Articles on this Page
- 05/31/17--21:37: _Global A Go-Go: May...
- 05/31/17--21:38: _Dannii Minogue - Gi...
- 05/31/17--21:38: _Spector - Enjoy It ...
- 05/31/17--21:38: _Troye Sivan - Blue ...
- 05/31/17--21:38: _VA - The Blues Brot...
- 05/31/17--21:38: _Goldfrapp - Silver ...
- 05/31/17--21:38: _Boris Blank (Yello)...
- 05/31/17--22:59: _Peter Hook And The ...
- 05/31/17--23:40: _Deb Talan – Lucky G...
- 05/31/17--23:52: _Jaqee - Fly High (L...
- 06/01/17--03:30: _John Sutton Band – ...
- 06/01/17--03:33: _ROLLOVER DJS / GEOR...
- 06/01/17--04:00: _Re: [CD] José Gonç...
- 06/01/17--04:31: _Lady Antebellum – H...
- 06/01/17--05:23: _Richard Dawson – Pe...
- 06/01/17--05:44: _Bleachers – Gone No...
- 06/01/17--05:48: _Vishwa Mohan Bhatt,...
- 06/01/17--05:48: _Viswa Mohan Bhatt, ...
- 06/01/17--06:05: _Marika Hackman – I’...
- 06/01/17--06:47: _Kacey Johansing – T...
- 05/31/17--21:37: Global A Go-Go: May 31, 2017, Segment 1
- 05/31/17--21:38: Dannii Minogue - Girl (1997) FLAC (image+.cue)
- 05/31/17--21:38: Spector - Enjoy It While It Lasts (2012) FLAC (tracks+.cue)
- 05/31/17--21:38: VA - The Blues Brothers (1980) [Vinyl] FLAC (tracks + .cue)
- 05/31/17--21:38: Goldfrapp - Silver Eye (2017) FLAC (image+.cue)
- 05/31/17--21:38: Boris Blank (Yello) - Electrified (2014) FLAC (tracks+.cue)
- 05/31/17--22:59: Peter Hook And The Light – Closer – Live In Manchester (2017)
- 05/31/17--23:40: Deb Talan – Lucky Girl (2017)
- 05/31/17--23:52: Jaqee - Fly High (Lossless, Hi Res 2017)
- 06/01/17--03:30: John Sutton Band – Higher Ground (2017)
- 06/01/17--03:33: ROLLOVER DJS / GEORGE KELLY κομμάτια για χορό
- 06/01/17--04:00: Re: [CD] José Gonçalez - Improvável (2017)
- 06/01/17--04:31: Lady Antebellum – Heart Break (2017)
- 06/01/17--05:23: Richard Dawson – Peasant (2017)
- 06/01/17--05:44: Bleachers – Gone Now (2017)
- 06/01/17--06:05: Marika Hackman – I’m Not Your Man (2017)
- 06/01/17--06:47: Kacey Johansing – The Hiding (2017)
An Orchestra Baobab retrospective: four songs from four decades; new albums by Rafiki Jazz and Omar Souleyman; veteran Ethiopian singers Alemayehu Eshete and Girma Beyene are back; Colombian fandango meets Trinidadian calypso
Artist: Dannii Minogue | Album: Girl | Released: 1997 | Genre: Pop, Dance
Artist: Spector | Album: Enjoy It While It Lasts | Released: 2012 | Label: Fiction Records | Catalog #: SPECT08 | Genre: Rock, Indie Rock
Artist: Troye Sivan | Album: Blue Neighbourhood (Target Deluxe Edition) | Released: 2015 | Label: Universal Music Australia Pty Ltd. | Catalog #: 602547616753 | Genre: Pop
Artist: VA | Album: The Blues Brothers | Released: 1980 | Genre: Blues, Rock | Country: USA | Duration: 00:40:15
Artist: Goldfrapp | Album: Silver Eye | Released: 2017 | Genre: Electronic, Synth Pop
Artist: Boris Blank (Yello) | Album: Electrified | Released: 2014 | Label: Blank Media | Catalog #: INK3 | Genre: Synth Pop
320 kbps | 219 MB | LINKS
Previously Unreleased live recordings from Peter Hook & The Light! Peter Hook and The Light are an English rock band, formed in May 2010 by the former Joy Division and New Order bassist, Peter Hook. The band also features Hook’s son Jack Bates (bass), as well as David Potts (Guitar), Andy Poole (keyboards) and Paul Kehoe (drums), who both played with Hook as part of Monaco, one of Hook’s previous groups. This excellent recording from Manchester in 2011 comprises the album Closer in its entirety plus selected tracks including such favorites Transmission , These Days and Love Will Tear Us Apart.
02. Dead Souls
04. From Safety To Where…?
05. Atrocity Exhibition
09. A Means To An End
10. Heart And Soul
11. Twenty Four Hours
12. The Eternal
14. These Days
15. Ice Age
21. Love Will Tear Us Apart
320 kbps | 106 MB | LINKS
Deb Talan, one half of beloved folk/pop duo The Weepies, will release a new solo album called Lucky Girl on May 12th. Lucky Girl sees Deb taking the time to reclaim herself both personally and professionally after dedicating over a decade to a successful career with her husband and musical partner Steve Tannen, having three children, and most recently, beating Stage 3 breast cancer. Today, she shares a taste of the album with song “Growing Up,” a reflection on the emotional push and pull between parent and young child as time passes.
Lucky Girl was recorded in The Weepies home studio in Iowa City, with Deb playing every instrument herself. The 12 gorgeous songs on the album showcase Deb’s undeniable pop sensibility, her signature confessional writing, and of course her unmistakable voice.
Альбом: Fly High
Дата выхода: 2017
Категория(и): R&B (Nu Soul) Reggae World
Дата выхода: 2017
Формат: FLAC, (tracks) 24 bits, 44,1 KHz, Lossless
320 kbps | 105 MB | LINKS
1. My Whole World (3:54)
2. Love On You (5:03)
3. Higher Ground (4:43)
4. Don’t Think About You Anymore (2:45)
5. One Sided Blues (4:43)
6. Fly Me Away (4:25)
7. Backwood Tennessee Blues (4:50)
8. Baby Don’t Go (5:08)
9. Roll With The Punches (3:20)
10. The One Who Loves You (3:26)
320 kbps | 106 MB | LINKS
1. Heart Break
2. You Look Good
3. Somebody Else’s Heart
4. This City
7. Good Time To Be Alive
8. Think About You
9. Big Love In a Small Town
10. The Stars
11. Teenage Heart
320 kbps | 138 MB | LINKS
There’s a moment in the pastorally-toned ‘Ogre’, the lead track of Richard Dawson’s new album Peasant, when his discordant strumming and cracked vocals shift into a falsetto that sings a nautical poetry in counterpoint to an elegiac chorus of female voices declaring “When the sun is climbing…” Beneath it is a foundation of all manner of other instruments plucked and rattled, and in this moment he summons the scent of salt, the sound of shale shifting in the undertow, the sun playing across the shimmering North Sea like a rising shoal of herring drawn to its warming spring rays. Overhead, a lone seagull hovering between sky and shoreline. The centuries unravel and time slips away.
Yet just beneath the surface of the song is an underlying darkness that is only hinted at, a gnawing anxiety revealed in fleeting glimpses until the choir of ragged voices become hypnotic and siren-like as they lure the listener in with their strange incantation, and it becomes apparent they may actually be singing “When the sun is dying…” while Dawson tells of ebbing tides and summons MR James-esque landscape horror images such “in the face of the cliff, a ghastly doorway”. It’s a song that shipwrecks the mind, body and soul.
It’s this duality between not only light and dark but worlds ancient and modern that makes Dawson such an arresting and unconventional songwriter, and where his possible genius lies. This deep unease was previously most obviously discernible in his career highlight, ‘The Vile Stuff’, from 2014’s Nothing Important, in which Christ’s apostles are resurrected during a calamitous school trip in Northumbria that is haunted by a spirit unleashed by a group of Year Seven boys to wreak havoc and injury. Like a Hogarth or Bosch painting it was intense and chaotic in its exploration of man’s dark side, yet it was a hilarious and absurdist miniature epic too, Dawson delivering comic couplets with the wit and timing of a working men’s club turn who has honed his craft between the magician and the meat raffle: “My neighbour Andrew lost two fingers to a Staffie-cross / Whilst jogging over Cow Hill with a Pepperami in his bum-bag”.
Each response to music is of course utterly unique, but when I listen to Peasant, Dawson’s strongest and most accessible album to date, the eleven odd and beguiling pieces unleash a flood, a rush, a deluge of images, ideas and memories that are almost Proustian in their transportative power. I think of English town criers, stone-age men cracking rocks together, The Flumps. I’m reminded of the violence-inducing properties of Newcastle Brown Ale, the fractured poetry of Beefheart’s ‘The Dust Blows Forward N’ The Dust Blows Back’, the verses of writer Tom Pickard. I recall Winstanley, Ewan MacCall’s radio documentaries and Tom Waits’ ‘Jockey Full Of Bourbon’. In my mind I am reliving Jossy’s Giants, The Young Tradition, Moondog, Super Gran, Hasil Adkins. I am knee-deep in the autumnal mud of The Hoppings annual fair on Newcastle Town Moor or hearing birdsong on Holy Island at the height of summer. I am recalling the Third Ear Band, Viz circa 1988, Laura Cannell’s Simultaneous Flight Movement, obscure 90s skiffle-pop band Zuno Men, ‘Janitor Of Lunacy’ by Nico, comedian Bobby Thompson, Bogshed and the work of Oliver Postgate, Bert Jansch and Penderecki’s ‘Threnody For The Victims of Hiroshima’. I close my eyes and see school trips to Beamish museum, the paintings of Bruegel the Elder, a tumbleweed of candy floss wheeling through a dirty puddle in derelict Whitley Bay amusement park Spanish City.
320 kbps | 103 MB | LINKS
Producer, songwriter, and fun. band member Jack Antonoff’s solo project, Bleachers, has never been everyone’s cup of tea. From the moment “I Wanna Get Better”, the first single off Bleachers’ debut record, Strange Desire, dropped in 2014, critics bemoaned the over-dramatic sincerity, embrace of capital-F Feelings, and extremely synthy, saccharine production. But there should be no inherent shame in obvious and emotional music, and Bleachers’ best songs, like “I Wanna Get Better”, feel like an IV pumping vibes of “I understand and I’ve been there and you’re going to be okay” right into the bloodstream.
On Gone Now, the follow-up to Strange Desire, Antonoff dives even further into his impulses and desires, and the end product is much more ostentatious and much less cohesive than his best work.
Let’s start with the good. Single “Don’t Take the Money” is exactly what you come to Bleachers for: romantic pleading, noble desperation, and pure unabashed effusion. The song knows what it’s doing and does it well, with pounding synths and swooning ’80s theatricality. It’s too much — of course, it’s too much — but that’s why it’s so great. “Don’t Take the Money” is a tasty meal complete with all the food groups: candy, candy canes, candy corn, and syrup.
The rest of Gone Now fares less well. With Bleachers, Antonoff strives to honor and emulate heroes like Peter Gabriel, Billy Joel, and fellow Jersey boy Bruce Springsteen, and he often goes overboard on epic drama at the expense of the actual music. Take “Goodmorning” for example, where he tries to evoke the feeling of being a good boy in real America to the tune of a jaunty piano and some curious, echoey call-and-response oh-ohs. It’s more than a little too Sesame Street, and lines that strive to be poignantly specific fall flat: “I lied to your face in the summer/ I had my hair short then.”
There are essentially two themes on Gone Now: nostalgia and love. Other people’s love always looks a little empty, a little too simple from the outside, so you can hardly find fault with Antonoff for being bold enough to follow the song of his heart on tracks like the exuberant wish-fulfillment anthem “Let’s Get Married” and “All My Heroes”, which sees Antonoff taking several pages from U2’s book. The results, however, laden as they often are with unsubtle production choices like super bouncy horns, elaborate synth marathons, and background choirs, often end up cloying.
Vishwa Mohan Bhatt, Jie-Bing Chen, Béla Fleck – Tabula Rasā (1996) [Reissue 2001]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 54:21 minutes | PDF Booklet | 2,19 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | PDF Booklet | 903 MB
Foremost innovator on the banjo, Béla Fleck is joined by Hindustani master V. M. Bhatt and Chinese virtuoso Jie-Bing Chen in a collaboration that begins with a clean slate and culminates in a masterpiece of synthesis. Adding poignant but subtle coloring to this unique work are Hindustani flutist Ronu Majumdar and violinist Sangeeta Shankar, as well the Karnatak percussionist Puvalur Srinivasan on mridangam.
Another in the series of successful and intriguing collaborations involving adventurous Hindustani musician Bhatt. This time it’s American banjo wizard of the genre crossing variety, Bela Fleck, joining Bhatt along with Chinese erh-hu virtuoso Tie-Bing Chen. They are accompanied by Sangeeta Shankar on violin as well as Ronu Majumdar’s flute and the percussion of P. Srinivasan. Spontaneous artistic creativity that defies geography and categories.
02. Emperor’s Mare
03. Radha Krsna Lila
04. John Hardy
05. Tabula Rasa
07. The Way Of Love
08. Earl in Shanghai
09. Water Gardens
10. The Jade Princess
11. The Dancing Girl
Béla Fleck – Banjo
Vishwa Mohan Bhatt – Mohan veena
Jie-Bing Chen – Erhu
Ronu Majumdar – Bansuri
Sangeeta Shankar – Violin
Poovalur Sriji (Srinivasan) – Mridangam
Viswa Mohan Bhatt, Jerry Douglas, Edgar Meyer – Bourbon & Rosewater (1995) [Reissue 2001]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 42:44 minutes | Full PNG Artwork | 1,9 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full PNG Artwork | 738 MB
Jerry Douglas (dobro) and Edgar Meyer (upright bass) are two of the finest musicians to come out of Nashville in recent years, with their roots in country/bluegrass and classical/jazz respectively. In this recording with V.M. Bhatt, they together explore commonalities and parallels between bluegrass and Hindustani music, proving that the High Lonesome ethos is universal.
Only slightly less essential than A Meeting by the River, his Grammy-winning 1993 collaboration with Ry Cooder, this album pairs legendary Indian guitarist Vishwa Mohan Bhatt with new grass pioneers Jerry Douglas and Edgar Meyer. It’s an oddly endearing Bengali-gone-bluegrass experiment in fusion few might expect to work, but once those lightning-fast fingers start blazing away on chord progressions that seem to originate in some strange universe halfway between Nashville and nirvana, all preconceptions are blown right out the window. Dizzying solos make this an imaginative masterpiece.
01. Bourbon & Rosewater
02. Gypsies from Rajasthan
03. Overtones & Stained Glass
04. Bent Notes of the Bauls
05. Many Miles from Home
07. Desert Winds
08. Mississippi Mud
Jerry Douglas – dobro
Edgar Meyer – upright bass
V.M. Bhatt – mohan veena
320 kbps | 148 MB | LINKS
It’s amazing how the floodgates open when you shut out all the internal and external noise, stop pandering to stereotype, cease listening to your anxieties, and disregard the compartment society has built for you. I’m Not Your Man, the Charlie Andrew (Alt-J, Rae Morris)-produced second album from Marika Hackman, begins with an impromptu hearty laugh. It’s not the sound of silliness; it’s the sound of liberation, spontaneity, and joy. 24-year-old Hackman is feeling more herself than ever. Life isn’t necessarily funnier or happier, but when there’s cause for a joke or a big ballsy statement, she’s not holding back any more.
The album took almost 18 months to complete, during which time Hackman switched to a new manager and a new label, transitions that yielded new avenues for exploration, a lot of time, and a lot of distance – mainly, she insists, from self-imposed boundaries. “I used to be very self-conscious,” explains Hackman. “If something sounded a bit too pop or like I’d heard it before I’d mold it into something different. This time around I thought, ‘fuck it, I’ll just let it flow.’”
The results of this semi-anarchic approach are evident in the grungier, catchier sonics of I’m Not Your Man, and the lyrics, which reveal an unhinged and shamelessly free Hackman. There’s an open-ended nature to the lyrics, which delve into femininity, sex and sexual identity, millennial ennui, the pressures of living in a social media bubble, and the perils of being young in a fast-paced industry. “The record’s all about female relationships, romance and breakdowns, but there’s also a dim worldview going on. ‘I’m Not Your Man’ can either mean ‘I’m not your man, I’m your woman,’ or it can mean ‘I’m not a part of this.’”
Hackman cranked up the knobs in the studio, turning away from the quieter sounds of her past to realize her teenage fantasy of fronting a raucous band. “I wanted to let rip and lose control. When I was younger I wasn’t looking at Joni Mitchell. I was looking at Nirvana thinking, ‘I wanna be like that!’” To channel this feral female energy, Hackman recruited London quartet The Big Moon as her backing band. The results are a dynamic, multi-genre album tied together by razor-sharp wit. The sounds span from Cate Le Bon weirdness to Warpaint dirge jams to straight-up Britpop choruses. “People were saying it was a mash-up between Radiohead, Blondie and The Cure,” laughs Hackman, self-mockingly. “I can’t wait to see the reaction,” she says. “That’s the thrill of reinventing yourself. I might piss off a lot of die-hard folky fans but this is still my brain, it’s still my world, and I’m gonna create it how I want.”
320 kbps | 103 MB | LINKS
It seems great opportunities come in blessings as well as tragedies,” Kacey Johansing sings on the title track of her third album, The Hiding. After the breakup of her band Yesway, and an abrupt falling out with her closest musical collaborator, Johansing set out to record a new batch of songs that resulted from the sea change in which she had now found herself.
Instead of drawing from her regular band, Johansing pulled from a wider cast of players that she’d come to know in the community of musicians throughout California and the West Coast. The resulting sound is one based wholly and unabashedly in pop. Nods to Christine McVie and Fleetwood Mac can be heard, but Johansing brings these sounds to a modern stage, blending her ethereal vocals with effervescent synthesizer washes and reverberating open-tuned guitar.
Recorded at Panoramic House in Stinson Beach, where Kacey worked as caretaker, as well as at home in Bolinas, on a ridge above the cloud layer in Big Sur, and at a friend’s studio in Portland, the album also serves as a document of Kacey’s time spent traveling in search of the sound she was after. After finishing initial tracking, and still reeling from the heartbreak of losing her musical community, Johansing found a necessary move was in order. Landing somewhat-blindly in Los Angeles, she continued to work on the album and hold it close. The end result is The Hiding, a tone poem about loss, growth and “leaving the insular beauty of a tight-knit community,” as Johansing describes it. The release of The Hiding comes at a time when Johansing is deeply longing to emerge from her extended absence and reconnect with her desire to create and share her music.
“The Hiding” is set for release June 2 on Night Bloom Records, a brand new label Johansing founded with Real Estate’s Alex Bleeker and longtime-friend and songwriter Jeff Manson.