wit of Terry Allen, Steinle’s best songs (i.e., pretty much every song on this album) pull off the admirable trick of being catchy enough to earn that first listen, but with enough literate weight to reward (and sometimes even outright demand) those repeat listens. “Leavin’ Fort Worth” kicks off the album with unhurried grace; “Urban Cowboy” pairs up a downtrodden portrait with a resilient country-rock kick; and “South Texas Way” charms with a classic swing beat, some knowingly cheesy background vocals and no shortage of seemingly tossed-off charm.

    Steinle handles the moodier stuff well, too. His voice is a bit on the dry and smoky side, but he finds plenty of shades within it to give heartbreakers like “Pictures” and “Put It to Sleep” the emotional heft the lyrics deserve. It’s somewhere between a gift and a skill, something that often takes even the better writers along the Texas/Americana/whatever axis a decade or two to learn (or perhaps earn). If Steinle’s already got this sort of grip on it, he’s bound to be downright dangerous on the other side of 30. — MIKE ETHAN MESSICK


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    zzFLAC | 250 MB | LINKS

    his charming, effortlessly classy album is the final recording by John Renbourn. One of the guitar heroes of the 60s folk-baroque scene, he was a co-founder of Pentangle, along with Bert Jansch, and in recent years had been touring with another fine British guitarist and laidback singer, Wizz Jones.

    They first met more than 50 years ago, and there’s more than a dash of nostalgia in a folk-blues set that starts with a swinging revival of Big Bill Broonzy’s Hey Hey and includes the hitchhiking anthem National Seven, which appeared on Renbourn’s 1965 solo debut, along with songs by Jackson C Frank, and (of course) Jansch.

    Those who want to hear Renbourn play Bach or Satie should check out Palermo Snow from 2011. Here he’s enjoying himself with an old friend, and their collaborations on Jansch’s Strolling Down the Highway or the instrumental title track are a delight.

    Tracklist:
    1. Hey Hey (3:02)
    2. Buckets Of Rain (4:21)
    3. Glory Of Love (2:38)
    4. Getting There (3:16)
    5. National Seven (4:01)
    6. Mountain Rain (4:41)
    7. Great Dream From Heaven (6:12)
    8. Strolling Down The Highway (4:49)
    9. In Stormy Weather (2:58)
    10. Balham Moon (3:16)
    11. Blues Run The Game (3:28)
    12. Fresh As A Sweet Sunday Morning (4:31)
    13. Joint Control (5:47)


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