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or a prior generation, the "supergroup" was usually the province of long-winded jamming, but the Raconteurs — the secondary band fronted by the White Stripes' Jack White and singer-songwriter Brendan Benson, featuring the Greenhornes' rhythm section, bassist Jack Lawrence and drummer Patrick Keeler — are a far tighter proposition.
All four were friends living in Detroit before the band's formation, and in 2005, when White and Benson got together and wrote "Steady, as She Goes," and decided to cut it with Lawrence and Keeler, they decided to form a new group. Broken Boy Soldiers (Number Seven, 2006), the quartet's debut, was recorded in Benson's Detroit home studio throughout 2005. "Steady, as She Goes" went to Number One on the Modern Rock chart, and the group hit the festival trail throughout 2006. Their second album, Consolers of the Lonely (Number Seven, 2008), was subject to an unusual release schedule: its existence was announced only one week before it arrived in stores, in order to circumvent the usual review/hype cycle. It yielded the hit "Salute Your Solution," which went to Number Four on the Modern Rock chart. Once again the Raconteurs played a number of festivals in Europe and the U.S., including Glastonbury, Coachella and Bonnaroo. (Rolling Stone.com)
Artists:Bohren & Der Club of Gore Album: Dolores Year: 2008 Genre:Avantgarde, Ambient, Jazz, Minimalism Country:Germany
Formed in the German city of Mülheim an der Ruhr in 1992, Bohren & Der Club of Gore (their name is partly an homage to the 80s Dutch noisecore band Gore) set out with the self-proclaimed intention of processing a love of rock's more extreme forms into 'doom-ridden jazz music'. This mission has resulted in five albums of oppressive intensity, but with Dolores a silver strip of dawn can be seen at the edge of their louring sky.
The similarities are less constant on Dolores, but it remains impossible to listen to Bohren (which means 'drilling' in German) without being reminded of David Lynch and his composer Angelo Badalamenti. Try listening to second track 'Karin' and its sultry combination of vibes, brushed drums and humming bass without thinking of Audrey's dance in the Double R diner in Twin Peaks. Even when their methods aren't so similar, Bohren still tap into precisely the same wee small hours blend of sexuality, battered glamour, mournfulness and undefined threat that Badalamenti's compositions evoke.
'Dolores' is a stunning, mesmerising 60 minute journey that lurks beneath the surface, confusing, confounding and oddly uplifting all at once. 0Carefully chosen, strained notes of either a guitar or piano, punctuated by periodic thumps of a bass drum, create a moody atmosphere with an underlying sense of positivity or rebirth. And thanks to production that is crisp and clean, it is recommended that you dig out those pricier headphones to fully experience the unique sound experience of Delores.
This album is not recommended for those who are depressed. However, if you are looking for some background music to plow through that Camus novel, or just generally in a contemplative mood, then Dolores is the perfect album for you
Harmonium was one of the most influential rock bands from Quebec. Lead vocalist and guitarist Serge Fiori met Michel Normandeau (vocals and guitar) in a theatre music meeting. Later on in 1973 they met bassist Louis Valois and became Harmonium.
***Reviews*** ---Folk prog masters from Canada HARMONIUM released several brilliant albums in the 70's with "Si on avait..." representing perhaps my favourite of all of thier releases. HARMONIUM's music tends to resonate on the light side of things with its brilliant and crisp piano accents and happy like guitar passages. Songs are highly acoustic in nature and at times take on a folk-jazz attitiude only to be enriched by the flute, harpsichord and mellotron throughout. Vocals are well done and suit the music quite well (they are in French).
---The best canadian album ever. Quite a statement, but this is honestly way better than Neil Young or Rush or... The Guess Who. The music on this album is
just so perfect. It starts out with Vert, which might be the best song on the album starts out with this trippy echoing flute and then goes int ... (read more)
---For me, with a classical education background, this albums first impression was a disappointment.
Prog should not be elevator music, to be used as musak. And inspired with romantic melodic themes,
solely played with non-rythmical instruments, I would not concider it prog rock. Prog rock claim ... (read more)
The stunning debut album by Geskia’s "Silent 77", isunquestionably a masterpiece of Japanese underground hip hop and breakbeats. Silent 77 is hugely inspired by a picturesque setting sun that has been imprinted into Geskia's musical mind. The awe-inspiring magnitude of evening sun ray that covered a quiet town where the curtain of night was slowly falling down, is remarkably reproduced in his dazzling energized beats and noisy beautiful pad. Geskia, through his distinctive music style, beautifully reinterpreted, with strong heartfelt emotion, the silent speed and soundless energy that relayed by the overwhelming yellowish sunbeams and the contrasted loneliness of the little town. Many of these sophisticated inner feelings of human and complex musical interpretations are expressed precisely by mesmerizing programming skill possessed by Geskia.
"Japanese producer Geskia has fashioned an impressive hour's worth of advanced underground hip hop and post-IDM electronica on this enormously enjoyable release for the Flaü label. The real strength of this music lies in the sophisticated, densely layered beats that keep Silent '77 thumping along with a powerfully constructed elegance. You might compare the high-gloss sheen of these productions to the strongest output of Telefon Tel Aviv, or perhaps Sketchshow's excellent Loophole album from a few years back. You could easily place this among the finest releases on labels like Hefty and Merck, so comprehensively does it integrate forward-thinking beat programming with melodic electronic backdrops, incorporating the near ambient soundscapes of 'Gate Musick' to the addictive electric pianos and drum chaos of 'Over The Three Rainbows'. Anyone craving high quality electronica (in an age when the entire genre seems to have ceased business) should take a listen to Silent '77 - it's a very contemporary take on a sound that seems to have been prematurely written off. Recommended."(boomkat.com)
Artist:Peter Gabriel+Friends Album: Big Blue Ball Year: 2008 Genre:Rock, World Bitrate:192 Kbps Country:World
Whole Thing
Big Blue Ball is an album by multiple artists which grew from "recording weeks" at Peter Gabriel's Real World Studios in the early 1990s.
After all these years, it's a fine wine ready to be drunk," says Peter Gabriel, "It was the most fun music making I've ever had. I'd love to do it again."
Artists:Agalloch Album: The White EP Year: 2008 Genre:Ambient - folk, Neo-folk, Symphonic/Folk Metal Bitrate:160 Kbps Country:United States
Hailing from the misty forests of Portland Oregon, Agalloch has earned themselves a substantial cult following with their blend of atmospheric black metal that incorporates folk and ambient elements, producing several critically acclaimed albums and EPs over the last decade. The White EP continues on with the band’s distinguished tradition with a renewed emphasis on the neo-folk aspect of their sound, mostly relying on acoustic guitars, hushed vocals and atmospheric effects to get to black heart of this dark genre.
The White EP is essentially calls for a return to nature, as the songs conjure images of snow covered wilderness (”Birch White”), contemplative seclusion (”Isle of Summer”) and paganism’s worship of the elements (”Sowilo Rune”). The whole experience, made complete with natural sound effects like chirping and rustling, is meditative and comforting, conveying a deep and eternal connection with our natural surroundings. The delicate piano lines that grace the final two tracks carefully lead us out of the forest and into the cold twilight, confirming that Agalloch’s intentions give credence to emotional appeals rather than sheer volume. The White EP, steeped in mellow atmosphere and naturalistic overtones, vividly captures the haunting beauty of winter. While these songs never reach the chilling climaxes the band has conquered on their previous full lengths, they still manage to build on the folk traditions that make their sound seem so natural and unique. It will interesting to see where the new paths explored here will lead to on their next LP. Recommended.
Artist:Transparent Lilies (Diafana Krina) Album: And love again will call Year: 2008 Genre:Rock, Alternative Country:Greece
Κι αν έσβησε σαν ίσκιος..
D
iafana Krina were created in 1991. Their name stands for “transparent lilies” in Greek. Their music is similar to bands like Tindersticks and Sigur Ros. In 1994, they released their first single ‘Λιώνοντας μόνος-κάτω από το ηφαίστειο’ (Greek for “Melting alone-under the volcano”) by Wipe Out. They followed in 1996 with the LP ‘Έγινε η απώλεια συνήθειά μας’. In 1997, they participated in the ‘Rock of Gods’ festival in Athens together with The Sisters of Mercy and New Model Army. In 1998, they released their second LP ‘Κάτι σαράβαλες καρδιές’ and performed in several concerts around Greece including acting as support for the Tindersticks Athens concert. In 2000, they released a single ‘Είναι που όλα ήρθαν αργά’ and album ‘Ευωδιάζουν αγριοκέρασα οι σιωπές’. In 2001 they appeared in three concerts in the UK (London at Dingwalls, Manchester at The Roadhouse and Brighton at Concorde 2). In 2003, the LP ‘Ο,τι απόμεινε απ’ την ευτυχία’ was released, followed by the 2005 instumental LP ‘Ο γύρος της μέρας σε 80 κόσμους’ (Greek for “Around the day in 80 worlds”, inspired by the title of Jules Verne’s famous story Around The World In 80 Days) which was released together with a book containing poetry and tales. The lead singer has a rich baritone with a natural vibrato, which has led to comparisons with English-language singers such as Stewart Staples of Tindersticks(a group that Diafana Krina opened for in an Athens concert in 2003), or perhaps Leonard Cohen or Lee Hazelwood.
***DECEMBER 2008 New Album*** Επίσημο site Κι αν έσβησε σαν ίσκιος..(making of)
ατζέντα συναυλιών
* Μύλος (Θεσσαλονίκη)
Σα 6 Δεκεμβρίου 2008
* Music House (Ιωάννινα)
Κυ 7 Δεκεμβρίου 2008
* Live στο Κύτταρο (Αθήνα)
Πα 16 Ιανουαρίου 2009
* Live στο Κύτταρο (Αθήνα)
Σα 17 Ιανουαρίου 2009 Buy it
Artists:Michalis Tzouganakis Album: a SECRETA MUSICA Compilation Year: 2008 Genre:World, Tradiotional Country:Greece
Michalis Tzouganakis - Μιχάλης Τζουγανάκης is an artist of rare and magical passion and emotion, even in the realms of Cretan traditional music, so renowned for exuding feeling like tears from a mourner’s eyes
BIO
Michalis Tzouganakis was born to Sfakian parents away from Crete, the island they loved so much. Mihalis was born in the city of Bergen in Belgium, where he lived among many immigrant families with his seven bothers and sisters. He grew up in a very traditional Cretan family environment, where he was immersed in the music, cuisine and culture of Crete. His childhood was spent among the immigrants of Greek, Moroccan, Egyptian, Italian & Polish descent, further enriching his exotic heart. At the young age of two years old, he was mesmerized by the laouto that hung on his older brother’s wall. He was adamant to learn to play the laouto, and with the help of his brother, who would hold the laouto, young Mihalis would pluck the strings, falling in love with the sweet and melancholy voice of the laouto. By the age of four he was able to captivate listeners with the music he would sing and play on the laouto. At the age of nine the family return to their beloved Kriti, where Tsouganakis began playing with local Cretan musicians and performing at festivals and celebrations. Audiences were awed by this young boy’s intensity when he played and sang, and around the age of eleven, he was approached by Giannis Sergakis and Vangelis Zaharioudakis who invited him to play with them professionally. It was at this age that he had the opportunity to enter the recording studio for the first time with Vangelis Zaharioudakis, one of our beloved Cretan musicians. Only a few years later, some of Crete’s greatest masters of the lyra wished to perform with Tsouganakis, at the age of thirteen. With the great Leonidas Klados, Tsouganakis had the blessing of writing the lyrics and playing Leonidas’ compositions alongside him. For five years they were to play and tour together throughout Crete and Athens. They are respected and admired Cretan musicians. Shortly after he began performing with the gifted Kostas Moundakis, a beloved Cretan musician; a lyraris who has created some of Crete’s most touching songs; blessing the island with his passionate voice and lyra. Tsouganakis and Moundakis travelled as far as Canada with their tours together. Over the years they played together frequently, Tsouganakis even recording with Moundakis in 1990 on what would be Moundakis’ last recording.
Tsouganakis’ passion for music led him to play the laouto, lyra, mandolin, outi, sazi, boulgari and cumbus. He took formal singing lessons at the Conservatorium of Athens for two years.
With his band Tsouganakis has recorded his own albums and played all over the world. He has performed Greece, Germany, America, Belgium and Canada. During his travels he also played with different bands abroad.
Over the course of his career Tsouganakis has played with many respected musicians, and has had the opportunity to create some truly magical music. Such as his collaboration with Nikos Mamagkakis where they create Ta Tragoudia Tis Palia Polis The Songs Of The Old City, A beautiful synergy of Cretan musicians, singing the beautiful words of Rethymnian poet Giorgos Kalomenopoulos.
Tsouganakis combined the modern approach in letting a song dictate its own voice, unbound to the confines of traditional music, yet his music is infused with the depth, pace and emotion of the Rizitika.
Michalis Tzouganakis is a true artist, a blessing to the soul of Cretan music.
Ο Μιχάλης Τζουγανάκης ξεκίνησε πολύ μικρός την καλλιτεχνική του πορεία και συνεχίζει ακόμα να κάνει αυτό που αγάπησε από παιδί. Να παίζει και να τραγουδά γυρίζοντας τον κόσμο με την μπάντα του, έχοντας πάντα τα μάτια της ψυχής του στραμμένα στη Κρήτη...H προσωπική αισθητική του δυνατού performer και η εσωτερική του μουσική θέαση δημιουργούν ηχοχρώματα που υπερβαίνουν το κρητικό ιδίωμα και χαράζουν δρόμους μουσικούς που ταυτόχρονα εκπλήσσουν , καθηλώνουν και εκστασιάζουν το κοινό!
Famous cover Rock songs (some of them are better from the original!)
01-Bobby Blue Bland - Ain't No Love In The Heart Of The City. 02-Whitesnake - Ain't No Love In The Heart Of The City Live.... 03-Dolly Parton - Jolene. 04-The White Stripes - Jolene. 05-The Beatles - Don't Let Me Down. 06-Stereophonics_-Don_t let me down. 07-Judy_Garland_-Over The Rainbow. 08-Israel Kamakawiwo ole -Somewhere Over The Rainbow. 09-Oasis_-Wonderwall. 10-Ryan_Adams-Wonderwall 11-U2- One. 12-johnny.cash-one. 13-Leadbelly - Where Did You Sleep Last Night. 14-Nirvana_-_Where Did You Sleep Las Night. 15-Britney Spears -Hit me baby one more time. 16-travis-hit me baby 17-Elvis_Presley_-You Were Always On My Mind. 18-Pet Shop_Boys_-You_Were_Always On My Mind. 19-eddie cochran-Summertime Blues. 20- Blue Cheer -Summertime Blues
The music is simple, yet subtle; Anja Lechner on violoncello, and Vassilis Tsabropoulos on piano together weave a full texture of unforgettable music. Most of the album us based on melodies by Gurdjieff, around a trio of pieces by Tsabropoulos. The whole is serene, mournful, inspiring.
This is a quiet, peaceful disc, and yet it's not the kind of thing you'll probably play as background music. Something about these melodies works its way right *below* your consciousness, so that you want to really listen to it, really lose yourself in it. There are no lyrics, no voices, and yet these "chants" seem to strive to communicate something exquisitely beautiful, something tragically forgotten.
Perfect. Impossible. Heartbreaking
"Philosopher, seeker after the truth, reconciler of science and religion, teacher, guru to artists, writers and musicians, Gurdjieff was an enigmatic figure; even his birthdate is uncertain: 1866 or 1877. He taught movements "to alter or heighten consciousness" at his Institute for the Harmonious Development of Man, located outside Paris---a highly improvisatory process for which he composed equally improvisatory music. Technically untrained, he depended on skilled assistants to realize and write down his ideas, and found one in a devoted disciple: Ukranian pianist/composer Thomas de Hartmann, who selflessly suspended his own career and, after Gurdjieff's death in 1948, privately published and recorded some of their collaborations. As a composer, Gurdjieff, born at the border of Armenia and Turkey, was influenced by the region's ethnic and cultural diversity, by his childhood memories of the religious and philosophical songs improvised by his father, a Greek troubadour, by the hymns of the Greek Orthodox Church, and by his extensive travels through Europe and Asia. For this recording, the performers themselves arranged his compositions for cello and piano, adding five pieces by pianist Tsabropoulos, including three based on Byzantine hymns. Both players have been involved with Armenian, Ukranian and Greek Orthodox music; both are expert improvisers. Their strong feeling and affinity for the material allows them to approach it with both reverence and freedom; the playing is primarily subdued and inward. The piano texture ranges from delicate tinkling to full-blooded chords and arpeggios; the cello, playing mostly in the low and middle register, often in unison with the piano, sounds dark, warm and beautiful. The music, except for one lively dance, is slow, solemn, and mournful, in the minor mode. Melodies featuring oriental intervals are elaborated but not developed; based on single-note drones, harmonies are static or move in stepwise progressions but do not modulate. This lack of contrast and variety creates an otherworldly, disembodied atmosphere, despite several buildups of motion, dynamics, and intensity. "--Edith Eisler
Artist: Yann Tiersen Album: Black Session (video) Year: 1999 Genre:Indie, Rock Country:France
Recorded by France Inter on the 2nd of december 1998 in the Salle Serreau at the TNB (Théâtre National de Bretagne) in Rennes, France.
Collaborations: Neil Hannon (of The Divine Comedy), Bertrand Cantat (of Noir Désir), Françoiz Breut, The Married Monk, Têtes Raides and a string quartet.
It's an absolute must have for all Yann Tiersen and piano fans.
Tracklisting: 1 Sur Le Fil (3:07) 2 Geronimo (1:56) Vocals - Neil Hannon 3 Life On Mars (3:09) Vocals - Neil Hannon Written By - David Bowie 4 La Rupture (2:44) Vocals - Claire Pichet 5 Monochrome (3:29) Vocals - Dominique A. 6 Les Bras De Mer (3:07) Vocals - Dominique A. 7 Roma Amor (4:00) Featuring - Married Monk, The 8 Tout Est Calme (3:27) 9 A Ton Etoile (3:46) Vocals - Bertrand Cantat 10 La Crise (2:35) 11 Les Forges (4:01) Vocals - Françoiz Breut 12 La Noyée (2:26) Featuring - Têtes Raides 13 Ginette (4:49) Featuring - Têtes Raides 14 La Terrasse (3:40) 15 Bon Voyage (2:25) Vocals - Mathieu Boogaerts 16 Le Quartier (2:17)
1
9 debuted at number one on the UK charts on its first week.
The album was nominated for the 2008 Mercury Prize in the category of Best Album.
The song "Hometown Glory" has been featured in the British and American television shows Skins, Grey's Anatomy, One Tree Hill, Hollyoaks, Secret Diary of a Call Girl, and most recently danced by Katee Shean and eventual winner, Joshua Allen on So You Think You Can Dance.
Adele recently joked in an interview with GMTV that the album was named "19" after her weight in stone, but in actual fact it was her age at the time of release.
his is a CD that appears to respect no boundaries! Norwegian vocal artist Sidsel Endresen has emerged as one of the foremost Nordic voices in the last decade with avant-garde jazz albums on the ECM label such as 'Exile' and 'I Write'. Bugge Wesseltoft, a respected jazz pianist and synthesiser artist, has always been at the leading edge of contemporary musical exploration, achieving considerable success lately with his 'new Conception of Jazz' series. (Amazon.com) Absolute poetry!
T
his philadephia sextet sounds like an english folk-rock group from the late 60'/early 70's. pentangle with shades of fairport convention come to mind. singer meg baird has a hauntingly fine voice that weaves through the forest of instruments on this album with subtle beauty. and there IS a forest of instruments here. many instruments that i have never heard of: like, the echo plex, the crumar toccata, the crumar performer, the univox mini-korg, the arp odyssey, the omnichord, the doumbeck, the dholak, singing bowls, and the crybaby. i have heard of the martin 6-string acoustic guitar, which is beautifully layered into the mix all throughout the recording. there is also cello, recorder, flute, sleigh bells, and gongs here. mojo magazine selected this as the 22nd best album of 2006 and who am i to argue. great album, indeed.
Artist:eliot lipp Album:The outside Year:2008 Genre:Hip-hop,Electronica Country:U.S
Techno and hip-hop in their earliest, formative stages have inspired Eliot throughout his career, and form the common thread running through the album. Slick analogue synth work and tight drum programming abound, as Eliot deconstructs his influences to create something that is both recognizable and completely futuristic. For listeners who remember a time when electronic music had a little dirt under its fingernails, The Outside will truly capture your imaginatio
Composed by:Philip Glass Performed by:Kronos Quartet Year:1995 Genre:Neo-classical Country:United States
String quartet No.2
Kronos Quartet is a string quartet founded by violinist David Harrington in 1973. Since 1978, the quartet has been based in San Francisco, California.Kronos specializes in new music and has a long history of commissioning new works. In fact, over 600 works have been created for the Kronos Quartet. They have worked with many minimalist composers including Arvo Pärt, Henryk Górecki, Steve Reich, Philip Glass, Roberto Carnevale, Terry Riley and Kevin Volans.
Philip Glass (born January 31, 1937) is a three-time Academy Award-nominated American classical music composer. He is considered one of the most influential composers of the late-20th century and is widely acknowledged as a composer who has brought art music to the American public (along with precursors such as Richard Strauss, Kurt Weill and Leonard Bernstein).
His music is described as minimalist, from which he distanced himself in being a composer of "music with repetitive structures". Although his early, mature music is minimalist, he has evolved stylistically.Currently, he describes himself as a "Classicist", trained in harmony and counterpoint and studied Johann Sebastian Bach, Ludwig van Beethoven, and Franz Schubert. FIND out more about this GREAT musician!
The Quartet does a stunning and superb job here of some Glass's more emotional and essential works.Five quartets from Glass' later period - after the early operas and film scores. Very somber and serious in tone, these are among the most heartfelt works of a composer sometimes accused of lacking emotion. The Kronos Quartet delivers stunning performances of each of these works.
* "What's remarkable is how Glass's new musical language, shifting metres and triadic harmonies, suit the interaction of the bowing quartet. Buczak's funeral procession - reminiscent of Beethoven - serves as an elegy for a friend who died prematurely of AIDS. Over three movements Glass seems to turn his writing on its head, sounding more classical with each note. The freshest quartet, the Fifth, was specifically written for Kronos."Mark Prendergast
Artist:3epkano Album:At Land Year:2007 Genre:Neo-classical, Instrumental, Experimental Country:Ireland
blood of a poet
3epkano are a Dublin based, seven piece band/ensemble who specialise in producing original and innovative soundtracks for films from the silent movie era. The band were formed in early 2004 by Matthew Nolan and Cameron Doyle. The line-up includes 2 electric guitars, bass guitar, keyboards/ organ, drums/percussion, cello and viola – the music is minimalist, guitar based, and almost entirely instrumental.
3epkano perform original contemporary live scores to classics of silent cinema.
We are conditioned to associate a particular form of music with silent film; music that is produced or composed to match or pre-empt action on screen, more times than not it suffocates what is happening visually. Film, in the way it's constructed, the way it's edited, the movement on screen, has a rhythm almost musical in itself. 3epkano's music tries to liberate the image and tap into the atmosphere, the tone that is being generated by the visuals and narrative on screen. Creating music for 3epkano is a process of patient exploration and tentative discovery, the result is a compelling and unique cinematic experience."
Born in Hiroshima, Kashiwa Daisuke started off as the composer and guitarist of postrock band Yodaka in 2001. Having evaluated their sound, the band has been praised by Jim O’Rourke. Being inspired by the band’s psychedelic sound due to a postrock approach, and by Maurizio Bianchi, he started a solo project in 2004.
As a solo artist his idea is to create not only acoustic, but also electronic filmy soundscapes and atmospheres, by melting together a variety of classic instruments, spoken word snippets, and crisp beats. With a proper amount of ambient music, all of these form an exquisite sound experience.Program Music I is his second album came in 2007, only featured two tracks, but whose runtime is still over an hour. Its rich textures and depths were noted, with one critic claiming, “It’s a combination of sound and image, rather than probably sound landscape, in terms of itself.”
One of the most impressive releases to come out in a very long while. Program Music I is absolutely brilliant experimental electronic combined with beautiful modern classical to create some of the most interesting music to listen to for an hour! Highly Recommended
Mogwai chose them as a support act for their live date in Greece back in 2003. No plug-ins were used in this vintage-instruments-only debut that features Hammond organ, Obberheim synth, electroacoustic piano, celesta, vibraphone, violin, viola and cello.
Formed sometime in 2001 - Played several gigs in Athens at various venues, including support gig with Mogwai at Ark No.6 on April of 2003, after being selected by Mogwai themselves - Also played in other towns including Antiparos, Lehaina and Tripoli - Songs of Misuse are included in the now very hard to find compilations: "Mad Athens Presents Pop Scene 01" by Rubber, "Civil Cinder Regalia Vol. 1" by Tobruk Records & "In The Junkyard vol. 1" by Spinalonga - Misuse's song "Progyria" has been choreographed by Nefeli Stamouli. The choreography has taken part in the World Choreography Contest In Varna, Bulgaria in August 2006 & has also been presented at HELEXPO International Exhbition in Thessaloniki in an event of the Hellenic Dance Company in association with the Hellenic Ministry of Culture, in Aristotelous Square on September 2006 - Currently recording new & old material for long play album ..
Sadly, on September the 18th 2006, Christos Kormalis, who was the original drummer and founding member of Misuse lost his life in a motorbike accident. Though he didn't play with them for the last 5 months, he was, and is, always considered as member by the group. It is him playing on Misuse's Locked in a bar He will be missed..
Artist:Crippled Black Phoenix Album:A Love Of Shared Disasters Year:2006 Genre:Post - Rock, Experimental, Alternative Country:United Kingdom
End-time ballads, they call them. Folk songs from ancient times and distant lands, laments to the seas, and odes evoking the forces of nature. They're all here, and there's a load more besides on this massive travelogue of a record. For a band that is basically a part-time side-project for members of the likes of Electric Wizard and Mogwai, this is pretty damned astonishing.Crippled Black Phoenix is more than a mere side project, and includes a whole bunch of esteemed folks; Justin Greaves (Electric Wizard), Joe Volk and Andy Semmens and Kostas Panagiotou (of Panthiest).
Justin Greaves - Electric guitar, Drums, Saw, Keyboard, Acoustic guitar, Banjo, Effects, Samples, Washing up Joe Volk - Voice, Acoustic guitar Dominic Aitchison - Bass guitar, Effects Kostas Panagiotou - Piano, Keyboards, Harmonium, Accordion Charlotte Nichols - Cello, Voice
"It is the first of a trilogy and deals with the timelessness of honesty and tragedies laid bare, featuring sordid tales from the pages of literary history combined with personal stories of contemporary loss and love."
Born from a blizzard of horned cats, Crippled Black Phoenix bring you a twisted cinematic experience, handcrafted by a mercenary crew of musical outsiders, giving depth and gravity to regal songs about love, loss, tragedy and redemption. In 2006, during one of the hottest summers on record, the band recorded their debut album in Bristol and signed to Invada Records (run by Portishead's Geoff Barrow). The result is a collection of self-penned endtime ballads, a dark hybrid that is the culmination of all the members' eclectic influences. Using a blend of modern and Victorian era equipment, the band has produced a captivating, slow-burning sound that's both archaic and modern at the same time.-amazon.com
Artist:Stars Album:Sad Robots EP Year:2008 Genre:Indie, Alternative Country:Canada
sad robot
Stars are asking you if you're a sad robot. They want to know, because they're releasing their new EP, Sad Robots, through their spankin' new Sad Robots web site.The music for Sad Robot was written and recorded over the summer at Studio Plateau in Montreal, Quebec.
Stars are a Canadian indie pop band. Originally formed in Toronto in 2000 by vocalist Torquil Campbell and keyboardist Chris Seligman, the band relocated to New York City and then subsequently to Montreal. The band also includes singer-guitarist Amy Millan and bassist Evan Cranley. Drummer Pat McGee has toured with the band for years, despite not appearing on their albums until the release of Set Yourself On Fire.
Violinist Genevieve Walker and guitarist Steve Ramsey (of Young Galaxy) have toured with the band in the past; neither are joining the band on their current tour, which features Alan Snoddy on guitar.
The band’s breakthrough single was “Ageless Beauty”, from their 2004 album Set Yourself on Fire. While released to minimal fanfare in Canada in October of 2004, Set Yourself on Fire slowly gained a strong following and critical praise soon after its 8 March 2005 U.S. release.
The power of Beethoven and the beauty of Tchaikovsky...in our days.Listen to this absolute masterpiece of art!!
Jóhann Jóhannsson is an Icelandic-born musician, composer and producer. He also runs the record label Kitchen Motors in Reykjavík, the art organization/think tank/record label which specializes in instigating collaborations, promoting concerts and exhibitions, performances, chamber operas, producing films, books and radio shows based on the ideals of experimentation, collaboration and the search for new art forms. He has also written music for theatre, documentaries and soundtrack music for three feature films.Amazing..Highly Recommended!
Release Notes:
An American magnate builds a doomed utopia in the depths of the Brazilian rainforest. A Victorian poetess laments the death of Pan. A pagan rocket scientist blows himself up in his Californian garage. A crippled German physicist draws up the equations, which can make faster than light travel possible, unseen by the rest of the world.
Jóhann Jóhannsson's spellbinding new album draws these tantalizing threads together, weaving a musical tapestry of hypnotic richness and surprising emotional depth.
Englabörn was derived from music that Johann wrote for an Icelandic play using string quartet, piano, organ, glockenspiel and percussion. These elements were processed and manipulated, adding delicate electronic accents to the otherwise entirely acoustic recordings. Virthulegu Forsetar was a one hour-long piece for eleven brass players, percussion, electronics, organs and piano. It shares Englabörn's quiet, elegiac beauty, but replaces the brevity of the first album's exquisite miniatures with an extended sweep of sound that reveals a long, slow process of evolution.
Jóhann is involved in many different projects in his native Iceland, including the all-analog Apparat Organ Quartet and Kitchen Motors, the art organization/think tank/record label which specializes in instigating collaborations and art projects across diverse art forms. Among many other things, he has also recently composed scores for the award-winning animator Marc Craste (Varmints, 2008) and the American independent film Personal Effects (David Hollander, 2008).
After IBM 1401, A User's Manual, Fordlândia is the second installment in a proposed trilogy based on technology and iconic American brand names. Whereas IBM 1401, A User's Manual was a personal response to technology and its inevitable obsolescence (inspired by his father's work with mainframe computers in 1960s Iceland), Fordlândia springs out of a far more diffuse set of influences. It brings together the soaring grandeur of its predecessor – some sections were recorded with the same orchestra in Prague – and the intimacy of Englabörn, moving between heady, melting cadences and crystalline motifs with gorgeous, dreamlike logic.
In short, Fordlândia is Jóhann Jóhannsson's most complete and beautiful piece of music to date; a fascinating, immersive and deeply rewarding web of ideas and melodies, which is sure to win him a legion of new listeners.
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