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    Artist: Matt the Electrician
    Title: The Doubles
    Year Of Release: 2017
    Label: Self Released
    Genre: Folk, Singer-Songwriter
    Quality: 320 kbps
    Total Time: 01:37:56
    Total Size: 253 MB

    01. The Bear 04:40
    02. Never Had a Gun 03:10
    03. Mountains 03:52
    04. 20 20 03:46
    05. The Party 03:54
    06. I Don’t Have Anything to Do with My Hands 02:59
    07. A Secret 04:12
    08. I Cannot Read Your Mind 04:18
    09. California 03:29
    10. Family of Stars 03:56
    11. The Clearwater 04:01
    12. Live to Fight 03:51
    13. Mountains (trio) 03:58
    14. It’s a Beacon It’s a Bell 04:26
    15. The Party (trio) 03:58
    16. California (trio) 03:38
    17. A Secret (trio) 03:43
    18. The Bear (trio) 04:24
    19. I Cannot Read Your Mind (trio) 04:02
    20. 20 20 (trio) 03:26
    21. Live to Fight (trio) 03:32
    22. I Don’t Have Anything to Do with My Hands (trio) 02:40
    23. Family of Stars (trio) 03:55
    24. The Clearwater (trio) 03:21
    25. Never Had a Gun (trio) 02:59
    26. American Tune 03:48

    The post Matt the Electrician – The Doubles (2017) appeared first on MusDL.

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    Artist: Bramwell T
    Title: Kind of Grey
    Year Of Release: 2017
    Label: We Are Droid
    Genre: Pop, Alternative, Indie Rock, Folk
    Quality: 320 / FLAC (tracks.cue.log)
    Total Time: 41:04
    Total Size: 103 / 249 Mb

    01. Barcelona (04:41)
    02. Jaded (02:58)
    03. In Sight (03:54)
    04. Real (04:16)
    05. Da-Nite (03:50)
    06. Smile (05:36)
    07. The Story (02:58)
    08. Rivoli (03:51)
    09. Close (05:16)
    10. South Central Rain (03:44)

    Bramwell is a singer-songwriter who emerged from the remains of a thriving 90’s Hamilton Music Scene. Getting his start drumming with bands such as Smoother, The Misunderstood, NLX, and Salem Saints Bramwell is finally taking the spotlight with the release of his solo debut album Kind of Grey. Influenced by the likes of Tears for Fears, Ryan Adams, Morrissey and The National Bramwell pays homage to these artists on Kind of Grey.
    In the tradition of 80’s new wave albums, Kind of Grey is full of melancholic and moody melodies. It incorporates vintage synths and organs as well as dark pianos and twangy arpegiated guitars. With the addition of vintage reverb, Kind of Grey will wrap you up warmly while the songs tell stories of friends and lovers, days gone by and current imaginations. From the mid-tempo pop ballad Barcelona, to the sleepy-time andante love song Smile, Kind of Grey is an easy album to get lost in.


    The post Bramwell T – Kind of Grey (2017) appeared first on MusDL.

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    Artist: Damien Dempsey
    Title: Soulsun
    Year Of Release: 2017
    Label: Clear Records
    Genre: Folk Rock, Singer-Songwriter
    Quality: Mp3 320 kbps / FLAC (tracks)
    Total Time: 47:47
    Total Size: 110 / 301 MB

    01. Soulsun 06:41
    02. Pretty Bird Tree 04:54
    03. Simple Faith 04:27
    04. Big Big 03:55
    05. Sam Jenkins 05:29
    06. Forever And A Day 03:20
    07. Beside The Sea 04:21
    08. Sweet Gratitude 04:47
    09. Family 03:16
    10. Soft Rain 06:37

    2017 release from the Irish singer/songwriter. An award-winning artist in his home country of Ireland – he has several prestigious Irish Meteor Awards to his name including Best Irish Male and Best Traditional Folk Award – and seventeen years into an astonishing career, Damien Dempsey releases his seventh studio album, Soulsun, possibly his most exciting work to date. The record features a stellar cast of female guest vocalists, referred to in the sleeve notes as ‘the mighty Celtic Warrior High Queens’. Dido joins Damien on a tender love song, Beside the Sea’ and fellow Dubliner, Imelda May, appears on ‘Big Big Love’, an anthemic mid-tempo rock love song, showing a bolder, more contemporary sound that Dempsey explores on the album. Finally, ‘Pretty Bird Tree’ features Dingle singer Pauline Scanlon, a regular collaborator over the years. Soulsun was recorded with long-term producer and collaborator, John Reynolds in north London. Damien lived in the English capital for months, immersing himself in writing songs and soaking up inspiration from London’s rich tapestry of all human life.


    The post Damien Dempsey – Soulsun (2017) appeared first on MusDL.

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    Artist: Sergio & Odair Assad
    Title: Latin American Music For Two Guitars
    Year Of Release: 1985
    Label: Nonesuch Digital
    Genre: Flamenco, Guitar, Classical
    Quality: FLAC (image+.cue,log)
    Total Time: 00:38:53
    Total Size: 163 Mb

    I. Astor Piazolla
    Tango Suite
    1) Deciso
    2) Andante
    3) Allegro
    II. Leo Brouwer
    Micro Piezas
    4) Tranquilo
    5) Allegro vivace
    6) Vivacissimo muy ritmico
    7) Sonoro
    III. Hermero Pascoal
    8) Bebe
    IV. Radames Gnattali
    9) Anacleto de Medeiros
    10) Chiquinha Gonzaga
    V. Sergio Assad
    11) Recife dos Corais
    12) Valseana
    13) Vitoria Regia
    14) Pinote
    VI. Alberto Ginastera
    15) Idilio Crepuscular
    Guitar – Odair Assad, Sergio Assad

    The post Sergio & Odair Assad – Latin American Music For Two Guitars (1985) appeared first on MusDL.

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    Artist: Clementine
    Title: Cafe Apres-Midi
    Year Of Release: 2001
    Label: Sony
    Genre: Latin Jazz, Bossa Nova, Vocal Jazz
    Quality: Mp3 320 / Flac (tracks, .cue, log)
    Total Time: 75:28
    Total Size: 184/503 Mb (scans)


    01. A Petits Pas (3:39)
    02. Saudades da Bahia (Boink) (4:29)
    03. Aquarela do Brasil (3:37)
    04. In the Stars (En las Estrellas) (4:34)
    05. Catavento (1:58)
    06. Chances Are (duet with Ben Sidran) (4:35)
    07. Chega de Samba (4:27)
    08. Down in Brazil (4:01)
    09. Tristeza (Goodbye Sadness) (4:16)
    10. Un Dia de Estos (6:01)
    11. Caminhos Cruzados (4:26)
    12. Rhum Coco (3:06)
    13. Outra Vez (4:37)
    14. A St. Tropez (4:05)
    15. Les Voyages (3:01)
    16. Aguas de Marco (duet with Marcos Valle) (4:55)
    17. Un Homme et une Femme (A Man and a Woman) (Readymade One Man DJ Show Mix) (5:42)
    18. Sabor a Mi (3:59)

    Clémentine is a French singer and songwriter based in Japan. She debuted in France in 1988 with the single, "Absolument Jazz". In addition to many releases as a singer, she has appeared regularly on the entertainment segment for NHK Educational TV "French TV".
    Collaborates frequently with other artists, mostly in Japan. Recently she has often collaborated with her daughter, Solita, who is also a singer.


    The post Clementine – Cafe Apres-Midi (2001) appeared first on MusDL.

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    Artist: VA
    Title: Sing Meinen Song Das Tauschkonzert Vol.4 (Deluxe Edition)
    Year Of Release: 2017
    Label: Embassy of Music
    Genre: Pop, Folk, Country, Rock, Alternative
    Quality: MP3 320 kbps
    Total Time: 02:40:15
    Total Size: 370 Mb

    01. Stefanie Kloß – Au Revoir 04:23
    02. Michael Patrick Kelly – Flüsterton 04:05
    03. Gentleman – Ich Trink Auf Dich 03:37
    04. Lena – Natalie 03:58
    05. The Bosshoss – Flash Mich 03:56
    06. Moses Pelham Mit Glashaus – Oh Love 03:25
    07. Lena – Durch Die Nacht 03:30
    08. Gentleman – Heut Hab Ich Zeit 03:13
    09. Moses Pelham Mit Glashaus – Symphonie 04:19
    10. The Bosshoss – Weiße Fahnen 05:27
    11. Michael Patrick Kelly – Krieger Des Lichts 03:08
    12. Mark Forster – Irgendwas Bleibt 03:48
    13. Stefanie Kloß – Stardust 04:02
    14. Mark Forster – Satellite 02:57
    15. The Bosshoss – Taken By A Stranger 03:30
    16. Gentleman – Beat To My Melody 03:29
    17. Moses Pelham Mit Stefanie Kloß – Meine Heimat 03:42
    18. Michael Patrick Kelly – Traffic Lights 03:47
    19. The Bosshoss – Höha, Schnella, Weita 03:49
    20. Stefanie Kloß – Eigentlich Gut 03:47
    21. Michael Patrick Kelly – Führ Mich Ans Licht 03:40
    22. Gentleman – Mos Lied 03:37
    23. Lena – Du Liebst Mich Nicht 04:13
    24. Mark Forster – Was Immer Es Ist 03:12
    25. Moses Pelham Mit Glashaus – Wer Kommt Mit Mir? (David’s Song) 04:36
    26. Mark Forster – Fell In Love With An Alien 03:13
    27. Stefanie Kloß – An Angel 03:19
    28. Gentleman – Shake Away 03:09
    29. Lena – Mama 04:28
    30. The Bosshoss – No Fuzz, No Buzz, Back To Rock’n Roll 04:30
    31. Lena – Superior 03:23
    32. Moses Pelham – You Remember 04:07
    33. The Bosshoss – Heart Of Rub-A-Dub 03:23
    34. Michael Patrick Kelly – Memories 03:45
    35. Mark Forster – Dem Gone 03:16
    36. Stefanie Kloß – It No Pretty 03:30
    37. Michael Patrick Kelly – Stallion Battalion 03:24
    38. Mark Forster – A Cowboys Work Is Never Done 03:32
    39. Gentleman – Today Tomorrow Too Long Too Late 03:37
    40. Lena – Break Free 03:28
    41. Moses Pelham – M Zum O 04:04
    42. Silbermond – Liberty Of Action 03:18
    43. The Bosshoss – Sing My Personal Song 03:20

    The post Sing Meinen Song Das Tauschkonzert Vol.4 (Deluxe Edition) (2017) appeared first on MusDL.

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  • 08/08/17--05:34: Clementine – Cle (2003)
  • st73ior5y11y.jpg

    Artist: Clementine
    Title: Cle
    Year Of Release: 2003
    Label: Epic Records
    Genre: Latin Jazz, Bossa Nova, Vocal Jazz
    Quality: Mp3 320 / Flac (tracks, .cue, log)
    Total Time: 45:13
    Total Size: 109/288 Mb


    01. Une Fille Comme Ci (6:01)
    02. Un Homme et une Femme (Grandis Mix) (5:11)
    03. Sur le Queen Mary (3:48)
    04. Akujyo (4:24)
    05. Mariana (4:16)
    06. En Avril (3:31)
    07. 6 P.M. (3:19)
    08. Romance d’Autrefois (3:31)
    09. Bonita (3:09)
    10. Melinda (3:21)
    11. Comme d’Habitude (My Way) (4:42)

    Clémentine is a French singer and songwriter based in Japan. She debuted in France in 1988 with the single, "Absolument Jazz". In addition to many releases as a singer, she has appeared regularly on the entertainment segment for NHK Educational TV "French TV".
    Collaborates frequently with other artists, mostly in Japan. Recently she has often collaborated with her daughter, Solita, who is also a singer.


    The post Clementine – Cle (2003) appeared first on MusDL.

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    Artist: Clementine
    Title: En Prive
    Year Of Release: 1992
    Label: Sony
    Genre: Latin Jazz, Bossa Nova, Vocal Jazz
    Quality: Flac (tracks, .cue, log)
    Total Time: 39:46
    Total Size: 238 Mb (covers)


    01. L’ete (4:49)
    02. Mademoiselle Aimee (3:12)
    03. Dans la rue (5:33)
    04. Oye Ramon (4:47)
    05. Quand Rita danse (3:57)
    06. Tu ne dis jamais (4:52)
    07. En blanc et noir (3:46)
    08. Pillow Talk (4:40)
    09. A St Tropez (4:10)

    Clémentine is a French singer and songwriter based in Japan. She debuted in France in 1988 with the single, "Absolument Jazz". In addition to many releases as a singer, she has appeared regularly on the entertainment segment for NHK Educational TV "French TV".
    Collaborates frequently with other artists, mostly in Japan. Recently she has often collaborated with her daughter, Solita, who is also a singer.


    The post Clementine – En Prive (1992) appeared first on MusDL.

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    Performer: The Waterboys & Mike Scott Album: The Whole Of The Moon Label: EMI Records. Made in UK. Catalog #: 7243 4 96505 2 7 Style: Folk-Rock Year: 1998 Format: FLAC (image + .cue) Bitrate: lossless Covers: in archive Amount of tracks: 16 Size ZIP: ~ 618 mb Upload: Password: without a password

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    Links off

    Resolvido!... ;)


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    Location: Kaduketuk (Baduy Luar), Lebak Regency, Banten

    Sound: Calung Rantay

    Pak Aswadi’s calung sprawls like a musical hammock, its ends tied to a window frame and the trough of a spare gambang xylophone. It shakes slightly as he hits each bamboo key, the quiver reminding me of the swaying bamboo bridge I’d crossed to get to this village in Baduy Luar. 

    You could say everything in Baduy has this unsteady quality, the palpable feeling of shifting traditions all around. This mountainous area of Banten in Java’s far west is home to the Baduy people, a tribe of Sundanese living intentionally traditional lives. The area and its people are divided into two, Baduy Dalam (Inner Baduy) and Baduy Luar (Outer Baduy.) The Inner Baduy are intensely protectionist, following traditional rules and adat quite closely while barring all foreigners (and, for much of history, all outsiders of all kinds) from entering. Baduy adat is designed to fight against change: everything from formal schooling to vehicles and electricity is forbidden, and working in dry rice cultivation is compulsory. 

    The Outer Baduy, meanwhile, act as a buffer for these inner communities. Their villages make something of a ring around the inner area, and their people are somewhere in between the intensely restrictive Inner Baduy and modern Sundanese: they still closely follow adat, but are also more open to change. These days, Outer Baduy live in bamboo-walled houses and maintain their Sunda Wiwitan faith, but also have smartphones, Facebook, and solar panels. 

    Musical traditions vary between the two Baduy groups, with some instruments and musical styles played by one group but not the other. Amongst the musical traditions found only among the Baduy Luar is the playing of xylophones like gambang and calung. Gambang is a wooden xylophone often played in gamelan percussion ensembles found throughout Java, but the Baduy also play it as a solo instrument. The calung, meanwhile, is much rarer. Bamboo xylophones called calung are played in various forms around Java: in Banyumas, Central Java they are played in ensembles also called calung; in Sundanese West Java, calung is famously played in a unique hand-held form, with calung jinjing groups blending poppy Sundanese classics and earthy, Sundanese-language stand-up routines. 

    Source: Wiki Commons

    Source: Wiki Commons

    The variety found in Baduy is called calung rantay, with rantay meaning “a row.” Illustrations of the Baduy calung rantay can be found dating back to the mid-19th century, such as the picture above of a musician playing a calung whose bamboo bars are suspended by cords strung up between a tree and the player’s leg. These vertically oriented calung rantay are still found in remote South Tasikmalaya more than four hundred kilometers away, suggesting that such instruments may have once been widespread across Sunda. 

    This was what I expected to find in Baduy, but what I found was surprisingly different, a subtle sign of the always shifting forms of Outer Baduy culture. The calung rantay of Kaduketuk, the first village one reaches after entering Baduy territory, is suspended on a string lattice just like the others, but here it stretched horizontally from left to right from the perspective of the player, rather than towards and away. It's one of those details that may seem arbitrary at first, but has a significant effect on the playing style: the vertical style requires musicians to reach relatively far in front of them to get to the lower notes suspended above them, making play less fluid than the more comfortable left-to-right set-up now favored (and which is standard for most tuned percussion across Indonesia.) 

    Calung rantay as it's played in South Tasikmalaya, West Java.

    Calung rantay as it's played in South Tasikmalaya, West Java.

    The two calung rantay I saw in Kaduketuk had thirteen keys each made from dark wulung bamboo and tuned to the pentatonic salendro scale. This also differs a bit from the Baduy calung described by Dutch ethnomusicologist and Baduy music expert Wim Van Zanten, who writes of a sixteen-keyed calung suspended on “a skeleton made of bamboo sticks.” It’s not clear from Van Zanten’s description whether the calung he observed was of the vertical or horizontal variety - I’m curious to find out! 

    Unlike the vertical style which are played with hard wooden sticks, the calung rantay here is played by the soft mallets commonly used to play gambang. This gives it an especially warm sound (one of the neat things about these kinds of bamboo xylophones - see also the Banyuwangi angklung - is that each key is fashioned from a whole cylinder of bamboo, meaning it acts as its own resonator!). The style of play also seems inspired by gambang, but with slower, less rhythmically complex variations. In some pieces, the right hand plays melodies reminiscent of the interlocking parts of the gamelan’s sarons, with the left hand sometimes playing repeating patterns on the lower notes which sound like that of the gamelan’s three-gonged ketuk


    Sure enough, the repertoire for calung largely draws from the Baduy’s own gamelan, here called kromong. Pak Aswadi claims there are dozens of songs: “I could play from night until morning if I had to,” he said with a laugh. He also said that the calung can be teamed up with other popular Baduy instruments like the kecapi zither and the piul, a homemade Western-style violin popular in the area. In its solo form, the calung is most often played on dark, lonely nights to pass the time, the musician playing for his family or maybe just for himself. As part of an ensemble it can play for common events like weddings and circumcisions, although I got the sense it's not played outside so often these days.

    It’s a simple instrument, the calung, but I like how even the subtlest shifts in form and practice can illuminate a culture’s openness to change. The horizontal calung rantay may be a sign of changing Baduy tastes in the same way that the violin or piul has largely placed indigenous fiddles like the rendo or rebab. The Inner Baduy may frown on such change as an intrusion of foreign influence and new trends, but the Outer Baduy simply shrug and play on.


    Sorry to the folks who want to imagine the Baduy as primitive forest folk: my first contact with the Baduy was through Whatsapp, the social messaging app. I was chatting with Narja, a Baduy Luar instrument craftsman who would go on to be my host and guide. I knew Narja made Baduy bamboo flutes and mouth harps, so I asked, "Do you know about calung rantay?" I was met with the digital version of a blank stare, then “Apa itu?” (“What’s that?”) This was not a good sign.

    Arriving in Kaduketuk, though, it became apparent that calung was still around: after Narja asked some of his in-laws, we were led to a tiny storage closet off of one of the Baduy’s iconic lofty porches. Amongst piles of crates and bags of produce, a dusty calung rantay hung in the dark. Narja asked around, but nobody was at home who could play it. We’ll try again tomorrow, he said.

    We spent two beautiful days and nights in Narja’s village of Cicakal, an hour’s hike from Kaduketuk (no vehicles allowed in Baduy!) Together with new friend, American sound artist Kurt Peterson, I recorded tons of great music, from Narja’s homemade flutes to a practicing kromong group. Still, I kept thinking of the calung back in Kaduketuk, wondering about the music lying dormant in its bamboo keys. 


    On our last day in the area, we made the tough hike back to Kaduketuk, with this out-of-shape American struggling to make the way up steep forest inclines as Narja and other Baduy seemed to skip their way along. When we finally made it back to the cluster of thatched-roof homes and rice barns, I threw my heavy pack off and crashed onto a porch, happy to take a breather. Wiping the sweat from my eyes, I saw that the village was abuzz with activity. A wedding was about to take place the next day (the groom was twenty, the bride only fourteen - not unusual for Baduy marriages), and men were busy barbecuing dozens of sate skewers and setting up informal stages while the women cooked up sticky-rice snacks in the kitchen. 

    I was about to chase after some delicious-looking chicken sate when Narja reminded me about the calung: a neighbor was around who could play it. We walked a few houses down and stepped in through a small doorway into an empty room, all wood and bamboo thatch. A calung was tied between an airy window and a gambang, the calung strings tied to the xylophone’s painted-green trough. Before the calung sat Pak Aswadi, his greying mustache flexing with his smile. Like many Baduy, Pak Aswadi barely spoke Indonesian, so I tried my best with what little Sundanese I have while Narja helped to fill in the rest. 

    Pak Aswadi played us a few tunes with the relaxed air of a home musician, musical flubs and all. The sound of his calung must have carried across the small village, as before the first tune was up a crowd had gathered in the small doorway, curious faces popping in to have a look. After Pak Aswadi had played a handful of songs, we thanked him for his time and started to pack up our gear, only to hear the sound of another calung from the next house over. Had inspiration traveled so quickly? 


    We quickly excused ourselves and walked over to the sounds of the other calung. We found a young man sitting in the closet I’d peered into the day before, sitting on a jerrycan and playing the calung with a sheepish grin. Pak Aswadi had insisted there was no younger generation playing calung, but here he was, feeling his way across the bamboo keys, searching for the notes Pak Aswadi had played moments before. I had to laugh: here I’d started the journey thinking there was no calung in Baduy at all, and I’d stumbled upon a veritable rivalry. The calung may have seemed forgotten when I’d seen it the day before, but here it was, bamboo keys singing once again. As we left to catch our bus back to the big city, somebody was still in there, filling the village with those suspended bamboo sounds.


    Hatur nuhun pisan, Kang Narja dan Kang Asep (Kurt) untuk semua, dan tentu saja untuk Pak Aswadi! 

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  • 08/08/17--07:17: OPATIJA 61 razni izvodjači

    Lepo i bezbedno doba, puno festivala i dobre muzike na radio talasima, zato je i osnovan festival nadd festivalima, na kome se kasnije i birrao predstavnik JUGOSLAVIJE na evroviziji! Jedna od prvih festivalskih ploča

    OPATIJA 61

    Ako neko od vas nezahvalnika koji dolazite ovde da otimate sttaru muziku BESPLATNo ima ploče sa ovog festivala nek se javi. UNAPRRED HVALA iako ste vi ti koji treba da kažete HVALA vlasniku ovog skromnog bloga!

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    Ali Farka Toure - Radio Mali (1996)

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  • 08/08/17--08:30: RSS in offline mode
  • RSS in offline mode

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    With a 10 km-long beach of fine sand, more than 300 days of sunshine a year and a marina, the south Moroccan town of Agadir is an ideal holiday resort. Every summer Agadir is also home to the Timitar Festival, born of a desire to open the Amazigh (Berber) culture to the world. Under the theme of “Amazigh artists greet world music,” this year’s 14th edition, held July 5-8, gathered more than 40 Moroccan and international musicians to perform their music in a laid-back coastal environment.











    The four-day event attracted some 500,000 spectators, an intriguing mix of selfie-taking youngsters, traditionally dressed Moroccan families, and tanned tourists. They enjoyed such local artists as Asmae El Menaouar, Samy Ray, Najat Rajoui, Rhany, Fatima Tihihit and Fatima Tabaamrant. The festival was also presented international artists such as Oumou Sangaré, Algeria’s Labess, Cuba’s Ibrahim Ferrer Jr., Estonia’s Trade Attack trio, and the rising South African diva, Nomfusi.

    One of the biggest festivals in Morocco, Timitar was founded in 2004 with the aim of setting up a cultural project to facilitate meetings between Amazigh artists and world musicians. The word Amazigh, plural Imazighen, means “free people” in the indigenous Tamazight language. Among outsiders, the more common—though incorrect—name for Imazighen is Berber, a term that is largely rejected by Imazighen for its negative connotations: It’s related to the word “barbarian.”

    Brahim El Mazned, artistic director of the Timitar Festival, explains the origin of the festival: “In the south of Morocco, especially in the Souss [region of Agadir], for several centuries the Amazighs have been celebrating summer with the Moussem which are forms of traditional festivals that often take place around a holy place. For more than 20 years several cities in Morocco [Fez, Essaouira, Rabat] have seen the birth of modern festivals like everywhere else in the world. In 2004 the then-president of the region, Aziz Akhannouch, created a festival in Agadir and he entrusted me with the mission of realizing the concept, and we came up with the Timitar Festival: Amazigh artists welcome the music of the world. Since its inception, Mr. Akhannouch has been involved in this festival to keep it one of the world’s major music events, and to maintain its identity.”

    Traditional Moroccan group. Photos courtesy of Studio Lorenzo.

    About the programming of this year’s edition, Brahim El Mazned says: ”We invited many Amazigh artists who testify to the musical richness of Morocco be it traditional or modern. Each evening an Ahwach group opens the main stage on Al Amal Square. We also invited several masters of the Rways such as Rayssa Fatima Tabaamrant or Rayss Hassan Aresmouk who perpetuate this tradition without forgetting the major current figures of the chaabi scene like Abdelaziz Stati. Contemporary music is represented by such artists as Asmae Lamnawer, Ribab Fusion or Ahmed Soutan, who deal with current events but also the hip-hop scene with the inevitable Masta Flow.”

    Brahim el Mazned explains what the name Timitar means: “Timitar means ‘sign’ in the Amazigh language. Signs in Amazigh culture play a strong role, both in such outwardly visible ones as henna, tattoos, hairstyles, etc. but most importantly in the invisible signs that lend rhythm to life in the Amazigh community. They can be detected in agricultural life, in marriages, in the role of women in society, etc.”

    Staged in three open-air venues throughout Agadir, audiences enjoyed free admission to music at the central Place al Amar, Place Bijaouane and the Théâtre de Verdure.

    The opening night offered a varied program of Moroccan and international stars. Beside the Malian diva Oumou Sangaré and singer Elida Almeida, the new rising star of the Cape Verdean music, there were also concerts by Les Amazones d’Afrique, an all-female collective of West African musicians campaigning for gender equality. This supergroup consists of big names such as Angélique Kidjo, Kandia Kouyaté, Mamani Keita, Mariam Doumbia, and Mariam Koné. One of the surprises was the Moroccan group Géneration Taragalte, a popular young band from the oasis town of M’Hamid on the edge of the Sahara in south Morocco, close to the Algerian border. Géneration Taragalte, formed in 2009, recalls traditional songs from the Sahara, reflecting the nomadic background of the five musicians. Their music is also greatly inspired by the desert blues of musicians like Ali Farka Touré, and later, the renowned Tuareg band, Tinariwen.

    Many interesting concerts took place at the Place Al Amal, a huge square in the center of Agadir. A big dose of Amazigh funk, powered by the one-stringed bowed ribab, was produced by the six-piece band, Ribab Fusion. This group was created in 2008 in Agadir to celebrate Morocco’s Amazigh culture. With ‘70s-style funk, Afropop dance vibes and high-energy call-and-responses choruses, the energetic Ribab Fusion got the crowd moving on the packed Place Al Amal.


    One of the highlights of the festival was the group Labess, which means “all right” in Arabic. Led by the charismatic singer-songwriter of Algerian origin, Nedjim Bouizzoul, who sings with his raw, expressive voice in Arabic, French and Spanish, this dynamic group creates a festive fusion style with Cuban guaracha, flamenco, gypsy rumba and North African traditional music. The instrumentation consists of krakeb (traditional Arabic percussion), bass, clarinet, trumpet, guitar and drums. Within a few minutes everybody on the packed Place Al Amal was dancing to this ultimate party music. This very tight band was sometimes a little reminiscent of the Gipsy Kings, but with socially engaged lyrics, celebrating tolerance and freedom, Labess has much more depth.

    Najat Rajoui

    The rising star of Moroccan music is singer Najat Rajoui, whose promising career is in the process of evolving. After her appearances on the popular TV talent show “The Voice,” Najat Rajoui climbed the ranks of the Moroccan and Arabic stage and established herself as a voice impossible to ignore. Her talent and classical style have allowed her to attract attention and to arouse the great interest of the specialists and critics who are determined to follow this singer very closely. Her show in the packed Théâtre de Verdure was received with waves of enthusiasm. Everybody was singing along with her songs inspired by the belle époque of classic Arabic music.

    The concert of the Cuban singer Ibrahim Ferrer Jr. was quite disappointing. He was singing boleros and other Cuban styles, just like his late father, the world-famous Ibrahim Ferrer of Buena Vista Social Club fame. The problem is that Junior is not a good singer and his uncertain presentation only made matters worse.


    Nomfusi, the rising star of South African music, made a big impression. This singer, a self-taught composer, has an extremely energetic stage presence and an expressive voice that instantly connects with her audience. From a working-class childhood in KwaZha-kele, Nomfusi possessed two powerful qualities that enabled her to escape the misery and poverty: an irrepressible desire to shape her own life, and a grandiose voice. The vocal range and tessitura of Nomfusi’s voice, which can alternately be radiant, rumbling or enchanting, is imbued with an almost inexplicable power. Nomfusi combines the sound of Motown with African soul and pop, while keeping her own accent. Check her new album, African Day.

    Singer-composer Hamid Bouchnak made a name as one the members of the famous Moroccan group Les Frères Bouchnak. This family band, consisting of four brothers, was extremely popular in the ’80s and scored hits like “Hiya,” “Laylayla” and “Sidi Yahya.”

    Since 1995, Hamid is a successful solo artist, combining Moroccan rai and chaabi with elements of Western pop and rock. His show at the Place Al Amal was a sight to behold and uplifting to the heart. Everybody was dancing, yelling and having a great time.

    The varied lineup of the Timitar Festival adheres strongly to the spirit of plurality inherent in world music and Amazigh musical tradition. Attended by Moroccans and foreigners, the Timitar Festival is an exciting foray into Morocco in summer.

    Bastiaan Springer is producer for Radio 5 and The Concert Radio in the Netherlands, and a world music journalist.

    Featured image above: Ribab Fusion


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    Aubrie Sellers - New City Blues Жанр : Country, Rock Страна исполнителя (группы) : USA Год издания : 2016 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 53:00 Источник : Наличие сканов в содержимом раздачи : нет Треклист : 01.

    Тема на форуме

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  • 08/08/17--10:11: Złodzieje Rowerów
  • zlod.jpg

    Złodzieje Rowerów Est Un Groupe Né à Zandrow En 1993,
    Ils Jouaient Un Punk Aux Accents Emo-HardCore Et Un Peu Rock Qui Leur à
    Fait Être Une Référence En Polska, Puis Ont Arrété De Jouer En 2010

    Złodzieje Rowerów Es Una Banda Que Nace En Zandrow En 1993
    Han Toca Un Punk Con Accentos Emo-HardCore y A Veces Rock Que Hechan
    De Ellos Una Referencia En Polska, Pues Han Acaba De Tocar En 2010

    Złodzieje Rowerów Is An Band Who's Born In Zandrow En 1993
    They're Played An Punk With Accents Of Eo-HardCore And Little Rock, Which's
    Become An Reference In Polska, Then They're Stopped To Play In 2010

    Złodzieje Rowerów 1996

    01 Siła
    02 Emo Core
    03 Cos Nie Tak
    04 Wszyscy Byli Odwroceni
    05 Smierc
    06 Doskonaly Swiat
    07 Bezsilnosc
    08 Skazani Na Sny
    09 Jak Mam Pokochac Kraj
    10 Watykan/ Piata Rano

    Emo'La 1999

    01 Maklagadka I
    02 Nerwy
    03 Kaïdy Inny Wszyscy Rywni
    04 Scena
    05 Skazani Na Sny
    06 Byt I Swiadomosc
    07 ...
    08 Historia Bez Kocca
    09 Jak
    10 Serduszko
    11 Ciastka (Kto Ukradi Ciastka)
    12 Emo
    13 Nie Moïna
    14 Panta Rhei
    15 Maklagadka II
    16 Dance Versions I [Bonus Track]
    17 Dance Versions II [Bonus Track]

    Ten Moment 2002

    01 Ten Moment
    02 S.O.S
    03 Punk Rock Song
    04 Warto Zyc
    05 Proporcje W Twojej Glowie
    06 Poison Away
    07 Nasza Droga
    08 Leave Me Alone
    09 Thanx For G.Y.L
    10 Idz I Patrz
    11 Patrzec W Lustro
    12 Zadredowani W Sobie

    ...Gdy Wrzala Krew 1995-1999 2009

    01 Siła
    02 Emo Core
    03 Cos Nie Tak
    04 Wszyscy Byli Odwroceni
    05 Smierc
    06 Doskonaly Swiat
    07 Bezsilnosc
    08 Skazani Na Sny
    09 Jak Mam Pokochac Kraj
    10 Watykan/ Piata Rano
    11 Kazdy Inny Wszyscy Rowni
    12 Wolna Scena
    13 Sila- New Day Rising Version
    14 Pop Kultura- La Affera Cover
    15 Kazdy Inny Wszyscy Rowni- Unreleased Ep Version
    16 Wolna Scena- Unreleased Ep Version
    17 Serduszko
    18 Ciastka- Kto Ukradk Ciastka Cover
    19 Melo-Dramat
    20 Byt i Swiadomosc
    21 ...
    22 Nasza Droga
    23 Ten Moment

    Rozproszenie Ep 2010

    01 Blask
    02 Gdzie Teraz Sa
    03 Rozproszenie

    Final 2011

    01 Panta Rhei
    02 Historia Bez Konca
    03 Punk Rock Song
    04 S.O.S
    05 Rozproszenie
    06 Byt i Swiadomosc
    07 ...
    08 Ten Moment
    09 Warto Zyc
    10 Leave Me Alone
    11 Kazdy Inny Wszyscy Rowni
    12 Gdzie Teraz Sa
    13 Skazany Na Sny
    14 Idz I Patrz
    15 Patrzec W Lustro
    16 Nadzieja Umiera Ostatnia
    17 Nasza Droga
    18 Zadredowani W Sobie

                                                         CONCERTS -- CONCIERTOS -- LIVES

    DeCentrum Squat 01-06-02

    01 Ten Moment [Shit]
    02 Ten Moment
    03 S.O.S
    04 Punk Rock Song
    05 Warto Zyc
    06 Thanx For G.Y.L
    07 Kazdy Inny Wszyscy Rowni
    08 Patrzec W Lustro
    09 Nasza Droga
    10 Poison Away
    11 Zadredowani W Sobie

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  • 08/08/17--10:18: OPATIJA 61 razni izvodjači

    Lepo i bezbedno doba, puno festivala i dobre muzike na radio talasima, zato je i osnovan festival nadd festivalima, na kome se kasnije i birrao predstavnik JUGOSLAVIJE na evroviziji! Jedna od prvih festivalskih ploča

    OPATIJA 61

    Ako neko od vas nezahvalnika koji dolazite ovde da otimate sttaru muziku BESPLATNo ima ploče sa ovog festivala nek se javi. UNAPRRED HVALA iako ste vi ti koji treba da kažete HVALA vlasniku ovog skromnog bloga!

    Filed under: Istorija, Jugoslavija, kultura, music for all

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    The Klezmatics - Jews With Horns (1995)
    Artist: The Klezmatics
    Title Of Album: Jews With Horns
    Release Date: 1995
    Location: USA
    Label: Xenophile Records
    Genre: Gypsy Jazz, Klezmer
    Quality: FLAC (tracks+.cue)
    Length: 71 min
    Tracks: 15
    Total Size: 353 MB (+5%)

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    Download Ochilbek_Matchonov-Music_From_Central_Asia-2017-GCP Free
    Artist: Ochilbek Matchonov
    Title of Album: Music From Central Asia
    Genre: Ethnic
    Year of Release: 2017
    Tracks: 7
    Total Time: 1 hour, 4 minutes and 52 seconds
    Format: MP3
    Bitrate: 246 Kbps
    Total Size: 119.03 MB

    # Song Title Artist Time
    01 Unrequited Love Ochilbek Matchonov 4:32
    02 The Legend Of A Life Ochilbek Matchonov 4:26
    03 Be A Man Ochilbek Matchonov 3:36
    04 The Soul Aches Ochilbek Matchonov 3:57
    05 Resigned Love Ochilbek Matchonov 5:25
    06 Think How To Live Ochilbek Matchonov 3:15
    07 Thanks Be To God Ochilbek Matchonov 39:41

    Release: Ochilbek_Matchonov-Music_From_Central_Asia-2017-GCP

    The post Ochilbek Matchonov-Music From Central Asia-2017-GCP appeared first on AlbumDL.

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