 Artist: Shadow Gallery: mp3 download Genre(s): Rock Metal: Progressive Rock: Pop-Rock Shadow Gallery's discography:  Prime Cuts Year: 2007 Tracks: 12  Legacy Year: 2001 Tracks: 6  Tyranny Year: 1998 Tracks: 6  Tyranny Year: 1998 Tracks: 14  Carved In Stone Year: 1995 Tracks: 20  Shadow Gallery Year: 1992 Tracks: 7  Room V (CD1) Year: Tracks: 14 Shadow Gallery is a progressive stone band that stresses songwriting, production and performance in their medicine. Their songs ar oft long with instrumental pieces in the middle. Shadow Gallery's medicament is hard at multiplication, gentle at others, providing an interesting kind to the auditor. Of the original members, Mike Baker (trail vocals) and Carl Cadden-James (bass, transverse flute) remained for the 1992 debut CD Shadow Gallery. They were linked by Brendt Allman (trail guitar), Chris Ingles (keyboards) and John Cooney (drums). This debut CD was released quickly and is considered by the band to be of demonstration tone. Although the production is weak, the songwriting on this CD clear shows artistic potential. Dark Gallery took an tremendous footprint in maturity for its second CD, Carven in Stone. A couple of lineup changes were made, with Kevin Soffera taking over on drums and versatile Gary Wehrkamp adding additional guitars and keyboards. Carven in Stone, released in 1995, is yearner and much more mature than the debut CD. It features stunning production, far surpassing that of Shadow Gallery, and improves on the antecedently high quality songwriting. The group's third album, Tyranny followed in 1998. In 1998, the band's third base album, One-man rule, was released. This is a construct record album about a defense worker world Health Organization becomes disenchanted with his caper and searches for former meanings in his life. The medical specialty is indistinguishable resonant of Carved in Stone, although moderately ignitor. Bequest appeared in leap 2001. |
Sunday, 7 September 2008
Mp3 music: Shadow Gallery
Monday, 18 August 2008
Mp3 music: Geddy Lee
 Artist: Geddy Lee: mp3 download Genre(s): Rock Geddy Lee's discography:  My Favourite Headache Year: 2000 Tracks: 11 Few heavy rock-and-roll bassists have been as influential as Rush's Geddy Lee. Born Gary Weinrib on July 29, 1953, in Toronto, his parents migrated from Europe to Canada and got his nickname "Geddy" from when his mother would try to pronounce "Gary" in her idiom. Taking up fresh water bass as a teenager and influenced by the likes of the Who's John Entwistle, Cream's Jack Bruce, and Led Zeppelin's John Paul Jones, Lee hooklike up with guitarist Alex Lifeson and drummer John Rutsey to material body the hard rocking ternary Rush (Tsung Dao Lee would as considerably dish out as the band's principal vocalizer). Although the set would finally find oneself succeeder and fortune as a progressive hard careen band, early on they were highly derivative of blues rock/Led Zeppelin, as their self-titled 1973 debut proven. Just when Neal Peart replaced Rutsey one year later, the band's sound and musical commission immediately changed. Gone were the long Zep-jams and in came technically demanding and challenging knockout sway, complete with challenging lyrics (courtesy of Peart) -- although Lee's high-pitched, Robert Plant-esque whimper remained. After honing their sound on a few albums, the three rack up pay soil with unrelenting touring and their 1976 sci-fi conception album, 2112. Each attendant release outsold it's predecessor (such prog alloy classics as A Farewell to Kings, Hemispheres, Permanent Waves), and by 1981's Moving Pictures, Rush had suit unmatchable of the biggest rock bands on the major planet. Throughout the '80s, Rush explored more mod (most unexampled wave-ish) sounds, til now their massive fan al-Qa'ida remained in tactfulness -- with Lee's vocals becoming more than quiet. Rushing cruised along throughout the '90s (returning to their in the beginning, organic unvoiced rock-and-roll sound with such releases as 1993's Counterparts), issuance successful albums and playing sold-out arena tours universal, until the band went on indefinite hiatus in 1997. To fighting the downtime, Lee issued his first of all time solo album in 2000, My Favorite Headache (wHO was united by ex-Soundgarden drummer Matt Cameron and ex-FM guitarist/violinist Ben Mink). Lee's influence on careen bass keister be heard in the playing of such wide-ranging disciples as Primus' Les Claypool, Dream Theater's John Myung, and Metallica's Cliff Burton. |
Friday, 8 August 2008
Radiohead sales show fans' loyalty to illegal sites
More Radiohead fans downloaded the band's most recent record album illegally than through the official web site, despite the band making it usable for unloosen.
Figures collected by the Performing Rights Society � the grouping of songwriters, composers and music publishers which collects British royalties � render that, on the day the band's seventh album, In Rainbows, was released, more than 400,000 "pirate" copies were downloaded illegally through file-sharing networks. In less than four weeks, this number had risen to more than 2.3 million, a figure which the account says "far exceeds" the total estimated number of downloads from the band's website.
The study, produced by the chief economist of the gild in association with an internet monitoring company, concludes that many people world Health Organization download music illegally feel a strong sense of brand loyalty towards plagiarism websites, and will persist in to use of goods and services them even if they are offered an monovular, gratis and lawful alternative.
"Online piracy thrives not entirely because of the widespread availability of free, top-tier entertainment, but because the venues themselves are now well known, well liked and habitually used," says the report.
"Even when the price approaches zero, all other things being equal, people ar more probable to play habitually than to crack their habit. In a digital bowl, consumers go to venues where they feel comfortable."
Radiohead have never disclosed how much money they made from the online gross sales of In Rainbows, or how many people downloaded it.
The record was released last October in a storm of publicity after the band proclaimed that fans would be able to name their own price before downloading a transcript. Last month, the record album was among the nominations for this year's Mercury Music Prize.
Around 6.5 million UK broadband cyberspace users download files illicitly every year, with a staggering 95 per cent of music downloads presently being carried out unlawfully. The climb up of "peer-to-peer" networks such as BitTorrent and Gnutella, which allow people to download files from other users' computers without charge, has been blamed by the medicine industry for the continuing fall in CD sales.
"I suppose there is a degree of brand loyalty to these networks. People obviously get familiar with using certain services and certain websites, and that's part of the job," said Matt Phillips, a spokesman for the British Phonographic Industry, which represents record companies.
"But it's not true to suppose that the internet is uncontrollable. The difficulty is that, until now, nothing has been done almost the problem. We pauperization to better communicate why it's significant to support the artists."
The report comes a week after The Independent revealed the Government has plans to enter new measures for tackling illegal file sharing over the internet, charging broadband users an annual license fee of about �30 for unlimited access to legal file-sharing networks.
The money raised by the scheme would be returned to the artists, with those owning the most popular songs receiving the largest amount of cash.
How file-sharing works
File-sharing networks admit internet users to "share" parts of their information processing system with other people, allowing them to view and download each others' music. The first-class honours degree popular file-sharing network, Napster, was launched in 1999 by a student in Boston. It became a popular place to line up free music and attracted more than 25 one thousand thousand users. Record companies filed lawsuits, and it was forced to close in 2001. Many other file-sharing networks, including BitTorrent and Gnutella, function today. These versions receive no central hub, making them virtually impossible to shut down.
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Tuesday, 1 July 2008
Loquillo y Los Trogloditas
Artist: Loquillo y Los Trogloditas
Genre(s):
Latin
Discography:
Feo, fuerte y formal
Year: 2002
Tracks: 10
Cuero Espanol
Year: 2001
Tracks: 10
Nueve Tragos
Year: 2000
Tracks: 9
Morir en Primavera
Year: 2000
Tracks: 13
Hombres
Year: 2000
Tracks: 13
Con Elegancia
Year: 1998
Tracks: 12
Tiempos Asesinos
Year: 1996
Tracks: 11
Companeros De Viaje CD2
Year: 1996
Tracks: 14
Companeros De Viaje CD1
Year: 1996
Tracks: 18
Mis Problemas Con las Mujeres
Year: 1994
Tracks: 13
La Vida Por Delante
Year: 1994
Tracks: 12
Mientras Respiremos
Year: 1993
Tracks: 13
A Por Ellos... Que Son Pocos Y Cobardes CD2
Year: 1989
Tracks: 11
A Por Ellos... Que Son Pocos Y Cobardes CD1
Year: 1989
Tracks: 13
Loquillo and Sabino
Year: 1987
Tracks: 7
La Mafia Del Baile
Year: 1985
Tracks: 15
El Ritmo Del Garage
Year: 1983
Tracks: 11
Donde Estabas El 77 De
Year: 1983
Tracks: 4
Los Tiempos Esta Cambiando
Year: 1980
Tracks: 10
Canciones Con Otros Grupos
Year: 1980
Tracks: 9
Marion Cotillard - Cotillard Baron Cohen To Join Oscars Committee
Friday, 27 June 2008
Decoder
Artist: Decoder
Genre(s):
Drum & Bass
Discography:
Discord EP
Year: 2003
Tracks: 3
Encrypted EP (TI024)
Year: 1999
Tracks: 3
Eko / Red Box
Year: 1998
Tracks: 2
Decoded EP
Year: 1998
Tracks: 4
Coldplay's Viva La Vida: Everything To Everyone, In Bigger Than The Sound
On The Record: Coldplay Get Massively Minimal on Viva la Vida
Given everything contained within, it's fitting that Coldplay decided to saddle their new album with two seemingly disparate titles (it's called Viva la Vida or Death and All His Friends, in case you weren't aware). Because if anything, it's the most bipolar thing they've ever done.
Lyrically, it's obsessed with the duality of, well, everything, full of ruminations on life and death, corporeal pleasure and spiritual anguish, the emptiness of wealth and the reverence of poverty (all sung by a millionaire rock star with an Academy Award-winning wife, of course). Musically, it's Sagrada Familia-massive and quark-microscopic, all strings and church bells one moment, tiny tack piano and shimmery joules of synthesizer the next (and surprisingly organic for an album produced by an electronic legend like Brian Eno). And thematically, it's hyper-focused on both the celebration of living and the bloody business of revolution, two yin/yang ideals that sort of make sense as one unified concept when you think about it long enough. In keeping with that (non) ideal, the album takes its title from a sunny Frida Kahlo painting, yet features an overwrought Eugène Delacroix work on the cover.
Basically, there are about 15 albums buried somewhere within Viva, each about wildly different things, and each of varying degrees of quality. And this is not necessarily a bad thing, though it does make "reviewing" it in any real context next to impossible.
So rather than attempt to do just that, perhaps the best approach is to consider the album in a vacuum, completely devoid of any context whatsoever. This isn't a review of Viva la Vida, since: A) to review is to contextualize, and an album of this scope, depth and breadth can't really fit into any single set of conditions; and B) since when would any Coldplay fan be swayed by a review anyhow?
(In other Coldplay news, read about our reporter's sorta-lunch with Chris Martin before the MTV Movie Awards.)
So here's what's good about the album: It opens and closes with a single piece of music, a pretty and shiny bit of bookend-ry the band co-wrote with electronic artist Jon Hopkins. It is worldly and mature without being overly so. From Martin's decidedly lower singing range to Jonny Buckland's churchly and majestic guitar work, Viva sounds very much like a band stretching its legs, having earned the right to do so, yet in a testament to Coldplay themselves (or perhaps Eno), there's also a level of self-awareness that only comes with the realization that most records that feature a band "stretching its legs" are terrible.
The songs display scope and execution, whether it's the Bolero guitars below "Cemeteries of London," the stomping build of "42," or the twisting, R&B middle of "Violet Hill." And there are three tracks on the record that effortlessly combine two songs into one: "Lovers in Japan/ Reign of Love" starts off with a spacey player piano and morphs into a dainty minuet; "Yes/ Chinese Sleep Chant" begins with swoony strings, switches into a horny take on a Spiritualized jam and concludes with Martin's voice trapped behind a wall of ice; and "Death and All His Friends/ The Escapist" closes the record with pretty pianos, a big, pounding exercise in drums and finally the same spacey bit that opened the album, this time with Martin singing, "And in the end/ We lie awake and we dream of making an escape."
And since we're on the subject, Martin writes with both an alarming openness and a disarming obtuseness on the record. In the case of the former, "Lost!" sees him keening, "Just because I'm losing doesn't mean I'm lost"; "Yes" has him singing, "When it started we had high hopes/ Now my back's on the ropes" in one bit, then "It's not easy when she turns you on" in another; and "Violet Hill" features him pleading, "If you love me/ Won't you let me know." In the case of the latter, there's "Viva La Vida," which seems to be sung from the perspective of deposed French monarch Charles X; "Death and All His Friends" has him begging, "So come over, just be patient, and don't worry" to no one in particular; and "42" is full of mentions of ghosts denied entry to heaven and "those who are dead ... living in my head." (I told you dude was bipolar!)
As for the bad, well, it's basically all the same stuff that's good about the album. There's an awful lot of ground to cover — Viva really, truly sounds like a band trying to be all things to all people — but when you're a band as massive as Coldplay, that's just covering your bases since, you know, "all people" is your core demographic.
And to that point, everything I just wrote is null and void. Who's going to like Coldplay's new record? Everyone who liked their previous records, which is to say pretty much everyone on the planet. Blog snobs? Check (they'll begrudgingly admit to liking Parachutes and A Rush of Blood to the Head). Sorority girls? Yep (huge fans of "Fix You," think Chris Martin is hot). Business guys who love to cut loose on the weekend? Count them in (saw band at rock-radio fest, own iPod because of "Viva la Vida" commercial). The Coldplay army is massive and loyal. They will follow you to the ends of the earth. And buy, buy, buy — no matter what.
And you get the feeling that's also why Viva is so, well, everything. Happy, sad, cavernous, claustrophobic, beautiful, depraved ... it all depends on which version you're hearing this time around. Is the record great? Yeah, parts of it. Is it better than X&Y? Definitely. Rush of Blood? Maybe, but probably not. Then again, you might disagree. Long live life, indeed. But also, let's hear it for death. Depends which part of the demo you're in.
David Cook-Gate: The Fall Out, or 'Letters, I Get Lots of Angry Letters'
If you ever want to get positively leveled by e-mails that question both your sexuality and your patriotism, all you've got to do is pen a column that pokes fun at "American Idol" champ David Cook and certain segments of the U.S. population. That's what happened to me in the wake of last week's Bigger Than the Sound, and I'd like to share a few of the best with you here. It's pretty safe to say that I broke the Internet in Texas and Alabama. [Editor's note: We're not losing our touch. We've just left these e-mails unedited so you can fully enjoy them.]
"Your attempt to bash anything not far Left using trash/spin in article about 'American Idol' young man,,,,,,(David Cook)^ an innocent hard working *talented young man & his career to do it,,, nauseated me to no end!!!
"How f'n dare u?? Pissed me off to no end,, at the level evil (YES evil is what I read in to that article) will go to spread hate in the atmosphere in a sad attempt to DICTATE their ideology......
"YOU WERE RIGHT on one not so well hidden fear, in that AMERICA for the most part is Center Right, Politically... More traditionalists,, &WE ARE SLEEPING Giants,, in numbers, so:
"Be careful how often & how deep u insult & bash the lot of us... Heard of 'jump the shark?' YOU LEFTIES HAVE Done it, or getting pretty close to it! Maybe your side doesn't deserve to ever get serious power anymore.. I think I'll write a few checks to McCain & Republicans,, ty for reminding me.."
-Anonymous, submitted in purple, italicized comic sans
"You think you are a satirist, but you are just an extremely poor writer. Those who have posted on the website have made all of the relevant arguments against your inane and offensive column. All I can add is 'ditto' to them all. You should be fired, or maybe arrested, for impersonating a columnist. You have managed to offend every person in America including those living in NYC who are not you. I can't imagine that any of them would want to claim you as their representative. What drek!"
- Anonymous
"James Montgomery (a.k.a. all that is wrong with music journalism today, or perhaps Josiah Leming in disguise) -
"It's easy to poke a finger at the Red States, because they think George Bush is always right, they watch Nascar, they think Country music is an acceptable form of entertainment - who with a brain wouldn't find that all ridiculous? However, the fact that 'mainstream America' likes Nickelback is not one of those examples that lends itself to a 'red state theory' of any type. I actually DO listen to (alt) rock radio. I do not listen to Nickelback, and my station would never play it.
"However, the enjoyment of the processed garbage that I believe Nickelback to be is no different than purposely downloading 'No Air' by Jordin Sparks or that horrifying 'Bleeding Love' by Leona Lewis. Top 40 is filled with music that makes my soul die, but if it makes other people FEEL something, should I be ready to dismiss that feeling as ridiculous? Are you ready to impose YOUR views on society, trying to sway a person with a mind all their own, who happens to enjoy rocking out to Chad Kroeger with the windows of their Honda Civic rolled all the way down, with the idea that what they enjoy is SHAMEFUL? You bully people into agreeing with your opinion using 'coolness' and making people feel embarrassed about something they genuinely enjoy. There is more than one thing wrong with 'America,' and you are one of those things, d-----bag. Right up there with Dick Cheney. Figure it out ..."
- Signed, someone who just MUST be a creepy middle-aged lady who wants to throw her underpants at David Cook, who also happens to be so unhip that she doesn't realize that Josiah Leming is the second coming of Bob Dylan. HOW HAS SHE NOT SLIT HER WRISTS, YET?
Any more? BTTS@MTVStaff.com.
See Also
U60311 Compilation
Artist: U60311 Compilation
Genre(s):
Techno
Discography:
Techno 2 - Mixed by DJ Rush (cd2)
Year:
Tracks: 10
Techno 2 - Mixed by DJ Rush (cd1)
Year:
Tracks: 19
Thursday, 26 June 2008
Christian Alvad and Rasmus Lyberth
Artist: Christian Alvad and Rasmus Lyberth
Genre(s):
New Age
Discography:
Beyond Darkness
Year: 1999
Tracks: 10
Four Tet
Artist: Four Tet
Genre(s):
Jazz
Acid Jazz
Techno
Electronic
Rock
Experimental
Discography:
Four Tet Remixes (Disc 2 - Remixes)
Year: 2006
Tracks: 12
Four Tet Remixes (Disc 1 - Remixes)
Year: 2006
Tracks: 12
Everything Ecstatic
Year: 2005
Tracks: 10
My Angel Rocks Back And Forth EP
Year: 2004
Tracks: 5
Live in Copenhagen 30th March 2004
Year: 2004
Tracks: 7
Late Night Tales
Year: 2004
Tracks: 1
She Moves She EP
Year: 2003
Tracks: 2
Rounds
Year: 2003
Tracks: 10
As Serious As Your Life
Year: 2003
Tracks: 4
Paws
Year: 2001
Tracks: 4
Pause
Year: 2001
Tracks: 11
No More Mosquitoes
Year: 2001
Tracks: 4
Glasshead / Calamine
Year: 1999
Tracks: 2
Dialogue
Year: 1999
Tracks: 12
Spawned from the advocate to do something asunder from his post-rock lot Fridge, Kieran Hebden's Four Tet project balances constitutional and programmed sounds. Hebden formed Fridge with Sam Jeffers and Adam Ilhan while still in high schooltime. When Fridge went on impermanent hiatus for Jeffers and Ilhan to give ear college, Hebden exhausted time playing with ideas gained from hip-hop and electronica that he hadn't had time for patch concentrating on the band. Eager to experiment, Hebden bought a computing device and began collecting drum and profound samples. Though his tracks sounded contrary, Hebden produced them all in his flat using only his reckoner to loop, slice, and paste downloaded samples and rhythms. His first uncut was 1999's Dialogue, which was noticed by experimental dub pioneer Pole (Stefan Betke). The two eventually collaborated for a 12", Four Tet vs. Pole, which included an original song by each and a remix of the track done by the former creative person. Around the same time, Fridge was signed to the label Go! Beat, owned by Polydor. Hebden retained Four Tet as a side project, however, and released subsequent records Pause (2001) and Rounds (2003) through Domino. The No More Mosquitoes EP and the "My Angel Rocks Back and Forth" individual preceded the 2005 release of Everything Ecstatic. In 2006, Hebden invest together two compilations of some of his favorite tracks, LateNightTales and DJ-Kicks, as well as Everything Ecstatic Films & Part 2. The two-disc Remixes was as well compiled and released that year as were two volumes of his Exchange Session project with jazz drummer Steve Reid. These two volumes establish Hebden working under his proper name for a change. This vogue continued when their third collaboration, Tongues, arrived in 2007.
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