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    frontKasai Allstars & Orchestre Symphonique de Kinshasa
    Around Félicité
    (Crammed Discs, 2017)
    more details


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    320 bps | 150 MB | LINKS

    Known recently as the Resident Evil 7 vocalist (trailer track, “Go Tell Aunt Rhody”), Jordan is described by New Zealand’s National Radio as the pioneer of a new sound, Jordan’s music is a blend of irish/ celtic rock, steam-era machine noise, and Grimms fairytale-eske lyrics. Imagine PJ Harvey trapped in the workhouses of Industrial Revolution era England, with only Nine Inch Nails for company. This album contains the 15 songs voted by her listeners to be their favourites across all 10 of Jordan Reyne’s released albums.


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  • 06/07/17--09:30: Juana Molina - Son (2006)
  • Juana Molina - Son (2006)

    Artist: Juana Molina
    Title Of Album: Son
    Release Date: 2006
    Location: Argentina
    Label: Domino Records
    Genre: Experimental, Folk, Ambient
    Quality: FLAC (tracks+.cue) / MP3 CBR 320 kbps
    Length: 57:45 min
    Tracks: 12
    Total Size: 304 MB / 134 MB (+5%)

    Son is the fourth studio album of Argentine singer-songwriter Juana Molina. It was first released on May 23, 2006 by Domino Records. It has received critical acclaim. Son is named after the various meanings of the word in Spanish. They include: "pleasant sound", "they are", a Cuban music genre, and the unit of sound sone.

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    livret_classique_4_pagesGrand Orchestre du Tricot
    Atomic Spoutnik
    (Tricollectif, 2017)
    more details


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    Σλοβένοι, από την Λιουμπλιάνα, είναι οι Carnaval –το συγκρότημα υφίσταται από το 2004 και ηχογραφεί από το 2009 τουλάχιστον– με το “MissUniverse” να αποτελεί το πιο πρόσφατο LP του, τυπωμένο σε 300 κόπιες από τη γνωστή μας Cosmic Eye.
    Να πούμε κατ’ αρχάς πως το άλμπουμ δεν ακούγεται ως «ξένο» μέσα στον κατάλογο της εταιρείας – που μας έχει δώσει έως τώρα 16 «κοσμικά» βινύλια. Τι εννοούμε «κοσμικά»; Τίποτα το ιδιαίτερο. Παιγνίδι με την ονομασία της κάνουμε – αν και, να το υπενθυμίσουμε, η CosmicEyeείναι ένα πιστό labelτου σημερινού progressive. Ναι progressive, αυτό είναι το βασικό και από ’κει πέρα οι πάσης φύσεως επεκτάσεις του (άλλοτε με περισσότερα space ή ψυχεδελικά στοιχεία, άλλοτε με πιο hard, ή πιο μεταλλικά ή πιο πειραματικά κ.λπ.). Εδώ, στην περίπτωση των Σλοβένων, το ύφος είναι χοντρικά το stoner progressive ή αν θέλετε το «τεντωμένο» hardrock, που δεν ξεπερνάει, όμως, το όριο τού «μετάλλου».
    ajazz%2Bcarnaval.jpg
    Είναι γερό γκρουπ οι Carnaval και δεν ξέρω αν τους υποτιμώ άμα τονίσω πως οι στίχοι τους υπερβαίνουν τα των μουσικών τους. Έχουν αρκετό ενδιαφέρον, εννοώ, δίχως τούτο να σημαίνει πως είναι, σώνει και καλά, λιγότερο ενδιαφέροντες οι ήχοι τους. Τα λόγια, λοιπόν, που έχουν κάτι το πεσιμιστικό, το doomy, το ελαφρώς καταραμένο και το… αντικοινωνικό είναι το πρώτο συν. Είναι κάπως οργισμένοι οι Σλοβένοι, αλλά μ’ έναν τρόπο δημιουργικό καθότι τραγούδια φτιάχνουν δεν τα… σπάνε (μόνο… μεταφορικώς συμβαίνει κάτι τέτοιο).
    Όλα λοιπόν τα βασικά στοιχεία του σύγχρονου stoner είναι παραταγμένα εδώ… με τις δυο κιθάρες, το μπάσο και τα ντραμς να συμπλέουν σε μόνιμη βάση και με τις ελάχιστες βοήθειες (άλτο σαξόφωνο σ’ ένα track, κρουστά σ’ ένα άλλο), απλώς να υποδηλώνουν πως ό,τι συμβαίνει στο “Miss Universe” συμβαίνει για το καλό του ροκ. Του παντοτινού, καλού, σκληρού ροκ, των αμετακίνητων riffs, των στοιχειωδών αρμονιών και του βαρύγδουπου rhythm section.
    Τέσσερα κομμάτια έχει η πρώτη πλευρά και τρία η δεύτερη. Καλύτερο κομμάτι το εισαγωγικό “New shoesof mine”, που έφερε στη μνήμη μου κάτι από ζωντανούς Pink Fairiesτων μέσων του ’70, καθώς και το “Rocket”, δεύτερο στη δεύτερη πλευρά (με τα ογκώδη «σκασίματα» και τις κιθάρες σε πανικό α λα ThreeMan Army – για να θυμηθούμε τους προπάτορες και όχι τα… εγγόνια).

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  • 06/07/17--12:09: Rueda de Bullerengue
  • The new 45 from Bulla en El Barrio features two original bullerengue compositions, a chalupa and a fandango, representing two of the three rhythms and dance styles that make up bullerengue, an Afro-Colombian traditional music from the Caribbean coast. The cover art, rendered in vintage ethnomusicological LP style, depicts the instruments and accessories of bullerengue in isolation, but press play (or, even better, put a needle to the record) and you are overwhelmed with a distinct sound, feeling, and even sense of time and place.

    “El bullerengue es más que música. Es un estilo de vida” [Bullerengue is more than music, it’s a lifestyle], Carolina Oliveros, cantadora of Bulla en El Barrio told us last year, when we met to discuss the group for our program “Colombia in NYC.” Bullerengue is part of a larger family of music known as bailes cantados–sung dances, and Carolina’s riveting voice is the first thing you hear on side one, “Escudo de Tambor.” From the first plaintive notes of her introduction, we are invited into the sonic world of bullerengue: powerful, relentless drumming, punctuated with high-pitched cries of encouragement, and resounding chorus vocals that answer the lead singer’s supplications. “Escudo de Tambor,” brings us into a scene, an energy, and a history.

    In bullerengue, as in many other styles of so-called traditional music around the world, there is room for new compositions, new innovations and stylistic changes, in fact, any good group must have original compositions. One of powerful facts about this record is that these songs are original compositions, made and performed in New York by Colombians who did not grow up in the tradition of bullerengue, but have dedicated themselves to transmitting the feelings, the emotions, the sounds, sights and smells of this culture. In “Pa’ San Juan de Uraba,” written by drummer Camilo Rodriguez, Carolina cites important places in the world of bullerengue: “Desde Necoclí/ pa’ Maria La Baja/de Puerto Escondido/pa’ San Juan de Uraba,” connecting the New York- based group with the physical, spatial lineage of the genre. Carolina makes the connection even more personal with a tribute to veteran bullerengue composer Emilsen Pacheco, one of her teachers, who lives in San Juan De Urabá. He had immortalized Carolina (whose given name is Diana Herrera) in his song “Linda Barranquillera.” This completely blew her away:

    “Que un maestro te componga un bullerengue, es una vaina ahí como loca. Pues ‘pa uno es una vaina muy grande, super bonito. Entonces bueno. Yo creo que yo me sentí endeudada con el. Es un regalo que no tiene precio…”

    [It’s a crazy thing, that a master should compose a bullerengue for you! It’s a really big deal, really amazing. It’s a gift that has no price. So, I felt indebted to him.] So, Carolina included a shout-out to Pacheco in the lyrics of “Pa’ San Juan De Urabá,” “Simply to mention him, so he knows that he’s present.”

    As you might guess from Pacheco’s song, Carolina is from Barranquilla, further north on the Colombian coast than the regions that are home to bullerengue. She began her musical life as a singer in a metal band, then studied classical music at the university, where she also first performed folkloric music. But when she witnessed bullerengue at a festival, she fell in love, and dedicated herself to learning the style from the people who lived and breathed the music:

    A nadie le enseña uno el bullerengue o sea. Allá en la universidad. Uno tiene que ir a donde los que hace una cosa de verdad meterte en los pueblitos, dormir en el suelo, tomar agua cruda, enfermarte del estómago. Uno tiene que vivir esa experiencia. Yo fui allá con junto con mi otra amiga… fue que no las pasamos llorando. Pero era como un llanto de “ah” como una cosa que no sabíamos explicar porque llorabamos.”

    [“Nobody can be taught bullerengue, as such, in the university. One has to go where the thing is really done, go to the little villages, sleep on the ground, drink unfiltered water, get sick to the stomach. One has to have lived this experience. I went there with a friend. We spent the entire festival crying, but a type of crying where we couldn’t explain why we were crying.”]

    When Carolina moved to New York, she found herself in a community of Colombians as dedicated as she was to digging deeper into their Afro-Colombian cultural roots. The group has undertaken study trips back to Colombia, learning with the masters and immersing themselves in the fountain of culture from which their music springs. But, New York City is home: From sessions in the park, to a host of public performances, Bulla en El Barrio quickly became a staple here. With this record, Rueda de Bullerengue, out June 9 on Names You Can Trust, the group is also sending a message back to Colombia, and to the world: with this recording, this captured sonic instant, they are documenting an important moment in the history of bullerengue. Bulla en El Barrio proves that bullerengue has traveled far without losing its roots, and can travel further still.

     


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    Today’s edition of “Best of The Beat” provides a sidebar for our interview with Manny Anser, the director of the now-nomadic Festival in the Desert, which has been effectively homeless since 2013 due to the continuing insecurity in northern Mali. The Caravan of Peace tour made an appearance in New York in May at the Metropolitan Museum of Art, presented by the World Music Institute, with performances by the Ali Farka Toure Band, led by Afel Bocoum, and the Tuareg group Terakaft. Toure was closely associated with the festival, and so this first-time participation by his former band was a welcome continuation of his involvement.

    Afropop had followed the late, great Malian guitarist (and father of the up-and-coming artist Vieux Farka Toure) for many years, encountering him in Mali in 1993, at the 2003 Festival in the Desert and in various locations in the States. Fittingly, when Toure passed away on March 7, 2006, Afropop’s Banning Eyre wrote a personal remembrance and tribute to him, which was reprinted in The Beat Vol. 25, #2.

    READ OR DOWNLOAD PDF Beat25#2AFTobit

    To dive deep into APWW’s wealth of information on this seminal guitarist, see the following features:

    Longing For the Festival in the Desert

    Afropop Worldwide programs “Africa and the Blues,” and “Live in Niafunke”

    Africa and the Blues

    Ali Farka Toure – Live In Niafunke

    BOTB Festival in the Desert 2003 article:

    Best of The Beat on Afropop: Festival in the Desert 2003

     ABOUT “BEST OF THE BEAT ON AFROPOP”


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    320 kbps | 166 MB | LINKS

    The Rumble Man was recorded Link Wray’s UK tour of March ’96, the CD features Link rockin’ his leathers off live. What you now hold in your hand is a piece of Rock ‘n’ Roll history. In his own words and music you are about to witness the greatest guitar player this planet has ever seen. So sit back, hit that volume control to distortion and listen to The Rumble Man.

    Tracklist:

    01. Rumble
    02. Jack The Ripper
    03. Ace Of Spades
    04. King Creole
    05. Mr. Guitar
    06. Tiger Man
    07. Batman
    08. I Can’t Help It If I’m Still In Love With You
    09. Sweeper
    10. You’re So Young And Beautiful
    11. Rumble
    12. Rawhide
    13. Run Chicken Run
    14. Deuces Wild

    Bonus Tracks:

    15. Walking Down A Street Called Love
    16. Jailhouse Rock
    17. Born To Be Wild
    18. Fire
    19. MEDLEY: Mystery Train / My Babe / That’s Alright Mama / I Got A Woman
    20. I Didn’t Cheat On You


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  • 06/07/17--12:55: ANIMAL YOUTH ANIMAL - 2017



  • ANIMAL YOUTH
    a0316906645_16.jpg
    ANIMAL - 2017






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    Reggaeton Desperts Hits (20117)

    Artist: Various Performers
    Title: Reggaeton Desperts Hits
    Style: Soca, Regional Mexicano, Moombahton, Merengue, Trap Latino, Caribbean
    Release Date: 25-05-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 74 Tracks
    Size: 600 Mb / 04:32:54 Min

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    320 kbps | 176 MB | LINKS

    Tracklist:

    01. Subterraneans (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    02. Scary Monsters (And Super Creeps) (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    03. Hallo Spaceboy (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    04. Hurt (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    05. Look Back in Anger (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    06. I’m Deranged (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    07. The Heart’s Filthy Lesson (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    08. The Voyeur of Utter Destruction (As Beauty) (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    09. I Have Not Been to Oxford Town (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    10. Outside (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    11. Andy Warhol (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    12. Breaking Glass (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    13. The Man Who Sold the World (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    14. We Prick You (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    15. A Small Plot of Land (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    16. Nite Flights (At the Shoreline Amphitheatre, Mountain View, Ca 1995)
    17. Under Pressure (At the Shoreline Amphitheatre, Mountain View, Ca 1995)


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    family-atlanticaFamily Atlantica started out in Hackney, east London, and have developed an increasingly sophisticated style that echoes London’s cultural diversity. There are influences from Latin America, east and west Africa and the Caribbean here, with songs in English, Spanish, Yoruba and Portuguese. Some of the 15 tracks are remarkably brief, and the emphasis constantly changes.
    So the opening ‘Okoroba’ starts with a slinky kalimba riff and chanting vocals from the Venezuelan singer Luzmira Zerpa and ends as an exuberant, brassy clash of Latin and African styles. Then the band are off, veering from Ethiopian jazz on Enjera to a cheerful burst of calypso on ‘Neti Neti’, with the songs driven on by the west African drummer Kwame Crentsil and…

    89 MB  320 ** FLAC

    …multi-instrumentalist Jack Yglesias, of Heliocentrics fame. This colourful, rousing set also features two veteran celebrity saxophonists: the Nigerian Afrobeat hero Orlando Julius, and Marshall Allen, current leader of the Sun Ra Arkestra.


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    320 kbps | 478 MB | LINKS

    This set contains all the FM Broadcast recordings made on the US leg of David Bowie s 1995 Outside tour, which featured then nu-industrial superstars Nine Inch Nails as support. With both artists trailing new, ground-breaking albums and – despite their generational differences – with their similarity of outlook and mutual respect, it was inevitable that a mix of the Bowie/NIN sound would ensue. So with each show including full sets from the Dame and his protégés, it was the mid-concert coming together of these two far reaching acts which stole the show night after night. Including concerts recorded at The Riverport Amphitheater, Maryland Heights, St Louis, MO, on 11th October 1995 and at The Shoreline Amphitheater, Mountain View, CA, on 21st October 1995, this set features the very best of one of the most challenging and futuristic tours of the past 30 years.


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    Mariana Sadovska Songs I Learned In Ukraine Жанр : Ukrainian Folk, Drone, A Capella Носитель : CD Страна-производитель диска (релиза) : Canada Год издания : 2001 Издатель (лейбл) : Global Village Music Номер по каталогу : CD 819 Страна исполнителя (группы) : Ukraine Аудиокодек : FLAC (*.

    Тема на форуме



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    320 kbps | 105 MB | LINKS

    On their third album, U.K. roots rockers Cowbell heartily reaffirm their status as the duo that refuses to sound like a duo. Of course, it’s worth noting that on 2017’s Haunted Heart, guitarist and singer Jack Sandham and drummer and vocalist Wednesday Lyle have brought in a few ringers to handle keyboards, horns, and backing vocals, and Jack even adds a few keyboard overdubs of his own. But Cowbell are clearly less interested in flash production than in making their songs work as well as possible, and instead of aiming for a White Stripes-style primitivism, Sandham and Lyle are here to serve their melodies, and they do that very well indeed. Haunted Heart is full of top-shelf rock & roll tunes, as Cowbell make with a dance-friendly swagger on numbers like “Doom Train,” “What Am I Supposed to Do?,” and “Stop Breaking Your Own Heart,” and they can get cool and moody on “Something’s Gotta Give” and “Neon Blue.” Both Sandham and Lyle are capable vocalists, and Jack’s guitar work is just buzzy enough to confirm his garage rock bona fides while making room for his subtle but effective work as a soloist. Elsewhere, Lyle knows just when, where, and how to give the tunes the kick they need, and she reinforces the tunes with a strong but flexible touch. Haunted Heart is a poppier effort than Cowbell’s first two albums, but they haven’t changed much in terms of fundamentals; these tracks sound like they benefited from some extra time in the studio and a bit more window dressing from their guest players, but at the core this band is still having a straight-ahead rock & roll party, and anyone who digs the big beat is invited. Perhaps Cowbell are breaking the rules for a two-piece rock band, or maybe they just don’t care, but Haunted Heart is solid and satisfying stuff, and it will get your feet moving no matter how many people are on the disc or in the room.


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    Obrigad...

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    More blues from Mali and Mauritania; a Congolese non-stop classic by Sam Mangwana; Turkish Gastarbeiter folk-rock; new takes on mariachi

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