Djerdan vol.11

Diskusije o bh. i inostranim izvođačima, razmjena pjesama, CD-ova, muzičke oprema...

Moderatori/ce: Bobi, Chmoljo, ostro i na prvu

PostPostao/la victory dana 23/02/2008 14:43

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Someone Still Loves You Boris Yeltsin - Pershing (04/2008)


http://www.sendspace.com/file/pzfdul


The long-winded globetrotters in Someone Still Loves You Boris Yeltsin have announced the details of Pershing, their second album and first as members of Polyvinyl's roster (though the label already reissued the band's debut, Broom).

Pershing is an 11-song set of indie pop tunes due out April 8, and the band will precede its release with a Midwestern mini-tour and an appearance at SXSW in March.

01 Glue Girls
02 Boring Fountain
03 Dead Right
04 Beach Song
05 Modern Mystery
06 Some Constellation
07 Think I Wanna Die
08 You Could Write a Book
09 Oceanographer
10 HEERS
11 Doris Tailspin (Boring Mountain)

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PostPostao/la victory dana 24/02/2008 07:03

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The Breeders - Mountain Battles (04/2008)


http://www.mediafire.com/?xsb9eyjbtme


Though it appears Kim Deal isn't keen on a new Pixies LP, fans of her melodious songcraft and cherubic rasp can rest assured; the Breeders' forthcoming LP, entitled Mountain Battles, will arrive stateside April 8 via 4AD. The record, the follow up to 2002's Title TK, which frontwoman Kim Deal has worked on between reunion tours with the Pixies, was predominantly recorded with Steve Albini at Chicago's Electrical Audio studio with longtime members Mando Lopez (bass), Jose Medeles (drums), and sister Kelley Deal (guitar/vocals).

Discussing the record with VenusZine, Kim Deal said, "the songs are just songs. But for instance, one song Kelley and I did live. She played stand-up bass and I played acoustic guitar while we sang." She added: "Steve Albini taped it live like that. Yet another song has Kelley playing bass and Mando playing rhythm guitar. I'm playing the lead and Kelley and I are singing throughout. One song has Mando playing a lead guitar, which Albini then backward masked. One song has three, count 'em, three basses on it."

For a taste of "three basses" and more, Chicagoans can head to this holiday benefit to catch Kim and sister Kelley Deal onstage before they head out on tour in support of the record in 2008. And though performances have yet-to-be detailed, a press release confirms stop at SXSW and Coachella will be included in the itinerary.

4AD will release Mountain Battles on Monday 7th April 2008.

1. Overglazed
2. Bang On
3. Night Of Joy
4. We're Gonna Rise
5. German Studies
6. Spark
7. Istanbul
8. Walk It Off
9. Regalame Esta Noche
10. Here No More
11. No Way
12. It's The Love
13. Mountain Battles


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PostPostao/la victory dana 24/02/2008 09:52

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Timesbold - Ill Seen Ill Sung (03/2008)

http://www.mediafire.com/?zx09wzgyooy

Timesbold pairs vivid, cunning lyrics with music that skillfully balances the rickety with the rich and the raucous with the ruminative. Lead-vocalist/lyricist Jason Merritt (a.k.a. Whip) and multi-instrumentalists Tony San Marco, Tony "Levon" Leva, Jesse Sparhawk and Max Avery Lichtenstein (who also handles production duties) congregate in and around Tin Drum Studios just outside New York City, where they conjure up their compelling atmospheres of tone, texture, melody and noise. They draw from a palette of instruments that includes mellotron, mandolin, harmonium, horns, banjo, vibraphones, concert harp, bowed saw, lo-fi electronics, old vinyl and much more...

1. Old Hannah
2. Any Lethal Storm
3. All Readymade
4. Takeaway
5. When I Come Around
6. Hollow Halo
7. Mama
8. Cancao Bebendo
9. Fencepost
10. Recover Ring
11. Lame Horse
12. Be Leaving
13. Far To Strange


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PostPostao/la victory dana 24/02/2008 12:35

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Trus'me - Working Nights (2007)

http://www.mediafire.com/?zglddygztt3

Working Nights' is the debut album from Manchester's latest production prodigy Trusme. This 8 track set (plus bonus 'live mix' track 12:12 - CD only) features three of the hard to find Love4Music black label 12"s that shot Trusme to notoriety in early 2007, garnering massive support from the likes of Gilles Peterson, Karizma, Carl Craig, Benji B, Mad Mats, Jazzanova, Mr Scruff and many many more... His brief carrer has already seen DJ visits to New York, Chicago and Detroit aswell as guest spots at Manchester institutions Electric Chair and Friends & Family. Remixes for Aaron Jerome, Chez Damier and Belleruche are all pending for 2008...

The Trus'me sound references the man's extensive record collection bringing to life decades of funk soul and jazz all with a razor sharp contemporary twist and an inherently Mancunian understanding of basement soul music.... Moodymann comparisons abound but Trus'me's sound is all his own. Expect a bright future from this lad including work with Paul Randolph, Linkwood Family and the mighty Amp Fiddler in the next 12 months...

*'Working Nights contains five previously unreleased gems alongside firm favourites such as 'W.A.R.', 'At the Disco' and a new version of the house behemoth 'Nards', entitled 'Narda'*

The most interesteing and promising young producer in the country right now
( Gilles Peterson, Radio 1 )

Top stuff...putting Manchester back on the map once again
( Piccadilly Records )

HOT LIKE FIRE! like the tracks!!!!! would like to add to dj set .....real cool.
( Delano Smith, Mix Mode )

This shit is real Cool
( Rick Wade, Harmonie Park )

Hot Hot Hot, Hot!
( Piranhahead, Mahaogani )

Need that where can I buy?
( Mike Grant, Moods & Grooves )

Wonderful stuff and put together brilliantly ! Thank you !
( Ashley Beedle )

One of my favourite albums of the year alongside M.I.A.
( Rob Luis , Tru Thoughts )

I am actually blown away from the flow and the production and ... the music. BIG album. my kinda housemusic for sure. 100% soulful
( Michael Rutten, Soul Searching )

Trusme is bad! Deep dirty disco for both soul and house heads.
( Mad Mats, Raw Fusion )

I'm a huge fan of this guy and played Nards at pretty much every gig I've done since it came out.
'War' has been smashing it on my current tour too...
Expertly executed reworks which never fail on the floor - 10/10
( Chris Duckenfield )

Whata an amazing piece of modern dance music. I can only say ACE!
( Señorlobo, Lovemonk )

Sublime album! All of us @ DeepHouseMafia love it! It will be played & charted in all our parties & shows..
( Fred, DeepHouseMafia )

Excellent, nice news from Fat City and very nice noise from Trusme. Some of these tracks go deeeeeep and should keep music minds exhilarated for a long time, 9/10.
( Alan Brown, Soul Seduction, Vienna )

Excellent album start to finish - it's difficult to name highlights when every track is so good but Drillin', At The Disco & Shake A Body are all that little bit more excellent than the rest!
( Black Athena, Greece )

1. Introducing
2. Drilling
3. At The Disco
4. Working Nights
5. Shakea Body
6. WAR
7. Narda
8. Trus'us
9. 12:12

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PostPostao/la victory dana 25/02/2008 00:10

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Jen Chapin - Linger (2004)

http://www.mediafire.com/download.php?9ywcndyk6it

Jen Chapin has stretched out on Linger, her third disc, adding additional musicians and a string section to accompany her evocative tunes, rather than relying solely on husband Stephan Crump’s double bass to underscore her shape-shifting vocalizations as she did on 2002’s Open Wide. Her earlier effort was a stark, chilly affair, the only warmth coming from her idiosyncratic voice, which ranges from a Minnie Riperton meow, to a smoky blues moan, to an R&B rasp. Overtime Chapin’s voice has become a more sophisticated instrument that moves effortlessly from the steamy pages of her diary to the after-hours clubs in Munich, to the tragedy of child soldiers in West Africa, without sounding a false note. A Berklee trained lyricist, and a tireless advocate against poverty and world hunger, Chapin combines the personal with political, writing with a conscience and grace that one rarely encounters. --Jaan Uhelszki

"Brilliant... soulfully poetic urban folk music... [has three] great crazy, sexy, cool love song[s]"
- Thom Terrell, "All Things Considered," National Public Radio

"Her soothing folk-pop and thoughtful coffeehouse musings on Linger make this disc worth savoring... Chapin, a favorite on the New York City club circuit, brings an unhurried pacing and low-key charm to her tales of Big Apple life on songs like "City" and "Little Hours." She displays a light, sexy jazziness on numbers like "Me Be Me..."
- Chuck Arnold, People Magazine

"...Jen shares interior monologues, essaying common themes with uncommon wit and sweetly supple singing. And her band swings along with her mood... Makes you want to well, linger."
- Larry Blumenfeld, Entertainment Weekly

"..a sensational debut album...Chapin shows no fear of vulnerability on Linger, a collection of jazzy vocal concoctions delivered in her smoky, sex-addled timbre... her lyrics are intelligent and socially conscious, exploring everything from the pitfalls of romance to our society's political passivity."
- Neil P. Stewart, Gotham

1. Little Hours
2. Good at Love
3. Me Be Me
4. Manchild
5. 'Til I Get There
6. City
7. Numbers
8. Hurry Up Sky
9. Passive People
10. Regular Life
11. Gold
12. I Could Fall (in Love with You)

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PostPostao/la victory dana 25/02/2008 00:43

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Jen Chapin - Ready (2006)

http://www.mediafire.com/download.php?bxwoetyyjen

Recording information: 2006.

Maybe the title alludes to the fact that she's ready to be taken as a serious artist in her own right, separate from the legacy of her late father Harry Chapin or uncle Tom Chapin--and with this release, that should be the case. Jen Chapin's crystalline soprano intones articulate lyrics about love, life in the city, and new motherhood, over a musically diverse palette that includes funk ("Strip it Bare"), straight-up folk ("Let it Show"), and scatty jazz ("NYC"). Her acoustic backing band lends an easy, live-in-the-living-room feel, propelled by upright bassist Stephan Crump's juicy playing.
--------
JazzTimes (p.92) - "[T]his being Chapin and Crump, a team worthy of Joni Mitchell and Neil Young when it comes to laying it on the line lyrically, there's much more to READY than merely sweet reverie."
Dirty Linen (p.80) - "[D]eeply personal songwriting....[With] soft-toned vocals framed by the folk, jazz and R&B blend of a small combo..."

1. Strip It Bare
2. To The New
3. Scream Laugh Cry
4. Ready
5. Goodbye
6. Let It Show
7. NYC
8. Election Day
9. Time
10. Go On
11. Skin

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PostPostao/la victory dana 25/02/2008 01:01

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LadybiRdS - Regional Community Theater (2007)


http://www.mediafire.com/?jgyhx1bxdbl


LadybiRdS is Teeter Sperber and Tyler Pursel, the keyboard player for Gym Class Heroes. Their debut album comes out late summer 2007 on a rad lil' indie from PA called Creep Records - it's entitled "Regional Community Theater." Handfuls of cool contributors and guest vocalists appear on it.
Max Bemis from Say Anything sings on 2 tracks, Matt Pryor from The Get Up Kids sings on 1 track and another track even has a chorus of spazzy pre-teens singing on it. (Best part of the record ever ever.) There are guest vocals from two other amazing frontmen as well - Justin Johnson from Philly area band called The Danger O's and Neil Sabatino from a Jersey-based band called Fairmont.

LadybiRdS describe their overall sound as such: "Cyndi Lauper superfan meets (a cupcake pop version of) The Postal Service on diet pills (before Ephedra was banned by the FDA.)

The 'Birds got really lucky in terms of being able to collect a gang of super talented music makers to be a part of their first release.

LadybiRds, the duo of Teeter Sperber and Tyler Pursel, debuts with a disc sure to please fans of kitchy, '80s electronic pop — think New Order meets Cyndi Lauper, with a lot of Atari sounds thrown in. The first thing you'll notice are the outlandish titles ("Oh No! The Unicorns are Knife Fighting Again"), which usually have absolutely nothing to do with the song. It's primarily a collection of love and dysfunctional relationship songs with witty lyrics (such as "Take off your armor, it won't leave you impaired" from "Maxim and the Headphone Life"). Sperber's able voice is often doubled for an echoing effect, and she is occasionally joined by male guest vocalists. Drum machines and synthesizers dominate this danceable disc, although we occasionally hear identifiable instruments, such as the piano on "Cooper, Thanks for the Birds."

The opening track, "Slice Our Hands (We Are Blood Sisters)," is among my favorites, with layered vocals on the word "always" in the chorus and a dizzying, intoxicating feel. The fast-paced, upbeat song is a great representative of what to expect from LadybiRds. "Andy Lex," a rumination on a truncated relationship, features the great line, "I wonder now if I missed out by not agreeing to stay the night after I held you while we watched The Princess Bride." Sperber's voice is plaintive and longing on this number, and the "pre-teen chorus" on the refrain adds a pleasant touch. There's not much variety on Regional Community Theater, but if you miss '80s electronica, you can't go wrong with this disc.

Review by Karen Duda

1. Slice Our Hands (We Are Blood Sisters)
2. The Brown and Red Divide
3. Andy Lex (guest vocalists: pre-teen chorus! )
4. Regional Community Theater (guest vocalist: Max Bemis of Say Anything)
5. Lady of Travel and Leisure (guest vocalist: Neil Sabatino of Fairmont)
6. Maxim and the Headphone Life (guest vocalist: Max Bemis of Say Anything)
7. All Love for the Oregon Coast
8. Shark Party (guest vocalist: Justin Johnson of The Danger O's)
9. Oh No! The Unicorns are Knife Fighting Again
10. Cooper, Thanks for the Birds (guest vocalist: Matt Pryor of The Get Up Kids)
11. You are the Torro King

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PostPostao/la victory dana 25/02/2008 04:03

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The Black Keys - Attack & Release (04/2008)


http://www.mediafire.com/?ewxg2zcmlbx


When Ike Turker passed on just under a month ago, some of you, after guffawing at this New York Post headline and subsequently hating yourself for it, may have wondered what would happen to the pending collaboration between the rock ‘n’ roll pioneer and contemporary Akron-based genre practitioners The Black Keys. The man and the duo were set to record an album produced by Danger Mouse, so anticipation was a’bubblin like magic potion.

However, many months before emphysema claimed Turner's life, guitarist-vocalist Dan Auerbach and drummer Patrick Carney said they already realized the record would be their own. Titled Attack & Release and set to hit shelves April Fool's Day on Nonesuch Records, the LP is still distinct from their four previous efforts in two ways. One, Danger Mouse is still twisting the nobs on the record, and two, the duo recorded in an actual studio (Suma Studio outside sunny Cleveland, in fact) instead of Carney’s reputedly gross-ass, likely carcinogenic basement. Will the result be less gritty and stripped-down? Certainly. Will the boys suffer permanent lung and brain damage from exposure to toxic-black mold? Less likely!

Carney added in a statement: "The place is covered with dust, it smells like a moldy cabin, and it looks like a haunted house. I think Dan and I were intrigued to work with somebody as a producer, and with an engineer like Paul [Hamann], because we both realized we couldn’t teach ourselves anything more and it was best to start learning from other people."

Some guests (who Aeurbach and Carney might have otherwise been too embarrassed to let into their basement) show up on the record, including guitarist Marc Ribot and Carney’s uncle Ralph, both of whom have backed Tom Waits. Meanwhile, eighteen-year-old bluegrass singer Jessica Lea Mayfield lends her pipes to the final track, "Things Ain’t Like they Used to Be."

1. All You Ever Wanted
2. I Got Mine
3. Strange Times
4. Psychotic Girl
5. Lies
6. Remember When (Side A)
7. Remember When (Side B)
8. Same Old Thing
9. So He Won't Break
10. Oceans & Streams
11. Things Ain't Like They Used To Be

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PostPostao/la victory dana 25/02/2008 07:39

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Jennifer Cardini - Feeling Strange (03/2008)


http://www.mediafire.com/?veam49ilmwp

Latest mix on Kompakt comes from the label's French ambassador: Jennifer Cardini. Feeling Strange drops end of March.

Cardini has long been an advocate of minimal in France, mixing it up with electro alongside Parisian Kill the DJ sistas Chloe and Fany at Pulp and now at residencies at The Rex Club (Paris) and Nitsa (Barcelona). She’s also sports very impressive tattoos.

Feeling Strange arrives a full three years after her last mix CD Lust, and like its predecessor it promises to show Cardini's taste for the unusual, finding connections between minimal (Maurizio, Peter Ford), electro (The Hacker), beardo-electronica (Principles of Geometry) and house (Joeski, Johnny D).


1. Sometimes I'm Sad For A Few Seconds - (Robert Lippok remix, with Justine Electra)
2. Love Love Love Yeah - (Chloe remix, with Rework)
3. Drac - (with Adam Kroll)
4. All By Myself - (with Joeski)
5. M-04 - (with Maurizio)
6. Place To Be - (Daniel Stefanik remix, with Lawrence)
7. May I? - (Quarion remix, with Jamie Lloyd)
8. Takemussa - (dub, with Soha)
9. Manipulation - (with Johnny D)
10. On The Run - (Kaos mix, with Khan)
11. Zone - (with The Hacker/Eric Borgo)
12. So Let It Be House - (with Mike Dunn)
13. Emotion - (with Compuphonic & Kolombo)
14. The Vineyard - (Peter Ford remix, with Florence Eevo)
15. Fed On Youth - (with False)
16. Blackbody - (with Alex Smoke)
17. Eclipse - (with Onur Ozer)
18. Missing Billie - (with Reinhard Voigt)
19. Mountain For President, A - (with Principles Of Geometry)
20. Push - (with Lusine)
21. Arcadia - (video edit, with Apparat)


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PostPostao/la victory dana 25/02/2008 12:03

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Droppin' Science - Greatest Samples from the Blue Note Labs (02/2008)


http://www.mediafire.com/?oxjwjjxlngz


On February 12, Blue Note Records will release Droppin' Science, a unique collection of the legendary label's classic late 60s through mid-70s jazz-funk tracks, all of which have featured prominently as samples in some of the greatest hip hop cuts of the late 80s, 90s and beyond.

Hip hop artists ranging from Dr. Dre to the Beastie Boys and A Tribe Called Quest have sampled Blue Note grooves by such jazz greats as Lou Donaldson, Grant Green, Donald Byrd, and Lonnie Smith. All of these original Blue Note tracks have been compiled for the first time on Droppin' Science, which Blue Note will release as a 10-track CD, a 13-track digital album and vinyl LP, as well as individual ring-tunes that are based on the exact sampled loop.

Little known to most of the general public, Blue Note is home to some of the most widely used samples in the history of hip hop. Sampling and the use of breakbeats has been the foundation of hip hop since its advent in the late 70s; yet, during the late 80s artists began looking for the first time into the world of jazz for new and creative sources of music. Blue Note's extensive catalog quickly became the go-to location for innovative groove based samples. What resulted was an explosion of classic hip hop tracks featuring Blue Note jazz. This explosion is best experienced in the music of A Tribe Called Quest, who used 4 out of the 10 tracks on Droppin' Science in numerous groundbreaking classics.

Taking the name from a cut off of Marley Marl's 1988 LP In Control Vol. 1, Blue Note's VP of A&R Eli Wolf conceived the Droppin' Science project as a way to connect what he calls the "golden age of hip hop" to the now classic jazz-funk tracks recorded for Blue Note during the late 60s through mid-70s. Selecting from over 25 Blue Note tracks, Wolf has assembled the best of the best from the Blue Note sampleography.

The list of artists both sampled and sampling includes some of the most famous names in the world of jazz and hip hop, and covers a large breadth of time. In 1992, Kool G Rap used Joe Williams' "Get out of My Life Woman" in his classic cut "Ill Street Blues;" then, nearly a decade later Jill Scott used the same sample in the song "Brotha" featured on her seminal neo-soul debut Words and Sounds: Vol 1. Landmark tracks from Brand Nubian ("Punks Jump Up to Get Beat Down"), De La Soul ("Bitties in the BK Lounge"), and Lox ("Get This $") all feature a groove from Lou Donaldson's "It's Your Thing." A Tribe Called Quest used Jack McDuff's "Oblighetto" in their smash "Scenario." As recently as 2001, Dr. Dre sampled David McCallum's "The Edge" in the infamous cut "The Next Episode" which featured Snoop Dogg. The list continues, with Biggie Smalls' "One More Chance" remix and Mary J. Blige's "Everyday It Rains" featuring a sample from Lou Donaldson's "Whose Makin' Love." Blue Note's influence has even been felt in the pop world where Madonna used a Lou Donaldson sample ("It's Your Thing") in her song "I'd Rather Be Your Lover," as well as a sample of Grant Green's "Down Here on the Ground" in her song "Forbidden Love."

These innovative hip hop artists and beyond did their part to bring to light some of the gems of the Blue Note catalog. Yet, these tracks deserve to be heard in their entirety; complete with ripping Lonnie Smith organ solos and David Axelrod produced sound-scapes. Blue Note's aim is to re-introduce these classics to the public and to highlight the innovative ways in which these artists and producers utilized jazz material in their work. Droppin' Science brings these jazz tracks together for the first time in a truly distinct, soulful, and funky way.

Tracklisting/Sampleography

1. Lou Donaldson “It’s Your Thing” – Originally on the album Hot Dog (Blue Note, 1969).
Brand Nubian “Punks Jump Up To Get Beat Down” (Elektra)
De La Soul “Bitties In The BK Lounge” (Tommy Boy)
Lox “Get This $” (Bad Boy/Arista)
Real Live “Day You Die” (Pirate/Big Beat)
Madonna “I’d Rather Be Your Lover” (Warner Bros.)

2. Ronnie Foster “Mystic Brew” – Originally on the album Two Headed Freap (Blue Note, 1972).
A Tribe Called Quest “Electric Relaxation” (Jive)
Rell “Real Love” (Roc-A-Fella/Def Jam)
E.T.A. “Ayia Napa” (Flex)

3. Donald Byrd “Think Twice” – Originally on the album Stepping into Tomorrow (Blue Note, 1974).
A Tribe Called Quest “Footprints” (Jive)
Main Source “Lookin At The Front Door” (Wild Pitch)
De La Soul “Simply Havin” (Tommy Boy)
DJ Krush “Big City Lover” (Instinct)
J Dilla “Think Twice” (BBE)

4. David Axelrod/David McCullum “The Edge” – Originally on the album Music: A Bit More of Me (Capitol, 1968).
Dr. Dre “The Next Episode” (Aftermath/Interscope)

5. Jack McDuff “Oblighetto” – Originally on the album Moon Rappin’ (Blue Note, 1969).
A Tribe Called Quest “Scenario” (Jive)
J Dilla “Oblighetto Remix” (Blue Note)

6. Joe Williams “Get Out Of My Life Woman” – Originally on the album Presenting Joe Williams and the Thad Jones/Mel Lewis Jazz Orchestra (Solid State, 1966).
Kool G Rap “Ill Street Blues” (Cold Chillin’/Warner Bros.)
Biz Markie “Funk Is Back” (Cold Chillin’/Warner Bros.)
Cadillac Tah “You Loose” (Def Jam)
Jill Scott “Brotha” (Hidden Beach)

7. Grant Green “Down Here On The Ground” – Originally on the album Alive! (Blue Note, 1970).
A Tribe Called Quest “Vibes & Stuff” (Jive)
Madonna “Forbidden Love” (Boy Toy/Warner Bros.)

8. Lonnie Smith “Spinnin Wheel” – Originally on the album Drives (Blue Note, 1970).
A Tribe Called Quest “Can I Kick It” (Jive)
Pete Rock And C.L. Smooth “Act Like You Know” (Elektra)
Brian Austin Green “Didn’t Have A Clue” (Yam Yum Entertainment)

9. Jeremy Steig “Howling For Judy” – Originally on the album Legwork (Solid State, 1970).
Beastie Boys “Get It Together” (Capitol)

10. Lou Donaldson “Who’s Makin Love (To Your Old Lady)” Originally on the album Hot Dog (Blue Note, 1969).
Biggie Smalls “One More Chance” Remix. (Bad Boy)
Marley Marl & Craig G “Droppin Science” (Cold Chillin”/Warner Bros)
Mary J. Blige “Everyday It Rains” (Def Jams)

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PostPostao/la lab3352 dana 25/02/2008 12:36

vic ... evo da i ja malo pomognem danas ... Iako sam narucio original (koji cekam), evo za preslusavanje

NICK CAVE & THE BAD SEEDS
"Dig Lazarus Dig"

01.Dig, Lazarus, Dig!!!
02.Today's Lesson
03.Moonland
04.Night Of The Lotus Eaters
05.Albert Goes West
06.We Call Upon The Author
07.Hold On To Yourself
08.Lie Down Here (And Be My Girl)
09.Jesus Of The Moon
10.Midnight Man
11.More News From Nowhere

http://rapidshare.com/files/94166247/Ni ... us_Dig.rar
pass: barcelona67

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PostPostao/la victory dana 25/02/2008 13:05

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Amandine - Solace In Sore Hands (2007)

http://www.mediafire.com/?6eonw2nhzzz

'Solace In Sore Hands', featuring eleven new bitter-sweet songs, that nevertheless purvey a more extensive sonic palette, and display a further-refined take on their already poignant lyrical content.

The album was written in the spring of 2006 and rehearsed the following summer. Again working with producer Ove Andersson, the basic tracks were recorded live in late August in a cabin north of Umeå, Sweden, overlooking the bay of Bothnia. The band then returned to the Maraccas studio in Gefle for additional recordings and mixing.

The result, 'Solace…', serves as a concise document of that specific period. Lyrically influenced by the harsh and slightly absurd imagery of Swedish contemporary authors Sara Lidman, Torgny Lindgren and Lotta Lotass among others, major themes include forgiveness, redemption and moving on in the wake of hardship. The title is a reference to the labour and hardship often portrayed by those authors.

Still based on an axis of alt country / Americana, Amandine's songs have broadened in both scope and depth. Aside from their inclination towards the likes of Songs:Ohia, The Band, early R.E.M. or Crosby Stills Nash x%x% Young, this fresh batch of recordings highlight a leaning towards Swedish folk music and the minimalist, heart-rending composition of Erik Satie. Nevertheless, at times the songs on 'Solace…' cut loose more freely and bear rougher edges than those on its predecessor, imbued with the character of a more prevalent live recording process.

Amandine’s story starts in a small northern swedish town called Sandviken. A town known mostly for its iron works, it is also the birthplace of Olof Gidlöf and John Andersson, who formed the band in 2001. Together they crafted country-inspired songs inbetween commitments to other music projects. Studies then relocated Olof and John further north to Umeå, known for its vibrant music scene, where Andreas Berqvist and Andreas Hedström were added to the line up, as Amandine went from a being a side project to the main point of focus for its members. In 2004 the band moved to Malmö and signed to FatCat, who reseased their debut album 'This Is Where Our Hearts Collide' the following year. 2006 saw the addition of violinist Kristina Lundin, as well as the release of the 'Waiting For The Light To Find Us' EP, and tours in Europe and the U.S.
http://fat-cat.co.uk/fatcat/release.php?id=220

1. Faintest Of Sparks
2. Chores Of The Heart
3. Silver Bells
4. Standing In Line
5. Soldiers Hands
6. Iron Wings
7. Our Nameless Will
8. Better Soil
9. Secrets
10. Shadow Of Grief
11. New Morning

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BAD : Bay Area Dubstep Volume 01 (02/2008)

http://rapidshare.com/files/87495336/VA ... 08-USZ.rar

Bay Area Dubstep volume 01 contains 14 unmixed, dj friendly tracks by San Francisco bay area dubstep and grime artists. From the deep ethnic stylings of Djunya, JuJu and D Program, to the twisted tech-dub of Eskmo and The Antiserum, from the grimey orchestrations of MBZ and the live hardware sounds of Albert Joseph, Atomikdog and Zapper, to the rootical stylings of Matty G and Roomate, each and every track is a chronicle to this contemporary musical artform called "Dubstep".

01 Djunya - Along The Path 07:40
02 Juju - Creation 05:47
03 Eskmo - Amphibian 05:20
04 Albert Joseph - Lucent Bass 03:30
05 D Program - The Traveler 04:33
06 Mbz - Darko Dub 04:34
07 Roommate - Sensimillia (Gimme Ganja Rmx) 05:50
08 Eskmo Vs The Antiserum - Monstahs 06:05
09 The Antiserum - Top Shottas 05:17
10 Ripple Vs The Antiserum - Blaze It 05:09
11 Matty G - Amen 06:11
12 Zapper - Gutty Works 06:18
13 Atomikdog - Selecta 02:49
14 Roommate - Last Breath 05:06

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Well Deep: Ten Years Of Big Dada Recordings (2007)


http://www.megaupload.com/?d=EFRK497K
http://www.megaupload.com/?d=ZZAO1RK9


Big Dada, home of some of the most maverick, forward-thinking and innovative artists in hip hop and beyond has just hit double figures. To celebrate, we’re proud to present “Well Deep,” not so much a ‘best of’ as an overview of the label’s history and philosophy, available on double CD and DVD.
Big Dada was started when then-music journalist Will Ashon approached Peter Quicke (boss of Ninja Tune) and suggested a hip hop label to run alongside but independently of the venerable indie. Heavily influenced by the underground hip hop scenes that had grown up in LA in the early nineties and then New York in the mid-nineties, Ashon envisaged the label as a home for musical misfits and pioneers, for those who were more interested in producing something worthwhile than necessarily having a hit.

Whilst “underground hip hop” became shorthand for a kind of nostalgic belief in “real hip hop” and dusty samples, Big Dada continued to evolve. Ashon maintains, though, that the label has stayed true to its founding principles. “I always thought the basic principle of hip hop was to keep moving, to constantly be trying something new. To be fresher than everyone else!”

Certainly, few labels have operated such a broad-church policy to rap-based music, both in terms of style and geography. How many labels could claim to have had a consistent music policy over ten years while releasing artists as diverse as Wiley and cLOUDDEAD? How many labels could justify releasing French group TTC, Diplo’s early Brazilian experiments, some of the finest acts to come out of the UK (Roots Manuva, Ty, New Flesh, Infinite Livez), as well as some of the finest underground acts to emerge from the USA (Spank Rock, King Geedorah/MF Doom, Mike Ladd’s Infesticons project) in addition to some of the most wildly offbeat (Bigg Jus, Busdriver)?

“Hip hop has saturated the breadth of popular music and culture,” Ashon argues. “There can’t be any rules about what’s acceptable or authentic other than whether it moves you and excites you. That’s all we’ve ever tried to do.”

"The very best underground hip hop label" - Observer Music Monthly

"The most progressive British hip hop label ever" - The Fader


Key players.
Potted histories of a few of the key players in the Big Dada story:

Will Ashon
Will Ashon worked as a music journalist specialising in hip hop and related musics for Muzik, Hip Hop Connection, True and then Trace. He also had features published in the Source, Raygun and many other magazines. He ran Big Dada full time from 1997 until 2005, when he went part time to allow him to write novels. His first book, “Clear Water,” was published by Faber & Faber in June 2006 (paperback out now). His new book, “The Heritage,” will follow in March 2008 through the same publisher.

Juice Aleem
Featured on the very first Big Dada single release, under the name Alpha Prhyme, Juice Aleem has been a constant on the label ever since, working with his groups New Flesh and Gamma, touring the world and developing a fearsome reputation as one of the very best freestylers you’ll ever hear. Anywhere.

Roots Manuva
Rodney Smith was one of the first people Ashon approached when he started Big Dada. Rodney would only sign on an album deal and so “Brand New Second Hand” (1999) became the label’s first artist album release and started a relationship which stretches over 5 albums and continues until this day. He has been nominated for almost every award under the sun, including a Brit, has had two top forty albums and continues to be the embodiment of the label’s maverick approach to commercialism, art and life.

Ty
Ty was the second Big Dada artist to be nominated for a Mercury Music Prize for his own second album, “Upwards,” a record which won him plaudits from everyone from De La Soul to Robert Wyatt. He has also established himself as a live favourite, worked with personal heroes like Tony Allen and become an important spokesman for his community.

Mike Ladd (Infesticons/Majesticons)
The first American to become a permanent member of the Big Dada roster, this writer, conceptualist and former punk now resident in Paris but previously based in the Bronx has long represented the dissenting spirit of the label. As well as the ability not to take oneself too seriously…

TTC
The Parisian trio signed for the label in 2000 and have since become one of the most successful hip hop acts in France, combining their three beautfiully contrasted flows with next-level electronic production from the likes of Para One and Tacteel.

cLOUDDEAD
A kind of anticon-supergroup before anyone knew what anticon was, Dose One, why? and Odd Nosdam split after just two albums citing irreconcilable differences and the world was denied any more psych-pop songs about decaying canine corpses.

Diplo
The Floridian first got in touch with Big Dada whilst living in Tokyo and reading an interview with Will Ashon in a Japanese magazine. The first (and so far, only) predominantly instrumental producer to be signed to the label, Diplo has since gone on to be a superstar DJ, celebrity red hot lover and a&r extraordinaire. He also has an implausibly deep voice.

Infinite Livez
The one and only Lactating Man channeller, Chelsea Art School graduate, comic book artist, PiL enthusiast, pink wig wearer and all-round genius. What can we say?

Spank Rock
Purveyors of art-filth, Baltimore attitude and stadium-level charisma, Naeem Hanks and producer Xxchange came (everywhere), conquered and then went again.

Wiley
The maverick’s maverick, godfather of grime and cold warrior was always meant to be on Big Dada. Now it has happened climate change can be reversed…

Disc: 1
1. Movements - Roots Manuva
2. Tale - Ty
3. Night Night Theme - Infesticons
4. Colossal Insight - Roots Manuva
5. Dead Dogs Two - Clouddead
6. Wherever We Go - New Flesh (1)
7. Wait A Minute - Ty
8. Fader Party - Majesticons
9. Percolator - Lotek Hi-Fi
10. Dans Le Club - TTC
11. Witness (1 Hope) - Roots Manuva
12. Diplo Rhythm - Diplo
13. Sweet Talk - Spank Rock
14. My Mistakes - Wiley
15. Hard Times - Part 2

Disc: 2
1. 50/50 - Wiley
2. Stick And Move - New Flesh (1)
3. Worcestershire Sauce - Infinite Livez
4. Super Pretzel - NMS
5. Monkey Theme - Infesticons
6. Slang Teacher - Gamma (2)
7. Now's The Time - Diplo
8. Beauty Supply And Demand - Busdriver
9. Anti-Matter - King Geedorah & MF Doom/Mr Fantastik
10. Look For Me - Ty
11. Killer Apps - Shadowless
12. King Spitter - Big Juss
13. Unemployed Black Astronaut - Busdriver
14. Can't Believe - Lotek Hi-Fi
15. Closer - Ty
16. Physics Of A Bicycle - Clouddead

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Throw Me The Statue - Moonbeams (02/2008)

http://rapidshare.com/files/95006747/tm ... c.zip.html


Scott Reitherman, the singer, main songwriter, and creative force behind Seattle’s Throw Me the Statute, appears in the album art surrounded by computer equipment, a Yamaha keyboard, a melodica, and assorted other paraphernalia. You can tell by the fact that he’s barefoot that he’s recording somewhere comfortable, if not in his own home, then in someone else’s, and by the fact that he’s alone in the photo you get the idea that he has, up to this point, pretty much relied on himself to make the songs that wander through his head. And yet with Moonbeams you can hear him, almost song-by-song, making the transition from home-recording dreamer to real-life band leader. These fourteen songs range in texture from raw and confessional ("Young Sensualists”) to richly instrumented (“Groundswell”), from synthetically augmented to live and organic. It’s a journey worth taking, by all the evidence, because the more communal and band-oriented Reithermann’s songs are, the better they sound.

Consider, for instance, the very fine opener, “Young Sensualists”, which opens in a blare of Moog-y, synthetic keyboard, picking up drum machine beat as it goes along. The lyrics are offhandedly clever, sketching a friendship between young men who meet in passing, have good times together, then drift apart over a girl. It’s the kind of half-written, half-implied story, set against a minimal background, that Casiotone for the Painfully Alone’s Owen Ashworth excels at, and it’s very well done. Yet, if you think you’ve nailed Reitherman into a genre slot, forget about it. By the third track on the disc, “A Mutinous Dream”, he’s on to broader, fuzzier territories, digging in with the guitars and putting the fizz into the melodies. The song will remind you of certain Guided by Voices songs (especially “Glad Girls”) with its inexorable, indelible melody slipping in and out of clouds of distortion. “Conquering Kids”, a couple of tracks later, is another thing altogether, a dreamy, reverbed wash of distant sounds, layered voices criss-crossing one another in accidental harmonies and counterparts.

Reitherman brings all these threads—the goofy surreality, the muscular rock arrangements, the billowy sense of melody—together in album highlight “About to Walk”. You can’t really get a handle on the song’s shifting mood. Its disembodied voices and percolating guitar lines argue for gentle melancholy. Its surging, clattering drum fills suggest something more ebullient. Like all good pop, it’s full of light and shadows, sweetness and sorrow, shifting not just with the changes in chord but with the perspective from which you look at it.

The disc gathers intensity through its mid-section, with the jazzy, brass-embellished “Groundswell” and the palm-muted, almost-punk popness of “This is How We Kiss” coming just about halfway through. Then it slows toward the end, with two trippy, Elephant Six-ish psychedelic ballads closing things down. The title track, which seems to remember a long-deceased grandfather, is kept from wispiness by a booming, insistent bassline and flourishes of trumpet. It is slow, but purposeful and full of quiet drama. “Things got lost in the moonbeams”, sings Reitherman, as the bass thuds its punctuation and the trumpet plays trills and runs. You can see why the track comes late, after the more obvious pop songs have hooked you in, but you can also see why Reitherman liked it enough to name the album after it. “Happiest Man on this Plane” is even more dreamy and evocative, full of cavernous echoes, and Sphinx-like mysteries of accordion, strings, and booming bass drum.

Moonbeams changes a great deal from song to song, but the parts fit together very well. The best bits are the ones where Reitherman strays the farthest from standard self-recording songwriter norms—whether through broader instrumentation, more collaborative band arrangements, or experimental production. The album is so varied—and so good—that it’s anybody’s guess where Throw Me the Statue goes from here, but it’ll undoubtedly be interesting. Highly recommended.

1. Young Sensualists
2. Lolita
3. A Mutinous Dream
4. Your Girlfriend's Car
5. Conquering Kids
6. About To Walk
7. Yucatan Gold
8. This Is How We Kiss
9. Ground Swell
10. Written In Heart Signs, Faintly
11. Take It Or Leave It
12. Moonbeams L
13. The Happiest Man On This Plane]

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I Am Kloot - Play Moolah Rouge (2008)

http://rapidshare.com/files/95029118/i. ... c.zip.html

The band left their record company after 2005's Gods and Monsters and are now selling a limited edition of their new album, I Am Kloot Play Moolah Rouge...
---
Release Info
Fantastic new 10 track album from I Am Kloot comes as a rare Townsend exclusive in a limited digi-package, personally numbered by the band.

'Everyday epics from Johnny Bramwell the frontman of the best band to come out of Manchester in the last 20 years' THE INDEPENDENT

'Johnny Bramwell from I Am Kloot is one of the four most talented singer-songwriters this country as produced in the last 10 years' PETE DOHERTY

01. One Man Brawl
02. Chaperoned
03. Ferris Wheels
04. Hey Little Bird
05. The Runaways
06. Down At The Front
07. Someone Like You
08. Suddenly Strange
09. Only Role In Town
10. At The Sea

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PostPostao/la taylor dana 26/02/2008 12:36

victory ako moze,Well Deep: Ten Years Of Big Dada Recordings,neki drugi link osim megauplouda,molim te.
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PostPostao/la victory dana 26/02/2008 12:53

taylor je napisao/la:victory ako moze,Well Deep: Ten Years Of Big Dada Recordings,neki drugi link osim megauplouda,molim te.


http://rapidshare.com/files/66296647/we ... .part1.rar
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hvala.
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Sophie Solomon - Poison Sweet Madeira (2006)

http://rapidshare.com/files/90906858/so ... adeira.zip

Sophie Solomon's voice is her violin. Whether she's performing with the LSO or playing with her own band, her music is a thrilling combination of technique and passion that refuses to be confined by the conventional parameters of the instrument. Her unique musical vision reaches its full flowering on her self-composed Decca debut solo album Poison Sweet Madeira, an audacious mix of different styles and influences given purpose and unity by her extraordinary violin playing. Poison Sweet Madeira features guest appearances by Richard Hawley, KT Tunstall and Ralph Fiennes. 9 tracks. Decca/Universal. 2006.

Sophie Solomon's voice is her violin. Whether she's performing with the LSO or playing with her own band, her music is a thrilling combination of technique and passion that refuses to be confined by the conventional parameters of the instrument.

"When I play, the violin is like an extension of my body," she says. "I'm not thinking about anything else. I don't completely understand what happens but it's definitely as if the spirit takes over."

Her unique musical vision reaches its full flowering on her self-composed Decca debut solo album ‘Poison Sweet Madeira’, an audacious mix of different styles and influences given purpose and unity by her extraordinary violin playing.

It's a record that defies categorisation as classical influences collide gloriously with world music flavours drawn from Russia, eastern Europe, north Africa, gypsy music, tango and klezmer to create a vibrant musical portrait of one of the most adventurous artists of our time.

Sophie Solomon began playing the violin at the age of two. At four she met Yehudi Menuhin and was taken to see the great cellist Rostropovich. For the first five years she played totally by ear, learning to read music at the age of seven. The violin was her life.

She often exasperated her teachers by her inability to sit still and her exuberant habit of jumping up from her seat when excited by the music she was playing, but was gifted enough to rise rapidly through the National Children's Orchestra and ProCorda to become one of the most promising violinists of her generation. Yet by the age of 16 she had come to realise that there was a wider world of music waiting to be discovered. "I'm very passionate about classical music, but I was never completely satisfied by the classical world alone," she says. "I felt constrained by the fact that the music was written down and the strict parameters of the repertoire. I felt I had to step outside of that and find my own voice."

While studying History and Russian at Oxford University, Sophie not only DJed drum’n’bass, but also developed a passion for other kinds of music such as Russian, klezmer, East European and gypsy styles. Three generations back her father’s family had been Jewish immigrants from Poland and Lithuania, and a year spent living in Russia, was a life-changing experience. She also travelled widely in Poland and Eastern Europe, absorbing new sounds and influences along the way.

Sophie's experiences led in 1999 to her becoming a founder member of Oi Va Voi, “one of the most exciting bands in Britain today” (Daily Telegraph). "With Oi Va Voi I came back to the violin on my own terms," she says. "...It was liberating because I had the technique but felt I'd lost the constraints that classical training imposes."

Famed for their live appearances and Sophie's on-stage pyrotechnics (one critic dubbed her 'the Keith Richards of the violin'), the band's debut album ‘Laughter Through Tears’ received rave reviews, was voted in the top 10 albums of 2004 by the New York Times, and won them two nominations in BBC Radio 3's annual awards for world music.

Sophie became increasingly in-demand, lending her violin playing to the likes of Rufus Wainwright, Heather Nova and Theodor Bikel and collaborating with Canadian hip-hop producer Socalled on the album ‘Solomon & Socalled's HipHopKhasene’ (released on the German-based Piranha label) which won the German Record Critics’ Award for Album of the Year 2004. She has also taught at London's School for Oriental and African Studies and is on the artistic advisory committee of the Genius of the Violin festival, the only such event in the world devoted entirely to the instrument.

A solo career which tied together her diverse musical interests was the next logical step. "I’ve always been fascinated and inspired by a rich tapestry of music and the solo record has given me the opportunity to explore this. There's a deep Russian influence, a North African vibe, a drunken underground Romanian late-night bar feel and a Tom Waits sleaze factor creeping in... I wanted an album that was diverse but had a cohesive voice, which is my violin."

Produced by Kevin Bacon and Jonathan Quarmby (Finley Quaye/Oi Va Voi/Ben Taylor) and Marius de Vries (Madonna/Bjork/David Gray and a host of films such as Moulin Rouge), three tracks have guest vocals. ‘A Light That Never Dies’ finds actor and fellow Russophile Ralph Fiennes lending his voice to words based on a poem by Russian Symbolist Alexander Blok. ‘Burnt By The Sun’, sung by Richard Hawley, ex Pulp and Longpigs guitarist and now one of the most talked about artists of 2005, is "based on Stalin's favourite tango and is the first thing I learned to play on the accordion," Sophie says. ‘Lazarus’, which features the voice of KT Tunstall, has a dark ambiguous lyric about "a knock-on the door in the middle of the night."

The remaining tracks are not so much instrumentals as "songs without words". ‘Pin Pricks and Gravy Stains’, the sole klezmer-based tune on the record, references a line from Tom Waits's ‘The Black Rider’. ‘Slavonic Fantasy’ was inspired by Dvorak but takes an entirely different rhythmic approach to the original and features the Royal Philharmonic Orchestra.

‘Poison Sweet Madeira’ and ‘Holy Devil’, which mixes North African and Jewish elements, are both references to Rasputin, reflecting the album's strong Russian influence. "I've been obsessed with Russia since I was about nine - It's a country where life is lived in full colour with extreme polarities of experience - from pain and suffering to the heights of exuberant passion and wildness. Musically I hope there's something of those extremes on the record."


1. Holy Devil
2. Burnt By The Sun - (with Richard Hawley)
3. Poison Sweet Madeira
4. Lazarus - (with KT Tunstall)
5. Light That Never Dies - (with Ralph Fiennes)
6. Hazy
7. I Can Only Ask Why
8. Meditation On Dvorak's Slavonic Fantasy
9. Pin Pricks & Gravy Stains

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Duffy - Rockferry (03/2008)

http://www.mediafire.com/?n9pu9htznd9

'Rockferry' is the debut album from Welsh singer Duffy. Written and produced in collaboration with Bernard Butler, the album is a stunning showcase for her voice, which brings to mind such great singers as Dusty Springfield, Lulu and Sandie Shaw. Includes the singles 'Rockferry' and 'Mercy'.

1. Rockferry
2. Warwick Avenue
3. Serious
4. Stepping Stone
5. Syrup & Honey
6. Hanging On Too Long
7. Mercy
8. Delayed Devotion
9. Scared
10. Distant Dreamer

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Bobby Womack - The Best of "The Poet" Trilogy (2001)

http://www.megaupload.com/?d=BZEN9KQ6
http://www.megaupload.com/?d=4YBZKSE9


74 minutes long, this 16 track disc covers his comeback period from 1981's 'The Poet' through to his 1985 outtakes album 'Someday We'll All Be Free'. Included in this set are guest appearances from George Benson & Wilton Felder, as well as Patti LaBelle on the 1984 Billboard chart hit 'Love Has Finally Come At Last'. 2001 release.

01 So Many Sides Of You
02 Lay Your Lovin' On Me
03 Secrets
04 Just My Imagination
05 If You Think You're Lonely Now
06 Love Has Finally Come At Last
07 Through The Eyes Of A Child
08 Surprise Surprise
09 Tryin' To Get Over You
10 Tell Me Why
11 American Dream
12 I'm So Proud
13 Someday We'll All Be Free
14 Gifted One
15 Searching For My Love
16 I Wish I Had Something To Go Home To

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PostPostao/la victory dana 27/02/2008 01:35

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Guillemots - Red (03/2008)


http://www.zshare.net/download/71490685a484eb/

Guillemots! It's a name to which you can't help but annex an exclamation point, given the exuberant, over-the-top pop these ambitious Londoners specialize in. And joy of joys, we'll get another heady dose of the stuff come spring, when Guillemots unleash their sophomore album, Red.

Red follows up 2006's Pitchfork Recommended Through the Windowpane and collects 11 adventurous tracks. Look for it March 24 in UK shops via Polydor, with a U.S. release tentatively slated to follow this autumn.

Prior to Red's unveiling, Guillemots have a little advice for us in the form of first single "Get Over It". That one hits the British Isles March 17, though a final tracklist has not yet been determined. Keep an eye out for a "Get Over It" video as well.

Migratory birds by nature, Guillemots will take to the skies on the eve of spring and alight in a few venues around their native Great Britain. Um, yay!

01 Kriss Kross
02 Big Dog
03 Falling out of Reach
04 Get Over It
05 Clarion
06 Last Kiss
07 Cockateels
08 Words
09 Standing on the Last Star
10 Don't Look Down
11 Take Me Home

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PostPostao/la victory dana 27/02/2008 07:52

sjajan album :)

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Otis Taylor - Recapturing The Banjo (02/2008)


http://rapidshare.com/files/95280818/O. ... c.zip.html



Down Beat (p.92) - 5 stars out of 5 -- "There may not be a better roots album released this year or decade than RECAPTURING THE BANJO."
Dirty Linen (p.p.36) - "Taylor and his colleagues have again served up a living history lesson -- musical, cultural, political -- that's bound to expand the thinking of a lot of listeners."

OTIS TAYLOR ASSEMBLES A STELLAR CREW TO REDISCOVER THE BANJO’S AFRICAN ROOTS

Recapturing the Banjo features Guy Davis, Corey Harris, Alvin Youngblood Hart, Keb’ Mo’ and Don Vappie

“If you ask the average person where they think the five-string banjo originated, the chances are that they would say it came from Kentucky or North Carolina. The truth is that the banjo was originally an African instrument. …So the question that comes to mind is why this African instrument has been assigned to the United States. To put it another way, when did black become white?”
-- Dick Weissman, from the liner notes

The concept of America as a great melting pot is a double-edged sword. In the great sweep of cultural evolution over the past two and a half centuries, certain lines of connection and distinction have been obscured. American popular music, a hybrid and distillation of sources too numerous and diverse to mention, is perhaps one of the best examples of the difficulty in determining exactly what came from where.

The banjo, for example, is an instrument whose historical roots dig much deeper than the American folk and bluegrass traditions with which it is commonly associated. The banjo ultimately originated in Africa, and made its way to America with the African slaves who were brought to the fledgling colonies as early as the 1700s.

Bluesman and multi-instrumentalist Otis Taylor, who shatters the illusions of the status quo time and again via his uniquely haunting songcraft and musicianship, sheds new light on this centuries-old instrument with his new Telarc recording, Recapturing the Banjo. Set for release on February 5, 2008, the album includes riveting performances by Taylor along with some of the most accomplished banjo players on the current roots music scene: Guy Davis, Corey Harris, Alvin Youngblood Hart, Keb’ Mo’ and Don Vappie – a group that collectively boasts an impressive array of GRAMMY Awards, Handy Awards, Blues Music Awards, a MacArthur Fellowship and numerous other accolades.

“The banjo has become so closely associated with folk singers and bluegrass players,” says Taylor. “Over the years, the instrument just lost touch with its roots, and I’m just trying to re-establish that connection.”

The musicians on this recording utilize a variety of banjo styles, notes music historian Dick Weissman, author of the album’s liner notes. Guy Davis’ version of “Little Liza Jane,” which showcases the clawhammer picking style, is probably the closest thing contemporary audiences will hear to a traditional banjo performance. Alvin Youngblood Hart performs “Deep Blue Sea” in a modified traditional style, using the sort of syncopation that’s reminiscent of Dink Roberts. Keb’ Mo’ plays with finger picks in a style reminiscent of the period where mountain banjo turned into bluegrass, while Don Vappie plays tenor banjo in a more modern version of what St. Cyr and Scott were playing in New Orleans during the 1920s. “Walk Right In,” originally penned by banjoist and jug band musician Gus Cannon, recaptures the vintage jug band feel that Cannon helped define.

Other tunes on the recording utilize contemporary blues banjo interpretations that pay homage to the work of such seminal mid-20th century blues musicians as John Lee Hooker and Muddy Waters. Even Jimi Hendrix fans will find a familiar touchstone in the banjo rendition of well known “Hey Joe.”

“I wanted to make an album that was historically significant,” says Taylor, “but at the same time, I didn’t want to make a record that that was too academic. It’s not a history lesson that needs to be pushed in anyone’s face. We just wanted to reconnect the music back to the people who brought it here in the first place.”

“This recording gives the listener the opportunity to understand that the banjo is more than the toe-tapping, happy and smiling stereotypical production of the minstrel era,” says Weissman. “Freed from racial stereotypes and ignorance, it offers opportunities for black musicians to recapture their heritage. This recording is a step in that direction, from a group of artists who have already made their mark as black blues revivalists.”

1. Ran So Hard the Sun Went Down
2. Prophet's Mission
3. Absinthe
4. Live Your Life
5. Walk Right In
6. Bow-Legged Charlie
7. Hey Joe
8. Little Liza Jane
9. Five Hundred Roses
10. Ognons
11. Deep Blue Sea
12. Simple Mind
13. Ten Million Slaves
14. Way It Goes

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PostPostao/la victory dana 27/02/2008 12:56

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Bitcrush - Epilogue In Waves (02/2008)

http://rapidshare.com/files/94369582/b-eiw.rar.html


"Epilogue in Waves" is the third album from n5MD main-man Mike Cadoo's ever evolving Bitcrush moniker. The album is the soundtrack to a story which begins with a sense of hope, but whose undercurrents pull you to the end you feared. Epilogue in Waves marks the end of Cadoo's “wading in the ocean” thematic metaphor for lost time that constituted the backbone of his previous album, “In Distance.” As his self described “rock record,” the album eschews some of Cadoo's previous electronic methodologies for a more stripped-down songwriting style which utilizes only guitars, basses and drums. This experiment in the basics has led to a sonically rich release that still contains those warm musical crevices to find solace in. Epilogue in Waves will please fans of previous works by Bitcrush as well as neophytes to Cadoo's brand of emotional and sometimes epic songwriting.
http://www.n5md.com/discography.php?catno=156


Arguably the most anticipated release in n5MD’s history, “Epilogue in Waves”, the third album from owner Mike Cadoo’s Bitcrush project, continues the fine traditions of his imprint, melding an emotional aesthetic to much of his music. Two years in the making, this is his most cohesive and fully-realised record yet, as the Californian-based musician advances the evolutionary nature of the Bitcrush sound.

‘The Bitcrush sound’ is a key component in this album’s appeal. This is clearly the work of Cadoo, no other band or artist can sound like this. Throughout “Epilogue...” Bitcrush switches between warm ambient synthscapes or rich, electronic-laced shoegaze, often presenting tracks that effortlessly braid both styles together. He deftly navigates between both, while structuring them into his trademarked, epic compositions.

Cadoo, in fact, does epic by the bucketload, but it is the seamless mix of organic and electronic instrumentation that is the most striking aspect of Bitcrush on this form. Resonating guitar textures float freely with dreamy synths, as echoic vocals dissolve amidst the electronically-charged live drum sound. In short, those with no prior knowledge of Bitcrush could be forgiven for thinking that this was the work of a fully-fledged band rather than just one man. “Of Days”, for example, unusually follows a verse-chorus-verse like structure rising from a tranquil passage of slo-mo beats and clouded melodies into a full-blown ‘stadium-rock’ chorus.

While many artists simply over-load their music with a succession of effects, Bitcrush is different. His music is measured with every tone, note, melody and electronic pulse strategically placed. The electronics in particular, much like the vocals, do not insist upon the listener, instead they augment the overall feel of each track. There is a certain comfortable solace to a piece like “Pearl”, for example, that one would associate with a late-night drive through deserted, rain-swept roads. Cadoo spends several minutes developing such a nocturnal atmosphere, the cavernous synth waves emanating with a degree of warmth. Only the forceful volley of percussion halfway through will wake you from such a glorious cocoon of sound.

“An Island, A Peninsula”, meanwhile, nods to those early Sigur Ros comparisons with its torrents of arcing guitar and revolving, crashing percussion, while the taut Joy Division-esque bassline of “Epilogue in Tides” shifts the melodic focus from the layers of heavenly synthesizer and guitar. Cadoo, it should be noted, is also adept when it comes to changing the pace of his records, many albums often suffer from lack of variety where bands take a good idea and run it into the ground. Not on “Epilogue in Waves” though; whether it is the euphoric William Orbit-like ambience of “Prologue” or the pulsating end of “Pearl”, the Bitcrush experience remains riveting due to Cadoo’s guidance.

Of course, all of this is underpinned by the level of emotion we’ve come to expect of n5MD. But then Cadoo has been leaving clues all along, even the ‘Bitcrush’ moniker hints at a man/machine existence, an existence where man controls such devices to his advantage -- and this is where Cadoo’s Bitcrush project excels. Whatever your take is, “Epilogue in Waves” is clearly the soul of the Bitcrush machine.
http://www.angryape.com/

1. Prologue
2. An Island, A Penninsula
3. Of Days
4. Tides
5. What Would Hope Be Without Disappointment
6. Atreaux
7. A False Movement, True
8. Epilogue To Tides
9. Pearl
10. To Drown

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