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    Planetshakers - Heal Our Land (2012) FLAC (tracks+.cue)
    Artist: Planetshakers | Album: Heal Our Land | Released: 2012 | Label: Integrity Music | Genre: Rock, Christian Rock

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    Sam Smith - In The Lonely Hour (Target Deluxe Edition) (2014) FLAC (tracks + .cue)
    Artist: Sam Smith | Album: In The Lonely Hour | Label: Capitol Records | Catalog #: B002057502 | Released: 2014 | Genre: Pop, Soul | Country: England | Duration: 00:53:11

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    Recondite - Placid [2xCD] (2015) FLAC (tracks+.cue)
    Artist: Recondite | Album: Placid | Released: 2015 | Label: Absurd Recordings | Catalog #: ATCD-06 | Genre: Electronic, Techno

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    Harry Gregson-Williams - Prince Of Persia: The Sands Of Time (2010) FLAC (image+.cue)
    Artist: Harry Gregson-Williams | Album: Prince Of Persia: The Sands Of Time | Released: 2010 | Label: Walt Disney Pictures | Catalog #: 5099964016825 | Genre: Score, Soundtrack

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    Gas - Narkopop (2017) FLAC (tracks)
    Artist: Gas | Album: Narkopop | Released: 2017 | Label: Kompakt | Catalog #: KOMPAKT CD 136 | Genre: Ambient

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    Jay-Z - 4:44 (2017) FLAC (tracks)
    Artist: Jay-Z | Album: 4:44 | Released: 2017 | Label: S. Carter Entreprises / Roc Nation | Genre: Rap, Hip-Hop

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    FLAC | 816 MB | LINKS

    Emerging, literally, from the streets of Milwaukee, Wisconsin, where they gained notoriety through busking, this strange trio led by guitarist-vocalist Gordon Gano became a cult favorite with their self-titled debut album in 1983. Influenced greatly by Jonathan Richman’s Modern Lovers, the Femmes’ minimalist sound pitted Gano’s low-volume electric guitar against Brian Ritchie’s acoustic bass guitar and Victor De Lorenzo’s ashcanlike homemade drum kit–all of which only served to make Gano’s angst-ridden adolescent tirades more arresting. Highlights here are the rockabillyish “Gone Daddy Gone,” the snotty “Kiss Off,” and the emblematically nervous “Blister in the Sun.”

    Rhino Records, in all of its infinite wisdom and cash flow, has reissued this classic album in a new two-disc format that includes extras galore, and I’ll talk about that in a second. But let me just make one more plea for the original ten tracks: This, my friends, for better or worse, was the birth of emo. Argue all you want to about your DC punk scene and all that-the Femmes proved that you could be honest about your emotions and still rock out, and that playing soft music to express sadness was the coward’s way. I bristle every time I hear someone claiming that the Femmes weren’t an accomplished group of musicians-hearing this record now in remastered form just brings home how radical their interplay was. Gano’s acoustic guitar work touches on folk and country and surf and reggae, but ends up sounding harder than hardcore; Brian Ritchie’s touch on his acoustic mariachi bass is right in the pocket on the ESP tip. And the drumwork by Victor DeLorenzo is often derided-even the liner notes say he’s “not exactly Buddy Rich”-but I find it deep and jazzy and heroically atypical. Plus, he was the guy who did “Boom-boom! Boom-boom!” For which he shall live forever in my heart.

    So when a band sings about being sad but does so in a way that kicks total ass, they owe a big fat debt to my Femmes, even if they’re too young or too callow or too stupid to know it. I revel in their triumphs: Ritchie’s extended bass solo on “Please Do Not Go” and his xylophone studliness on “Gone Daddy Gone,” the sound that DeLorenzo on his “tranceaphone” (a floor tom with a metal basket on top), Gano’s aching breaking voice suspended over that flat-out new wave groove. Essential. All-time Top 10.

    Okay, so if you already have this album, why should you drop more dimes for this new version. I already mentioned that it’s been remastered, but it already sounded pretty ace, so that’s not really it. I’ll start with the extras: Disc One contains not only the original ten songs, and the two singles that have been attached to it in every CD reissue (“Ugly” and “Gimme the Car”, both of which might as well have been on the first record), but demo versions of six of the album’s songs, including a nice gentle “Blister in the Sun,” a deranged solo from Ritchie on “Please Do Not Go”, and nearly identical versions of “Kiss Off” and “Confessions”. What strikes me is how well-formed these songs were from the beginning, even though most of them were written and recorded when Gano was barely out of high school. That’s what honing your craft by performing on the street in cold square Milwaukee will do for you; it’s no wonder that James Honeyman-Scott plucked them off the curb and had them open for the Pretenders that fabled night.

    The first disc also includes three more obscure songs in their demo versions: “Girl Trouble” is a freaky country blues featuring the splendidly childish refrain: “Girl trouble / Up the ass!” The ominous “Breakin’ Up” would have been an instant classic if it had ever been on an album, and “Waiting for the Bus” is a song that any of us could have written but just never bothered: “Let’s call the mayor / Let’s complain / Looks like the city’s done it to us again / Tied up in traffic / Whatta ya know / This damn city bus moves so slow”. When they lapse into a crappy little bus-board skit, you’re in heaven . . . or Milwaukee, which could maybe just be the same thing.

    And then there’s disc two, the real treasure here. It’s 56 minutes of the band live, all recorded before the album really broke nationally. The first two sets are absolutely revelatory; they’re recorded in small Milwaukee clubs in front of with-it cult audiences, and prove without a doubt that these three guys couldn’t be beat in any small venue in the world. They’re loose and sloppy, they’re out of tune, Gano forgets his own lyrics, they make fun of each other and their audience constantly-and they’re mesmerizing. Listen to their version of Hallowed Ground‘s “Country Death Song”—the one with the classic couplet “I threw my child down a bottomless pit / Screamin’ as she fell, but I never heard her hit”—and marvel at the Chet Atkins breakdown in the middle, and giggle along with the audience at Ritchie’s aside: “This is sad stuff! You people are macabre!” You also get the silly little “Her Television” and the even sillier and littler “How Do You Say Goodbye” with its classic guitar solo and whispered “Hey! Hey!” background vocals, which have never been released before.

    The next set illustrates the truth that the Femmes weren’t cool enough for New York City—which, of course, proves that they were way too cool. This Folk City performance is received by the Big Apple hipsters like a shower of tacks for a couple of tracks, but they eventually catch the vibe after a furious electrified version of “Promise” with a bass solo that might be Brian Ritchie’s finest recorded moment. And it’s pretty clear that some of the crowd had heard “Add It Up” before, as they keep interrupting Gano’s opening “Day / After day” like true Femmes-loving smartasses. The ensuing chaos takes up the better part of six minutes, and I’m surprised that Wang Chung and Mr. Mister even happened after this performance. What happened to America?

    And it closes with one of the cooler things this fan has ever heard: a live radio interview and performance hosted by Michael Feldman from 1982. Yes, it’s that Michael Feldman, host of NPR’s “Whattaya Know”, in his previous incarnation as a midday AM jock in Madison-and yes, he was just as corny and cool then as he is now. He introduces “three young men who play acoustic rock and roll”, takes his time with each one; they are revealed as really nice Wisconsin guys who briefly ruled the world, and who still rule a lot of our hearts. After that, the incendiary “Kiss Off” that follows (is Madison the only place in 1982 where “Kiss Off” could have been played live on the radio?) feels like icing on the cosmic cake that is this perfect reissue.

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    Νομίζωπως έχουμε τοτρίτο άλμπουμ τωνMachine Mass, που είχανξεκινήσει ως Machine Mass Trio, το 2011, με το“As Real as Thinking”, γιανακολουθήσει τοάλμπουμ τους (ως σκέτο Machine Mass) με τον Dave Liebman το 2014, πριν φθάσουμε στο παρόν “Plays Hendrix” [MoonJune, 2017], εκεί όπου τα δύο βασικά μέλη των Machine Mass, o κιθαρίστας Michel Delville (γνωστός μαςκαι από τους Wrong Object) και ο ντράμερ Tony Bianco συνεργάζονται μετον κιμπορντίστα Antoine Guenet στην παρουσίαση των ψυχεδελικών τραγουδιών τού Jimi Hendrix από τα late sixties. Και ταεννέα tracks, που επιλέγουν εδώ να διασκευάσουν οι Βέλγοι, είναι γνωστά τοις πάσι (“Third stone from the sun”, “Purple haze”,  “Little wing”, “Spanish castle magic”, “Fire”, “Voodoo chile”, “Burning of the midnight lamp”, “You got me floatin’”, “The wind cries Mary”) και άρα το μόνο που απομένει είναι να δώσει τογκρουπ το προσωπικό του στίγμα. Το δίνει; Και με το παραπάνω!
    Οι Βέλγοι είναι πολύ καλοί μουσικοί, κάτι γνωστό από καιρό. Και από τη δισκογραφία τους εννοώ, και από τα live (δεν ξεχνάμε τις ελληνικές εμφανίσεις των Wrong Object π.χ. στο πάλαι ποτέ Μικρό Μουσικό Θέατρο στο Κουκάκι, όσο και στο Euro-Jazz στο Γκάζι, το 2008). Έτσι, ως καλοί και διαβασμένοι παίκτες με αποδεδειγμένη τρανή έφεση στον «ήχο του Canterbury» και γενικότερα στο euro-fusion των seventies, οι Machine Mass προχωρούν σε σοβαρές versions, προβάλλοντας και τον «δικό τους» τρόπο, και τα τραγούδια του Hendrix, που, εν πάση περιπτώσει, δεν έχουν κάποιαν ιδιαίτερη ανάγκη για να προβληθούν… και δεν υπονοώ κάτι εδώ. 
    Οι Βέλγοι μπορεί να «φεύγουν» με τις διασκευές τους, αλλά δεν ξεχνούν να επιστρέψουν πάλι-και-πάλι τοποθετώντας τις «απόψεις» τους μέσα στο αναμενόμενο πλαίσιο. Κάνουν πολλά δικά τους –αυτό είναι αλήθεια–, αλλά πάντα βρίσκουν τον τρόπο για να είναι εκεί όπου πρέπει την πιο κατάλληλη στιγμή. Δεν πρόκειται θέλω να πω για τυπικές διασκευές, αλλά για κομμάτια που προτείνουν τελείως διαφορετικές εισαγωγές ή και μέρη διαφορετικά (μέσα στη ροή του κάθε κομματιού), ενώνοντας τα καινούρια patterns με τα κλασικά και από αιώνες αναγνωρίσιμα. Τούτο δίνει στους Βέλγους πολλά bonus, καθώς από τη μια μεριά αποδεικνύονται «μανούλες» στο Canterbury fusion(στυλ Quiet Sunας πούμε), ενώ από την άλλη δείχνουν πόσο έχουν πιάσει τον παροξυσμό των originals καταφεύγοντας, επίσης, σε… ανατριχιαστικά σόλι, δίχως να μεταβάλλουν τη βασική ροή των κλασικών.
    Είναι δύσκολο αυτό που επιτυγχάνουν, εδώ, οι Machine Mass, και θα πρέπει κανείς να τους ακούσει στο “Purple haze” φερ’ ειπείν, με την «κουφή» πιάνο-ντραμς δίλεπτη εισαγωγή, πριν αρχίσει να σκάει το γνωστό σχήμα και στη συνέχεια το κιθαριστικό «τραγούδι» – καθώς οι Βέλγοι δεν διαθέτουν τη βοήθεια της φωνής. Κάθε, δε, κομμάτι αποτελεί και μιαν έκπληξη, με το “Spanish castle magic” να εντυπωσιάζει, όχι μόνο με τις πενιές τού Delville, αλλά και με το… χειρουργικό μπασαδερό πληκτρονικό background που υψώνεται σ’ ένα δεύτερο επίπεδο και που στέλνει το κομμάτι στη στρατόσφαιρα. Φοβερό! Φοβερότερο όμως είναι το “Fire”, που μοιάζει ιδανικό και σαν αλλαγή! Ακόμη πιο εντυπωσιακό ρυθμικό τμήμα, και μια κιθάρα να «ουρλιάζει» διαρκώς και να σπαρταράει, με το “Voodoo chile” που ακολουθεί να προβάλλει ένα ηλεκτρικό fusion, κατ’ ευθείαν βγαλμένο από το “Spectrum”του Billy Cobham, με τους τρεις παίκτες να παίζουν… εν καμίνω.
    Φοβερό tribute, άλλης πάστας, που θα σε σπρώξει να ξαναρίξεις στο πλατώ τουλάχιστον το “Axis: Bold as Love”.

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    Theologos Gryllis - Chabouna Jazz (2001) FLAC

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    320 kbps | 102 MB | LINKS

    Nashville native makes a case for stardom with stacked ten track country debut.

    It s often hard for children of successful musicians to become successful themselves and yet after a decade of working as an in-demand songwriter both abroad (Raquel Castro, Morgan Evans) and in Nashville ( Circles from Jana Kramer and Lights Down Low from Jessie James Decker – both radio singles at the writing of this review), Alyssa Bonagura is ready to take the world by storm with her diverse just-released new album Road Less Traveled.

    The album opens with a pair of exquisite tracks. The Sheryl Crow-like Comin Up From The Underground and lilt-y ballad Imagination. The former track is a perfect tempo-filled, arena ready album opener while Imagination has an earthy, Celtic melodic underpinning which recalls the great records of Patty Griffin and Mary Chapin Carpenter. An edgier folks-y country song which suggests Bonagura is anything but a pop tart. As if to hammer this point home, this album s first single Rebel, showcases a powerful artist with one of the best lyrics of 2016 . Rebel is a song with a chorus refrain I m a rebel with an unknown plan, I m a believer trying to figure out who I am. This is the kind of simple power ballad (which features piano, strings, acoustic bass and guitar) which constantly poured out of the Brill Building in NYC all those years ago. It s also one of five songs here which are solo compositions from the multi-instrumentalist, songwriter and producer.

    As an instrumentalist, Bonagura plays 8 different instruments in addition to all the vocals of Crying, a haunting, harmonica-laced ode to loneliness that can be found anywhere, even if you re a popular figure. It s a showcase for how depression can hit even the people who seemingly have it all together. The title track is another introspective piece about finding your own path, even if it s one that s not the same path as everyone else. This is a song for the awkward and the independent amongst us. It s an artist s song and one that certainly feels like a mission statement from Alyssa Bonagura herself.

    The sweet I Wanna Marry You is another song that s as simple and saccharine sweet as Paul McCartney s Silly Love Songs and that s what s striking about Alyssa Bonagura s work throughout the duration of Road Less Traveled. She s working on a level that few debut artists work on. This is a record which deserves to be listened to over and over and over again. This is a record from an artist at the top of her game.

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    David Orlowsky Trio – Paris • Odessa Жанр : Klezmer, World Music Год издания диска : 2017 Издатель (лейбл) : Sony Classical Аудиокодек : FLAC Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 51:28 Источник : Треклист : 01.

    Тема на форуме

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    Artist: Les Hurlements d’Leo
    Title: Temps Suspendu
    Year Of Release: 2006
    Label: Madame Léo
    Genre: Chanson, Rock, Alternative
    Quality: MP3 320 Kbps
    Total Time: 49:16
    Total Size: 176 Mb

    01. Les poles (03:47)
    02. I’m a freak (04:31)
    03. Les viperes aux poings (03:20)
    04. Des tigres & des pantheres (03:41)
    05. Bulle (03:50)
    06. Mon spectacle debile (03:33)
    07. L’addiction (03:05)
    08. Viatique (04:17)
    09. Il (03:25)
    10. (04:15)
    11. Au temps suspendu (02:52)
    12. Toujours (05:12)
    13. Fleur (03:34)

    The post Les Hurlements d’Leo – Temps Suspendu (2006) appeared first on MusDL.

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    Artist: Nadishana Trio (Vladiswar Nadishana, Armin Metz & Steve Shehan)
    Title: Far&Near
    Year Of Release: 2013
    Label: Sound Microsurgery Department
    Genre: Jazz / World / Fusion
    Quality: FLAC (tracks) / MP3
    Total Time: 01:14:39
    Total Size: 430 MB / 172 MB

    01. Water Song [6:06]
    02. Vita Brevis Ars Longa [6:50]
    03. Sanskar Valley [3:07]
    04. Telling Fields + Kuzhebarsko Horo [7:10]
    05. Far&Near [4:16]
    06. Overtone Story [4:40]
    07. Gurgang [2:13]
    08. Hidden Door [5:40]
    09. Vast Land [6:44]
    10. Mouthbow Solo [3:15]
    11. Riding North [6:36]
    12. Tempus Fugit [5:04]
    13. Urhat [7:01]
    14. Child on a Beach [4:08]
    15. Dodona [1:42]

    The post Nadishana Trio – Far&Near (2013) appeared first on MusDL.

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    Artist: Web of Sunsets
    Title: Chaos Waltz
    Year Of Release: 2017
    Label: Moon Glyph
    Genre: Folk, Indie, Dreampop, Psychedelic, Female Vocal
    Quality: 320 / FLAC (tracks)
    Total Time: 34:29
    Total Size: 103 / 191 Mb

    01. Chaos Waltz (02:21)
    02. Crimson (03:19)
    03. Light Again (02:20)
    04. What Breaks (03:41)
    05. Trip (03:02)
    06. Downtown (04:19)
    07. Jacket (04:35)
    08. Silver Bay (05:27)
    09. You Feel Like Going Home (05:25)

    Web of Sunsets is a trio crafting pastoral psychedelic folk and wistful acid country tunes. Their sonics aptly compare to sepia-soaked memories or the final golden hour of sunlight. Webs is a uniquely collaborative project in that all three members (Sara Bischoff, Sarah Nienaber and Chris Rose) split duties between penning songs, playing guitar and singing across their catalog. Writing their fourth album, "Chaos Waltz", the band was geographically split between Portland and Minneapolis, giving each songwriter even more autonomy and freedom to hone their particular vision. Blending and coalescing these three minds resulted in "Chaos Waltz", a beautiful album of their distinctly dreamy and emotive power.


    The post Web of Sunsets – Chaos Waltz (2017) appeared first on MusDL.

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    Artist: Ryo Kawasaki
    Title: Sweet Life
    Year Of Release: 1996
    Label: Videoarts Music
    Genre: Jazz / Smooth Jazz
    Quality: FLAC (tracks) / MP3
    Total Time: 48:55 min
    Total Size: 307 MB / 111 MB

    01. Sweet Life
    02. Chapel of Love
    03. I Found You
    04. Together
    05. I Like the Way You Are
    06. Promise
    07. Will We Meet Again
    08. Again
    09. You’re the One
    10. Sweet Life / Epilogue

    One of the dangers anytime an artist decides to forgo the organic approach and back his primary instrument with electronic effects is relying too much on the machinery. Fortunately, Ryo Kawasaki, as strong a producer as he is a lyrical electric guitar master, makes sure his silky urban rhythms on Sweet Life are simply an enhancement, rather than a burden, to his fluid lines. Whether the track is straight-out funk, smooth late-night seduction, or a loping ride like the title cut, his hypnotic synth lines simply set the mood. Kawasaki’s plucky, winding way with a melody is textured over that, working its way toward varying degrees of emotional resonance. While the fully plugged-in mode carries the majority of the collection, Kawasaki earns his most memorable kudos for the simple and sparse acoustic gems, a lush cover of Janet Jackson’s "Again" and on "Sweet Life," which improvises a flamenco-like edge over fingersnap percussion that sounds more real than machine-generated. Another edge he gives himself over the competition is his admirable aversion to outside lead instruments like acoustic piano or sax. When a performer advertises a guitar in the forefront, it’s nice to see him deliver the goods without any distractions. — Jonathan Widran


    The post Ryo Kawasaki – Sweet Life (1996) appeared first on MusDL.

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    320 kbps | 110 MB | LINKS

    Their much-anticipated return to the music world begins July 7 with the release of Our Favorite Joints, a new collection that treats audiences to the rich vocal harmonies and soulful delivery that made the group a household name in the ‘80s. The album includes superb and exclusive versions of Marvin Gaye’s “Let’s Get It On,” Al Green’s “Love And Happiness,” and The Temptations’ “Just My Imagination,” plus a salute to their ‘80s R&B peers with Boyz II Men’s “End Of The Road,” New Editions’ “Can You Stand The Rain” and more!

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  • 07/10/17--05:24: Mike Cooper Raft
  • Mike Cooper RaftMike Cooper
    (Room 40, 2017)
    more details

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    Artist: Les Hurlements d’Leo
    Title: Constitution de la Republique du Sauvage
    Year Of Release: 2007
    Label: Irfan / Le Label
    Genre: Chanson, Alternative Rock
    Quality: MP3 320 Kbps
    Total Time: 43:31
    Total Size: 109 Mb

    01. Kokore? (05:27)
    02. arte y Majestad ’07 (05:33)
    03. Ordine pubblico (04:18)
    04. Canifs (03:35)
    05. Fleur du temps (02:55)
    06. Caracas, Lusaka, Berlin (Bordeaux, Lecce, Firenze) (02:47)
    07. Consensus de pensue politique ? propos de l’Etat Social entre Monsieur Nicola… (00:11)
    08. Valse monkey (02:28)
    09. Devil (Karoutcho) (02:40)
    10. Catalunya ‘936 (05:37)
    11. Chi eravamo (02:54)
    12. Girl from Gibraltar (05:10)

    The post Les Hurlements d’Leo – Constitution de la Republique du Sauvage (2007) appeared first on MusDL.

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    Artist: Les Hurlements d’Leo
    Title: Chantent Mano Solo
    Year Of Release: 2015
    Label: Irfan / le Label
    Genre: Chanson, Alternative Rock
    Quality: MP3 320 Kbps
    Total Time: 01:36:33
    Total Size: 253 Mb

    01. La lune (03:17)
    02. Le monde entier (02:35)
    03. La R�volution (02:54)
    04. Barb�s Clichy (05:20)
    05. Le limon (04:46)
    06. Les habitants du feu rouge (04:11)
    07. Je reviens (02:44)
    08. La libert� (03:32)
    09. Sacr� coeur (02:53)
    10. Pas du g�teau (04:32)
    11. On boira de la bi�re (03:49)
    12. La rouille (06:38)
    13. On vous aura pr�venu (02:06)
    01. Julie (04:51)
    02. Une image (04:52)
    03. La barre est dure (02:12)
    04. Quand tu dors (02:43)
    05. Les poissons (05:20)
    06. Allez viens (02:55)
    07. Allo Paris (03:26)
    08. Je me suis fait du mal (03:38)
    09. Il ne suffit pas (02:55)
    10. Trop de silence (03:18)
    11. Tu t’envoles (04:26)
    12. Y’a maldonne (03:58)
    13. Nous partirons (02:46

    Chanter Solo. A huit. Hurler sa rage, porter son �nergie rock, distiller sa po�sie h�rit�e des plus grands auteurs fran�ais. Cela ne pouvait qu’�tre eux. Les Hurlements d’L�o s’attaquent � Mano, en petits fr�res de la m�me trempe. Celle qui noue le ventre et illumine les rires. Celle qui rend la vie plus intense. Celle qui ne se r�signe pas � voir les fascismes en tous genres ramper dans les cerveaux dune France malade de ses peurs. Celle dont les col�res se chantent haut et fort. Les Hurlements ne pouvant penser que collectif, l’id�e d’enregistrer les chansons avec des invit�s fait rapidement son chemin. Sur des cuivres d�licats, Nilda Fernandez apporte une belle sensualit� � � Allo Paris �, la grande Francesca Solleville porte � Le monde entier � avec une tremblante intensit�. Romain Humeau (Eiffel) d�pose � Le limon � avec une gr�ce touchante. Ne pas se fier � leur ragga lent aux senteurs d’orient : les Toulousains de Zebda regardent � Les habitants du feu rouge � avec la m�me fraternit� d�chir�e. Et d�chirante. La copine Mell (� Y’a maldonne �), l’incandescente Melissmell (� La rouille �), le compagnon de route bordelais Bertrand Cantat (� Allez viens �), les potes des Ogres de Barback (� Sacr� coeur �), les copains de Debout sur le zinc (� Une image �) et les autres Derri�re chacun dans le studio, les Hurlements �paul�s de Napo Romero toujours, assurent une toile de fond � la couleur musicale commune donnant aussi au disque sa coh�rence dans sa diversit�.


    The post Les Hurlements d’Leo – Chantent Mano Solo (2CD) (2015) appeared first on MusDL.

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    Artist: Danielle Egnew
    Title: You’ve Got to Go Back the Way That You Came
    Year Of Release: 2017
    Label: Self Produced
    Genre: Country/Folk/Americana
    Quality: Flac (tracks)/320 Kbps
    Total Time: 40:19
    Total Size: 269/101 MB

    1. Stones (4:35)
    2. Go Be Love (4:09)
    3. Not Dead Yet (3:58)
    4. Temperance (4:12)
    5. One (3:37)
    6. Shelter (5:14)
    7. Live Life (4:21)
    8. Going Away (4:05)
    9. Apparently (3:17)
    10. You’ve Got To Go Back The Way That You Came (2:47)

    IT�S HERE! Three years in the making — Danielle Egnew�s latest offering blows the lid off of the Pop Americana genre and thrusts it into a new dimension of not only delicately crafted sonic production yet also explosive emotional connection — because in order to go forward, you�ve got to go back the way that you came.
    Danielle Egnew�s signature power-soul voice delivers moving storytelling in this hybrid Pop-Americana explosion. �You�ve Got to Go Back the Way That You Came� represents a three-year period launching Egnew into her next exhilarating phase of meaningful songwriting and rich production values where balancing the hum of a banjo against a full orchestral string section and a wailing choir is sometimes the only appropriate canvas for these allegorical yet everyday messages.
    And as always � a great feel-good groove is riding shotgun.
    Danielle not only covers all vocal work on this album yet plays all instruments, which include acoustic and electric guitar, bass, violin, mandolin, piano, synth / keyboard orchestral arrangements and beats, acoustic kit drums, hand percussion, and cajone. She mastered the album in true sonic delicacy, allowing the analogue reflex of sound and stereo field to be maintained without the loudness wars and their over-compression. A sound designer as well as Producer, Danielle treats sounds as a potter would treat fine clay. From songwriting to engineering, mixing and mastering, Danielle sculpts the message of each song specifically for the listener�s emotional response.
    Multi-award winning musical artist and Producer Danielle Egnew is known for her many talents, her signature dynamic vocal range being one of many. A multiple All-Access Music Awards in Los Angeles, a Native American Music Awards nominee, an LGBT OutMusic New York nominee, and a voting Producer Member of the Grammy’s, she’s appeared on NBC, ABC, and TNT, and other aspects of her work has been covered in the Washington Post and Huffington Post.


    The post Danielle Egnew – You’ve Got to Go Back the Way That You Came (2017) appeared first on MusDL.

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