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From the Artist
In her own words: "I have used the structure of a classical song cycle to tell an ongoing, modern story. The protagonist is a woman who finds herself in the dying embers of a relationship. In the course of one night she goes through an initiation of sorts that leads her to reinvent herself, allowing the listener to follow her on a journey to explore complex musical and emotional subject matter. One of the main themes explored on this album is the hunter and the hunted and how both exist within us." (Amazon.com)


Masterful ! :award:

:worshippy:
 
Απάντηση: Now playing...

Oτι καλυτερο ακουγεται σημερα

η ΤΟRΙ που εβαλε ο Κωστας
ο RYAN ADAMS στο Asher and fire
και ο εθνολογος RY C
OODER στο Pull some dust and sit down


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Να και κάτι ελπιδοφόρο!
Η Ελληνική εταιρεία phase Records κυκλοφόρησε πρόσφατα το καινούργιο lp των Big Blood σε περιορισμένα αντίτυπα και μόνο σε βινύλιο.
Επικό και ιδιαίτερο(όπως κάθε κυκλοφορία τους), με πέντε διαφορετικές κορυφαίες στιγμές!
Από τις underground κυκλοφορίες της χρονιάς!

http://avclub.gr/forum/showpost.php?p=1056235287&postcount=275

http://www.avclub.gr/forum/showpost.php?p=1056235289&postcount=7378
 
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The Plastic People Of The Universe: Magical Nights (Munster 2X CD, 2010)

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Half of Egon Bondy's Happy Hearts Club Banned, that crucial early salvo in the former Czechoslovakia's Velvet Revolution, is scattered through these two discs. That one still sounds glorious on its own. But it's no more likely to be reissued separately than Take a Look at Those Cakes. The long-gone live reunion album 1997, so guitar-heavy you can hear it dreaming of arena-rock glory, has only nine of these 31 selections. And although I miss the Leading Horses finale "Osip," this captures the band more persuasively than either of the six post-Bondy albums I've heard. The mood is eerie and sardonic, and the unchronological song order tracks like a Tarantino movie. Unobliged now to penetrate their considerable political significance, which got too Catholic anyway, I'm free to immerse in the bearlike vocals, jazzlike saxophone, unstinting drive, and gloomy harmonic devices of my favorite prog band. Can and Faust are noodling wimps by comparison.

''Dean" (R.C.)

*****/5
 
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Charalambides: Exile (Kranky CD 2011)

“Since you went away the days grow long…and soon I’ll hear old winter’s song”. No matter how often I’ve heard it, the switch from major to minor key in ‘Autumn Leaves’ brings an icy chill, despite the lyrics being for the most part the sort of sentimental fluff that would float off in the slightest breeze. Suddenly, I feel that cold hand on my shoulder. The grey clouds that blow over the song are enough to cast that phrase about “old winter’s song” in a Keatsian shade, you sense a recognition of mortality, the leaving of a lover (or in Keats’s case the season’s last swallows) being linked to that most final of departures."

mapsadaisical.files.wordpress
 
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καλα, αυτο ακουω εδω και τρεις μερες
θελει αναλυση
Τους παρακολουθω πανω απο δεκαετια,
τεραστιο σχημα
αυτο το αλμπουμ ειναι συγκλονιστικο
 
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Arensky
Trio in D Minor, Op.32 για να μαλακώσει η καρδιά.
Από ένα αγαπημένο τρίο δεξιοτεχνών που παίζουν με το κέφι εφήβων.
Hefetz-Piatigorsky-Pennario από μονοφωνική RCA που παίζει του σκοτωμού.
 
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Liadov
Έργα για πιάνο από τον Anton Ginzburg σε δίσκο Μελόντια.
Αριστουργηματικές μινιατούρες του τέλους του 19ου αιώνα βασισμένες στη κλασσική παράδοση με άρωμα Ρωσσικού λαικού τραγουδιού.
Πόσες ωραίες μουσικές δεν έχω ακόμη ακούσει.
 
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Dino Saluzzi: El Encuentro

On El Ecuentro, Argentine bandoneon master Dino Saluzzi teams with saxophonist brother Felix Saluzzi and cellist Anja Lechner in a meeting with Holland's Metropole Orchestra. It is Saluzzi's first recorded encounter with an orchestra, and his first ever live recording. More familiar ground for Saluzzi is his work with Lechner, on Ojos Negros (ECM, 2007), and Felix, on Juan Condori (ECM, 2006).


The initial impression of El Encuentro is: this is serious stuff. The four compositions, all by Saluzzi, progress at a stately pace. The Metropole Orchestra, conducted by Jules Buckley, explores subtle shadings, different depths of shadows out of which Saluzzi's bandoneon emerges, sweet-toned, and as soulful and pretty a sound as can be. Orchestral ebbs give way to fluid Saluzzi/Lechner duets that are pensive and majestic.


Felix Saluzzi's tenor saxophone joins the lush mix on the seventeen-plus minute "Plegia Andina," adding a haunting tone to his brother's tangy sighs and Lechner's rich and mournful cello work in the caress of the diaphanous orchestral backdrop. The bandoneon—the accordion's half sibling and the center of the Argentine Tango—has, along with the saxophone, a feeling of the streets. Lechner's achingly beautiful cello and the orchestra is the concert hall. Throughout El Encuentro, a new world innocence dances in sultry fashion with old world sophistication and grandeur.


Multiple spins of El Encuentro seem to temper that "this is serious stuff" first impression. The mix of orchestral majesty with the simple joy of the bandoneon makes for a listening experience that need not be analyzed or broken down into component parts. It all sounds as natural as breathing, as if it's been here, beautifully, forever.

Track Listing: Vals de Los Dias; Piegaria Andina; El Encuentro; Miserere.

Personnel: Dino Saluzzi: bandoneon; Anja Lechner: cello (1, 2, 3); Felix Saluzzi: tenor saxophone (2). Julian Buckley: Metropole Orchestra conductor; Arlia de Ruiter: first violin; Alida Schat: first violin; Sarah Kock: first violin; Denis Koenders: first violin; David Peijenborgh: first violin; Pauline Terlouw: first violin; Seija Teeuwen: first violin; Merijn Rombout: second violin; Herman van Haaren: second violin; Wim Kok: second violin; Marianne van den Heuvel: second violin; Vera van der Bie: second violin; Carel den Hertog: second violin; Marielle Ponsen: second violin; Mieke Honingh: viola; Norman Jansen: viola; Julia Jowett: viola; Iris Schut: viola; Isabella Petersen: viola; Emile Visser: violoncello; Wim Grin: violoncello; Jascha Albracht: violoncello; Erik Winkelmann: double-bass; Arend Liefkes: double-bass.

Record Label: ECM Records
 
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David Lynch: Crazy Clown Time (Sunday Best CD/DL - 2011)

"...another take on the disturbed dreampop that Lynch and longterm collaborator Angelo Badalamenti developed with Julee Cruise: except, instead of queasy-ethereal synthesizers, the backing feels more like Link Wray redesigned by the Residents. As on many of the tracks here, Lynch's self-taught playing does so much to set the mood: heavy on tremolo, it is like Duane Eddy-style rock'n'roll reduced to effects, traces and exclamations.
So many of the songs could be happening before or after a murder: is the singer-narrator to be empathised with or abominated? Both, disturbingly. Then, isn't all blues about sympathy for the devil?"

The Wire, 333, November 2011



Shiver. Then shiver again. And again.



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