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    Download Ochilbek_Matchonov-Music_From_Central_Asia-2017-GCP Free
    Artist: Ochilbek Matchonov
    Title: Music From Central Asia
    Genre: Ethnic
    Year: 2017
    Format: MP3
    Bitrate: 246 Kbps
    Tracks: 7
    Time: 01:04:52
    Size: 119.16 MB

    Tracklist:
    01. Ochilbek Matchonov – Unrequited Love (4:32)
    02. Ochilbek Matchonov – The Legend Of A Life (4:26)
    03. Ochilbek Matchonov – Be A Man (3:36)
    04. Ochilbek Matchonov – The Soul Aches (3:57)
    05. Ochilbek Matchonov – Resigned Love (5:25)
    06. Ochilbek Matchonov – Think How To Live (3:15)
    07. Ochilbek Matchonov – Thanks Be To God (39:41)

    Download Ochilbek Matchonov-Music From Central Asia-2017-GCP

    The post Ochilbek Matchonov-Music From Central Asia-2017-GCP appeared first on Download Latest Music Releases.


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  • 08/08/17--13:28: Pretenders – Alone (2016)
  • z320 kbps | 105 MB | LINKS

    The Pretenders were back. And this wasn’t a cynical brand reboot, more a happy accident. Hynde shrugs, “These things happen. It’s just a name.” Having effectively reformed her groundbreaking band, Hynde decided to rechristen the record. With characteristic perversity, she called it Alone. Thirty-six years after The Pretenders’ first album, Alone could be the older, wiser, badder sister to that exhilarating debut. “It’s a riot,” said Chrissie Hynde. “I am blown away myself. I really am. Every time I hear it, it just makes me laugh. To me if you are laughing, it is rock and roll. I don’t know how we achieved it but it sounds classic. I guess the team just went out and scored some goals.”
    The team, approvingly described by Hynde as “real people playing real instruments,” features Johnny Cash’s former bass player Dave Roe and country rocker Kenny Vaughan on guitar plus sundry members of Dan Auerbach’s side project The Arcs: Richard Swift on drums, Leon Michels on keyboards and Russ Pahl providing sly curlicues of pedal steel. All the while, Auerbach stood as captain, producer, multi-instrumentalist – he unleashes some outlandish electric guitar – and all around a cool head.


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    320 KBPS | 169 MB | LINKS

    A veteran of Motown’s studio, Jack Ashford struck out on his own in the late ’60s, helping to launch the Detroit soul imprint Pied Piper in the mid-’60s. Once Pied Piper shuttered in 1967, Ashford set off on his own, opening a production company fittingly called Just Productions. Ace’s 2016 compilation Jack Ashford: Just Productions collects 24 of these tracks cut between 1968 and 1976. None of these were widely heard, and six of them receive their first release on this disc, so it’s essentially a heavy dose of rare soul. Like a lot of compilations of rare ’60s soul, a good portion of this comp could be conceivably dubbed Northern Soul — it pulses to that joyous Detroit groove, plus the definition of Northern Soul keeps expanding — but what makes Jack Ashford: Just Productions appealing to soul fans with something more than dancing on their mind, is a nice selection of smooth ballads and, especially, the high level of studio expertise and songcraft exhibited on this record. This isn’t to say that the music is filled with sides that could’ve been hits in an alternate universe; as expertly constructed as they are, they’re not galvanizing songs, and Ashford remained fond of the sound of the ’60s well into the ’70s. Instead, this disc shows the power of craft, with the musicians in Ashford’s crew operating on nearly same level of skill as their compatriots at Motown and turning out singles that captured all the glories of the golden age of studio soul.


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    On Sat., August 5, Afropop had the pleasure of seeing Nigerian pop star Yemi Alade at the Playstation Theater as part of her Mama Africa tour. Ever since Yemi Alade’s initial rise to fame in 2009, she has quickly taken hold of the Nigerian music scene and has topped charts in countries all across Africa. She has collaborated with musicians like Yung6ix, Falz, Flavour, Selebobo, Sauti Sol, and Phyno among other popular artists, and her music videos have reached upwards of 70 million views, including her sensational hit “Johnny,” which is YouTube’s most watched video uploaded by an African woman. 

    =

    Before Yemi Alade peformed, we saw a powerful lineup of prominent and up-and-coming New York acts including Hoox, TNT, and Laolu NYC.

    Zambian rapper Hoox offered a fun, energetic set of songs that celebrated the unity within the African diaspora.

    This spirit of unity was sustained by multiple DJ’s who played tracks from all across the continent, and our host for the night got the crowd to shout out all of the countries they were representing on the floor before inviting volunteers from the audience to dance on stage and continue the celebration.

    Next up was the local rap duo TNT, who offered up an exciting, fresh sound and bad-ass energy with tracks like “Royalty” – “When you’re royalty you don’t wait for nobody.”

    The last group on stage before Yemi Alade was Laolu NYC. The Nigerian-born musician, visual artist, and human rights lawyer, Laolu Senbanjo, has collaborated with Béyonce, Alicia Keys, Seun Kuti, Angélique Kidjo, and many other prominent artists, incorporating aspects of Yoruba tradition into all of his work. His band featured guitar, tenor sax, bass, keyboard, drums with extremely tight and energetic funk-rock vibe. He sang in both English and Yoruba on songs like “Mama Africa,” which connects his experiences with the “Yoruba nation” to the realities of black America – “I didn’t know I was black until I moved to America.”

    Though the wait for Yemi Alade was much longer than anyone in the audience had expected due to unforeseen delays, it was all worth it when Yemi Alade and the Ovasabi Band walked out and immediately took control of the stage. The way Yemi Alade interacted with the crowd made you feel like you’ve known her your whole life. She apologized for the delay, told us how beautiful we were, took the time to sing happy birthday to a fan, and even invited a fan up on stage to serenade in front of the whole room. Almost all of the music she featured was from her latest album Mama Africa, and the songs ranged from infectious dance tracks to sensual ballads that made you want to sing and dance well into the morning.

    Yemi Alade singing “Happy Birthday” to an audience member.

    Yemi Alade serenading an audience member.

     

    Thank you USA !!!
    Performing before over 10,000 people in 12 cities with My @officialOvasabiband was a dream come true.🤗 pic.twitter.com/QQNnrEBXPQ

    — #MamaAfrique (@yemialadee) August 6, 2017

    Buy Mama Africa here, stream it here, and check out our latest interview with Yemi Alade here!

     


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    zzx320 kbps | 106 MB | LINKS

    Her debut EP, Bloody Mother Fucking Asshole, dealt in the intensely personal and the viscerally emotional, but when she followed it up with a self-titled full-length in 2005, things were poppier, airier and palpably more mellow. It was her second LP three years later that felt like the point at which she’d properly matured, setting the wit and insight of her earlier work against lusher production and sharper arrangements. Far from continuing in the same vein, though, Wainwright took a left turn, following I Know You’re Married But I’ve Got Feelings Too with a tastefully-done live album of Edith Piaf covers a year later.

    As terrific a showcase for Wainwright’s vocal ability as that record was, the beginnings of an identity crisis seemed to be manifesting themselves on her third album proper, Come Home to Mama, a wildly diverse piece of work that swung from deep intimacy – the title was plucked from “Proserpina”, a version of the last song Wainwright’s mother wrote before she died – to ill-advised electro-pop (“Black Sheep”, “Can You Believe It”). The intervening years – as well as last year’s pleasantly breezy collaborative effort with her half-sister, Lucy Wainwright Roche – seem to have served as a palate cleanser; LP4, Goodnight City, harks back to the accomplished tone of I Know You’re Married But…

    Not that Wainwright’s done things by the book. Only half of the 12 songs on the record are her own compositions; the rest have been written by or with close collaborators, including brother Rufus, Beth Orton and Glen Hansard. The album’s triumph lies in its cohesion, especially given the disjointed nature of Come Home to Mama; you get the sense that Wainwright was happy, here, to bend the songs she didn’t write to her own specification rather than run with the blueprint she was handed. “Look Into My Eyes”, a co-write with her aunt, Kate McGarrigle, and cousin, Lily Lanken, is a case in point, taking a slew of different ideas that shouldn’t really work together – fluttering synths, smoky saxophone and lyrics that flit between English and French – and melding them together to dramatic effect. Similar ideas are in play on Orton’s contribution, “Alexandria”; snatches of sinister brass and a consistently ominous piano generate a stormy atmosphere that Wainwright matches all the way with a swaggering vocal turn.

    There are missteps, particularly “Take the Reins”, a weirdly subdued blues-folk turn that proves not even Wainwright can shine much light on the baffling acclaim that the track’s writer, Merrill Garbus of tUnE-yArDs, seems to garner from all corners. Those moments are few and far between, though, and most promising on Goodnight City is what a leap forward it represents from Come Home to Mama in terms of Wainwright nailing stylistic variation on her own cuts, from the gorgeous, country-flecked opener “Around the Bend” to the simmering tension of “Window”. Her most polished record to date, in every sense of the word.


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    cover320 kbps | 101 MB | LINKS

    “No Exit” presents a best of collection of her live performances all over Europe. This new release truly shows why Marianne has reached iconic stardom status over the years. Her incredible voice and heart gripping stage aura have not ceased over the years. On the contrary, it is her statement to the world that she still knows how to move heart and soul of every music fan.
    Tracklist:

    01. Intro 02:08
    02. Falling Back 03:53
    03. The Price of Love 02:32
    04. Love More or Less 04:36
    05. As Tears Go By 03:21
    06. Mother Wolf 04:21
    07. Sister Morphine 07:15
    08. Late Victorian Holocaust 06:30
    09. Sparrows Will Sing 04:19
    10. The Ballad of Lucy Jordan 05:53


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  • 08/08/17--16:14: HEDNINGARNA:"Hippjokk"
  • Hippjokk.jpg
    Tras la furtiva sorpresa que supuso su primer álbum, "Hedningarna", la ebullición del premiado "Kaksi!" y la confirmación del demoledor "Trä", la banda sueco-finlandesa Hedningarna tenía que esforzarse si quería alcanzar el nivel óptimo de esos soberanos trabajos en su siguiente plástico. Sería en 1997 cuando 'los paganos' publicarían "Hippjokk", álbum en el que seguían trabajando con material antiguo de Suecia, Noruega y Finlandia, lo que ellos sentían como "la síntesis del tesoro musical de Escandinavia". El camino elegido en esta ocasión fue más instrumental que antaño, víctimas de la decisión de las vocalistas finesas de la banda, Sanna Kurki-Suonio y Tellu Paulasto, de quedarse embarazadas en aquella época. Al frente del conjunto, por tanto, quedaban Anders Stake, Totte Mattsson y Björn Tollin. Como aportación más destacada, el lapón Wimme Saari, que ya aparecía puntualmente en "Trä", se encargó de poner las voces en varias de las canciones, un cantante muy particular cuyo comienzo de la relación con Hedningarna la explicaban los miembros del grupo así: "Estabamos tocando en el festival de Umea, en Suecia, y Wimme subió al escenario, tomó un micrófono y comenzó a lanzar e improvisar su canto joik sobre la música del grupo, llegando a tal estado de éxtasis que acabo tumbado en el suelo, con el micrófono encima". A la sorprendente instrumentación habitual en el grupo se unían además elementos poco habituales como un didgeridoo o una puntual guitarra eléctrica, así que el experimento resultante no podría ser más interesante y demoledor, dejando un poco de lado la rotundidad rockera para acrecentar otro tipo de influencias urbanas, triphoperas, hasta el punto de hablar de este disco como un claro exponente de un nuevo estilo, el trip-folk.

    Publicado en 1997 por Silence, su compañía de cabecera, y distribuído en España por Resistencia (que además tradujo los textos explicativos de las canciones), "Hippjokk" presenta once composiciones, en su mayoría tradicionales. La instrumentación es tan extraña y variopinta como suele ser habitual en ellos, pero todo acaba componiendo un puzzle perfecto: Stake toca violín, violines con teclas, guimbarda, flautas de saúco y de madera, gaita sueca, gong y dos instrumentos chinos, souna -de viento- y jinghu -de cuerda-; Mattsson aporta mandora -guitarra morisca-, ud -laúd árabe-, acordeón y hummel -salterio sueco-, y Tollin se encarga de la percusión, pandereta, tambor de cuerdas y mandora baja. Los dos primeros también ponen sus voces. Como músicos invitados, Ulf Ivarsson (de nuevo la mandora baja), Johan Liljemark (el australiano didgeridoo), Knut Reiersrud (guitarra eléctrica), Ola Backstrom (violín) y el mencionado cantante Wimme Saari, un finlandés lapón (o sami) conocido por su estilo de canto tradicional yoik, un canto normalmente improvisado, sin letra definida, como un modo de expresión entre la persona y la naturaleza. Siguiendo las tradiciones de su pueblo, Wimme ejerce de chamán en parte de esta aventura, la sustitución de los cantos rúnicos fineses por la casi ritual intensidad del yoik, convierte por algunos momentos al trabajo en una novedosa búsqueda en las raíces nórdicas, cuando no en un enérgico carnaval a la particular manera de estos revolucionarios paganos. Cualquier otra banda hubiera arreglado estos temas tradicionales de una manera más académicamente correcta, pero el resultado no hubiera sido ni mucho menos tan distinto y notablemente atractivo. Seis de las once canciones son puramente instrumentales: "Höglorfen" es una polka tradicional, una presunta marcha nupcial que no es sino una presentación de la rotundidad que nos espera en un álbum que, basado en un sonido de apariencia arcaica, logra un sorprendente y adictivo efecto tecno, por su acercamiento a estéticas dance. "Dolkaren" ('El puñal') es sin duda el tema mas hipnótico y espectacular del trabajo, una marcha tradicional procedente del valle noruego de Setesdal, basada en un poderoso ritmo constante sobre el que entran y salen sonidos antiguos que se reinventan dotados de una absoluta e impactante modernidad. Grandioso, sin más. En la parte central del disco habitan tres polkas seguidas, "Kina" ('China') -país que el grupo había visitado diez años atrás-, "Forshyttan" -extraña asociación de cuerdas, de apariencia desacompasada, que derivan en un pequeño clímax- y la calmada "Dufwa", y más adelante "Skåne", que cuenta con la única guitarra eléctrica del álbum, del noruego Knut Reiersrud. En cuanto a las voces, en "Drafur och Gildur" cantan los miembros del grupo, de tal manera que este 'romance sangriento sobre el bien que vence al mal' revive las sensaciones experimentadas en "Trä", ese sonido rudo, rockero, que acabó de propagar el nombre de la banda por todo el mundo. También cantan, pero de manera más extraña, con un toque psicodélico orientalizante, en "Vals I fel dur", adaptación de una pieza del misterioso grupo Philemon Arthur & the dung. Es sin embargo el imprescindible Wammi Saari parte fundamental del apoyo vocalista del álbum, y lo ejerce en "Návdi / Fasa" ('Terror') -maravillosa composición en la que el lapón actúa de manera chamánica, apoyando el contraste con un etno-tecno que alcanza niveles sorprendentes-, "Bierdna" -que suaviza el efecto tecno y acrecenta el tribal con la voz que interpreta al oso y el didgeridoo hacia mitad de la pieza- y una locura final a modo de jam session, una especie de trance improvisado (una polka-groove, señalaban) plagado de voces pseudoindigenas e instrumentos desatados titulado "Graucholorfen". Potentes e hipnóticas tonadas pueblan este reconocido trabajo que experimenta en la repetición de melodías y ritmos, intentando la consecución de trances musicales rozando estéticas dance, pero no olvida la raíz, lo que los miembros del grupo denominan el 'ritmo primigenio'. Tollin hablaba así sobre su forma de trabajar: "partimos de una simple idea básica, una melodía muy sencilla, la escuchamos varias veces para intentar captar el humor, el ambiente, la atmósfera, luego comenzamos a vestirlas con diferentes ritmos, el sonido del bajo, las letras...". Respecto a la extraña, enigmática portada, los miembros del grupo se mostraban igual de misteriosos, por ejemplo Sanna Kurki-Suonio -que no participó activamente en el disco- contestaba: "es el secreto de la vida, no te puedo decir más, siempre debes guardar tu secreto".

    Las voces finesas volverían en la siguiente etapa de la banda, por medio esta vez de Anita Lehtola y Liisa Matveinen (de hecho, el siguiente trabajo iba a tener también una base de trío instrumental, como en "Hippjokk", hasta la aparición -oportuna o no- de estas dos féminas con sus cantos runos de Karelia, región al este de Finlandia, al lado de Rusia), pero mientras tanto el rico folclore sueco fue el objetivo del tamiz renovador de este genial trío, que consiguieron una absoluta y original modernidad, entre lo tribal y el sonido rave, en una serie de piezas altamente turbadoras que elevaban a cotas muy altas las prestaciones del grupo con los instrumentos antiguos recuperados que son la clave de su particular sonido. Así, la producción de "Hippjok" es caso aparte por su excelencia y profundidad, y llega a sorprender por su extraordinario magnetismo. Volvía a haber en este plástico una importante labor de investigación y adaptación, el (eventual) cambio de rumbo fue afortunado, el diseño del producto atrevido, la información sonora fabulosa, viva, rugiente... en su dirección un tanto distinta a lo habitual, "Hippjokk" es indudablemente un álbum de confirmación, otro hito imprescindible -y ya deberíamos estar acosumbrados a estas alturas- de Hedningarna.

    ANTERIORES CRÍTICAS RELACIONADAS:




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    Muito obrigado...

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    Billain - Blockfield/Boogie (2013) FLAC (tracks)
    Artist: Billain | Album: Blockfield/Boogie | Released: 2013 | Genre: Drum Bass, Neurofunk | Country: Bosnia and Herzegovina | Duration: 00:13:12

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    Avi Rosenfeld & Marco Buono - Many Years Ago (2017) FLAC (tracks)
    Artist: Avi Rosenfeld & Marco Buono | Album: Many Years Ago | Released: 2017 | Genre: Rock, Classic Rock, Pop Rock | Country: Israel | Duration: 00:40:34

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    Avi Rosenfeld - It Means (2014) FLAC (tracks)
    Artist: Avi Rosenfeld | Album: It Means | Released: 2014 | Genre: Rock, Classic Rock, Pop Rock | Country: Israel | Duration: 00:39:33

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    Deep Purple - Johnnys Band (2017) FLAC (tracks)
    Artist: Deep Purple | Album: Johnnys Band | Released: 2017 | Genre: Rock | Country: UK | Duration: 00:24:04

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    Akhenaton [IAM member] - Black Album (2002) APE (image+.cue)
    Artist: Akhenaton | Album: Black Album | Released: 2002 | Genre: Hip-Hop

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    Accept - The Rise Of Chaos (2017) FLAC (image + .cue)
    Artist: Accept | Album: The Rise Of Chaos | Label: Nuclear Blast | Catalog: NB 4012-2 | Country: Germany | Released: 2017 | Genre: Heavy Metal | Duration: 00:46:31

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    VBR~257 kbps | 81 MB | LINKS

    Nick Lowes Abominable Showman was recorded with his post-Rockpile touring band Noise to Go. Following the blueprint of Rockpile, the band also featured a second lead vocalist in erstwhile Ace frontman Paul Carrack and had been featured on the Lowe-produced Carrack album Suburban Voodoo (as well as on this albums duet Wish You Were Here). This unit could play hard driving rock & roll and soulful pop music, all in evidence here from the opener (and concert favorite) Raging Eyes to the full on pop-soul of Time Wounds All Heels. And the band barnstormed the USA opening for the likes of The Cars and Tom Petty & the Heartbreakers which yields the bonus EP of live tracks from Clevelands Agora.

    Tracks:
    1. We Want Action
    2. Raging Eyes
    3. Cool Reaction
    4. Time Wounds All Heels
    5. Man Of A Fool
    6. Tanque-Rae
    7. Wish You Were Here
    8. Chicken And Feathers
    9. Paid The Price
    10. Mess Around With Love
    11. Saint Beneath The Paint
    12. How Do You Talk To An Angel
    13. (Whats So Funny Bout) Peace, Love and Understanding? (Live) (Bonus Track)
    14. Crackin Up (Live) (Bonus Track)


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    VBR~237 kbps | 81 MB | LINKS

    Nick The Knife re-established Nick as a solo artist after Rockpiles final album (and the only one issued under the groups name!) Seconds of Pleasure. Rockpiles Terry Williams and Billy Bremner made contributions, but Nick also transitioned towards his new band Noise to Go by bringing back old friend Bobby Irwin, introducing bassist James Eller and Paul Carrack. The album features Nicks version of Heart (Bremner had sung it on the Rockpile album) as well as an eclectic survey of pop music styles from power pop to doo-wop. My Heart Hurts, penned with then-wife Carlene Carter, was the lead single. This reissue includes demo versions of Heart and Raining, Raining as well as the rarity (recorded around the same time) I Got a Job.

    Tracks:
    1. Burning
    2. Heart
    3. Stick It Where The Sun Don’t Shine
    4. Queen Of Sheba
    5. My Heart Hurts
    6. Couldn’t Love You(any More Than I Do)
    7. Let Me Kiss Ya
    8. Too Many Teardrops
    9. Ba Doom
    10. Raining Raining
    11. One’s Too Many (And A Hundred Ain’t Enough)
    12. Zulu Kiss
    13. Heart (Demo) (Bonus Track)
    14. Raining Raining (Demo) (Bonus Track)
    15. I Got a Job (Bonus Track)


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    Мантры Риг-веды, Упанишады Жанр : мантры Год выпуска диска : 2008 Производитель диска : Индия Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 12:52:55 Описание : На протяжении тысячелетий и даже сейчас, многие люди в Индии практикуют повторение мантр.

    Тема на форуме



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    FLAC / Hi-Res | 533 MB | LINKS

    Singer-songwriter-activist Ani DiFranco has announced the release of her twentieth studio album Binary which is set for release on June 9th as a European joint venture between Aveline Records and Righteous Babe Records.

    With Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought Ani DiFranco to the world’s attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognised among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, Ani DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope.


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    FLAC | 336 MB | LINKS

    Jenny Scheinman has announced she will release her new album Here On Earth on March 3 via Royal Potato Family. The record features 15 instrumental tracks from the violinist and songwriter’s score for the film Kannapolis: A Moving Portrait. Here On Earth also features guest spots from Danny Barnes, Bill Frisell, Robbie Fulks and Robbie Gjersoe.


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    256 kbps | 105 MB | LINKS

    The music of Glenn Alexander & Shadowland brings these two seemingly disparate notions together into a band that evokes the soulful vibe of a historic honky tonk, while keeping you
    guessing on what’s comin’ next. At its core, Shadowland is guitar-driven, horn-laced, in-your-face, rockin’,soulful, blues-drenched music.


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