Category: Rock

Vinyl Dreams - Milty Evans - Crossed Wires EP (File, MP3) download full album zip cd mp3 vinyl flac

Published 28.10.2019


Download Vinyl Dreams - Milty Evans - Crossed Wires EP (File, MP3)
2013
Label: Nite Grooves - KNG 448 • Format: 4x, File MP3, EP 320 kbps • Country: US • Genre: Electronic • Style: House, Deep House

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DJ Lazy K. Dope Mix Dream Do Come True 2. Dream Runnaz - Full Circle New Boy Genius - Dream. Stack Or Starve. From its creation in the late '90s until its closure inthe Toytronic label witnessed a digital revolution that transformed the record industry, turning glitch into a production tool for a whole generation heir to the of bleep 'n' bass sound.

Their only album to date Links Berge Rechts Seen Toytronic, was released as a compilation featuring tracks from their brief career that over the years has become a benchmark for the Toytronic sound. This album included their first -- and only -- three releases signed to Expending Records and Toytronic, and also included two previously unreleased songs: "Planquadrat" and a hidden track at the end of the CD version.

Lapsus presents Links Berge Rechts Seenwhich will be released on vinyl for the first time as part of its Perennial Series. Originally released on CD in Frustrated with UK club music's current fixation with tempo, London based artist Kouslin 's Vision EP delivers four cutting-edge, high energy clubs tracks that hover around the bpm mark.

This 12" vinyl release comes with full color artwork reverse board sleeve with artwork from Tess Redburn. Livity Sound is a label set up by Peverelist in as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

An entirely improvised live album recorded in one take in the inner city of Johannesburg, featuring some of the city's finest experimental musicians, Vinyl Dreams - Milty Evans - Crossed Wires EP (File Siya Makuzeni vocals, FX, tromboneNosisi Ngakane vocalsJoao Orecchia synthesizers, electronicsWaldo Alexander electric violin with FX pedalGontse Makene percussionand Ariel Zamonsky upright bass.

In the context of this improvised album, the term "spaza" not only refers to the name of the outdoor gallery in Troyeville, Johannesburg where this project was recorded in the autumn of No way.

In South Africa, "spaza" comes heavy with meaning. It could refer to an informal neighborhood store usually attached to someone's house, operating out of a shack or a repurposed shipping container. It has come to signify an entrepreneurship spirit, especially in South Africa's black townships where restrictions to business ownership meant that only a few could attain that privileged societal status of legitimate business owner. But in contemporary South Africa, spazas are also contested territories, given continental migratory patterns that have seen the country attract millions of political migrants against the backdrop of the remaining economic and spatial legacy of apartheid.

Spazas have emerged as sites of war, bloodshed, wailing, and despair as financially disempowered South Africans routinely mete out their frustrations on those spaza store owners that they consider "foreigners" and "outsiders". But spaza can mean something else entirely. Perhaps obliquely, there are musical references to be grasped at.

Spazathe term, the recording, and the location, evokes a spirit of musical independence, a looseness, a jam session, a collaboration, a coming together of great minds at the corner to shoot the breeze, or let off a seriously considered prognosis. In this sense, Spazathe album, is a conceptual coalescence of space, the body politic and an approach to music making.

Helmed by the arbiters of spontaneity, Mushroom Hour Half Hour, this loping, expansive recording brings together musicians already adept at creating on the fly and playing in unlikely set-ups with their instruments of choice.

Spaza is at once opaque, direct Vinyl Dreams - Milty Evans - Crossed Wires EP (File an unyielding morass of joy melding with pain, furtiveness caressing boldness. This could be the sound of the city turned inside out, ruminating on its troubled history and uncertain future, the sound of celebration and pensiveness. The results, while shaped in the milieu that is Johannesburg, are that of continental astral travel, a sonic reading of the city's dreamscape.

This comprehensive and definitive document, which comprises almost all of Eastman's signature works, will undoubtedly be a revelation for those who have thus far been unable to hear his work. Applying minimalism's additive process to the building of sections, he developed a composing technique he called 'organic music,' a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it.

The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil NiggerCrazy Niggerand Gay Guerrilla all circa These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures.

His works show different routes minimalism might have taken, and perhaps some of those will now be followed up. This set of discs is a bold beginning to restoring to history the works of one of the most important members of the first post-minimalist generation.

These are the generations Beyond referencing Polansky's Jewish heritage, the phrase reflects this particular collection of works on several levels. The compositions included stem from different generations Vinyl Dreams - Milty Evans - Crossed Wires EP (File Polansky's musical output: Some were composed in the s while he was teaching at Mills College in Oakland, California Eleh Tol'd'ot, Sacco, Vanzetti ; some while living in New Hampshire when he was a Professor of Music at Dartmouth College Glockentood II, 22 Sounds- ; and others are recent compositions completed in Santa Cruz, California, around the time of Polansky's retirement from the University of California, Santa Cruz five songs for kate and vanessa, kaddish ladder canon.

The performers on the recording are similarly of different generations. Some have known and worked with Polansky since the s or earlier; others are much younger and began working with him as graduate students within the last few years. Moreover, some of these works use some form of algorithmic composition while others use more conventional approaches to composing music.

In some pieces, the musicians themselves must enact some kind of procedure to generate the sounds or structures they are to play. Finally, the works presented here demonstrate Polansky's deep understanding of the history and techniques of experimental music in the United States. Within these compositions one can find compositional approaches that span styles from the ultramodernists in the early twentieth century to advanced computational algorithms not yet possible in that era.

Through these works Polansky somehow manages to integrate older and newer styles of experimental composition into a cohesive voice that despite, or perhaps because of, its eclecticism and diversity is unmistakably the music of Larry Polansky.

Blue swirl vinyl. A major retrospective of late '80s psychedelic garage rockers Hangman's Beautiful Daughters. Treacy, the genius behind The Television Personalitiesplayed a major role in the band's birth, contributing a few songs and as producer. Emily [Brown] had a sensuous, husky alto voice, and looked fine with her long wavy auburn locks, suede fringed boots and mini-skirts. Phil [King] was taciturn and nonchalant; impenetrable with his shades and dark bowl-haircut and like a cuter version of Bill Wyman.

Ray [Philpott] was an accomplished, energetic and handsome drummer with a ready grin and long parted wavy chestnut hair. Sandy [Fleming] was an exuberant presence, with her raven-black short spiky hair, skinny legs and leathers; she played choppy rhythm chords on a sunburst pear-drop Vox guitar, and added her voice to the mix.

There weren't many women making rock music in those days, so it was very distinctive to have two women at the front. All of these recordings were also repackaged and released in Germany and the US. A further EP was recorded for Dreamworld but never released, with two songs from that session, "If It Means Anything" and "King of Sweden", getting their first airing on the new release. Equally adept at producing hard charging rockers or more languid, opiate-tinged soundscapes, Hangman's Beautiful Daughters were part of the DIY culture that helped shape British guitar music.

Their complete recordings remastered; Includes two previously unreleased tracks. The album comes with a deluxe page booklet, featuring never-seen before photos and a history of the band written by Jowe Headof Television Personalities and Swell Maps fame. Rune Grammofon introduce a new name to their roster. Master Oogway are four young musicians aged between 23 and They met at the Norwegian Academy of Music in with a common desire to play vibrant, improvised music with strong themes and room for spontaneity at a high energy level.

Like many players on the young, Norwegian progressive jazz scene their instrumental skills are already highly developed but never used to show off. Earth And Other Worlds is the quartet's second album, their debut was released on the Clean Feed label in While it's fair to say that they operate in much of the same musical landscape as Bushman's Revenge or Kokofantit's equally fair to note that their general approach and attitude comes with a slightly stronger emphasis on jazz.

He is involved in several projects, but Master Oogway is his priority. Lauritz Lyster Skeidsvoll and Karl Erik Horndalsveen have both finished their education at the same academy as Funderud. It soon became apparent that they shared the same musical background centered around '70s progressive rock, classical music, jazz, and improvisation. Soon after the trio was formed, first for fun, but soon with higher ambitions, they won the prestigious "Young Jazz Musicians of the Year" award in Daymare is the trio's second album, their debut was released on the small All Good Clean Records label in While their debut showed a lot of quality and promise, their new effort is a huge step forward on all accounts, especially considering their young age.

The lazy way would be to place I Like To Sleep with certain other Rune Grammofon "power jazz" groups, but their unique instrumentation, natural openness and youthful curiosity place them apart from the rest. They are active as composers, freelancers and in other projects, including concert booking on the city's vibrant music scene. The circle is closed. Less of Everything, MP3).

The title of Es 's first full-length LP could be interpreted as a manifesto pledge, Vinyl Dreams - Milty Evans - Crossed Wires EP (File outright demand or a purely literal sonic descriptor of the London quartet's glacial form of punk rock music. This tension between intent and interpretation has been a fundamental element of the group's output from their formation.

Leach drumsand Flora Watters keyboards. As in Object Relationsthe dynamic between Cotterell's bass and Watters's keyboard is at the heart of Less of Everything's sound: intertwining sub-zero melodies, gothic anarcho-punk influences think KuklMalariaX-Mal Deutschland and some kind of entirely unlocatable aquatic component.

When combined with Murray Leach's precise drumming, the outcome is original and immediately recognizable. Es are a group who know how to leave space, how to strive for minimalism without sacrificing aggression or dynamism. This dynamic provides the perfect backdrop for Tedemalm's relentless, pointed vocal style. While comparable 'cold' sounding groups might affect an impersonal, safer mode of lyrical or vocal detachment, Tedemalm's strategy is to 'push the lyrics as far as I can thematically until they become absurd -- overly dramatic I try to apply as much emotion as I can.

On Tropical GothicMike Cooper studies different approaches to his method of uniting guitar and field recordings into a constant stream of sound, where he delivers chaos and melody -- not necessarily in that order. A series of shorter pieces open the album. Each of them offering a myriad of images and sensations, between the enigmatic and terror "The Pit"joy, happiness, and freedom "Running Naked"or pure contemplation "Onibaba".

A mix of ambient exotica music, silent film soundtrack, and distorted rhythms that dance around Mike's guitar. It keeps reinventing and transforming itself throughout those eighteen minutes, summing up the dexterity and muscle of Mike Cooper's music of the last two decades. Both Clive and Sylvia play an array of Asian and "exotic" instruments; both are improvisers and have been playing together on and off over many years.

Disc 1 mastered by Rashad Becker. Disc 2 mastered by Emmet O'Donnel. A titan of middle eastern music, the contralto singer Om Kalsoum or, Umm Kulthum was hailed as "The Voice of Egypt" or "Egypt's Fourth Pyramid," and as she reportedly sold over 80 million records worldwide during her lifetime, she is one of the most popular singers of all time. Born in a small village in the Nile Delta, either in the late s or the early s, she joined her father's family group at an early age and as a teenager, was taught classical Arab music by singer Mohamed Abo Al-Ela.

The composer Zakariyya Ahmad convinced her to move to Cairo in the early s, where the composer and oud player Mohamed El Qasabgi introduced her to the Arabic Theatre Palace, where she enjoyed her first taste of success, leading to her breakthrough in the early s and subsequent tours of the middle east; appearances in local films and the regular broadcasts of her live concerts allowed her to surpass her rivals. At home, her peak period is seen as the s and '50s, yet she continued to record enthralling work in the '60s and '70s, including "La Ya Habiby," an epic song of heartache, composed by Riad El Sombatiwith lyrics by Abdelfatah Moustaphafirst recorded in Function is an aesthetic exploration of digital audio at an elemental level: a sequence of quantized amplitude values.

The entire sonic material in this series are generated through a custom-designed program that takes a mathematical function as input, and based on a set of pre-defined criteria, outputs the function as a digital waveform.


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