Armin only imagine 2008 dvd tracklist 101

armin only imagine 2008 dvd tracklist 101 03. Armin van Buuren - Armin Only: Imagine Intro 2008 04. Armin van Buuren - Imagine (Live performance by Eller van Buuren) 05. Leon Bolier - Ocean Drive Boulevard 06. Majesta vs. DJ Shah feat. Adrina Thorpe - Not The End vs. se nota que usaron otras cámaras para el DVD, y bueno el tracklist lo dice todo no hay nada súper llamativo, si lo. Armin van Buuren - Tomorrowland One World Radio Armin's Weekend Kick-Off 083. Armin van Buuren ‎– Armin Only - Imagine Label: Ultra Records ‎– UL 1785-9 Tracklist Hide Credits. Live Registration on April 19 2008. DVD set comes in a cd jewel case instead of a regular dvd case. Other Versions (5 of 7) View All. Cat# Artist Title (Format) 5/5(8). Apr 19, 2008 · Tracklist / Playlist for Armin van Buuren @ Armin Only 2008, Jaarbeurs Utrecht, Netherlands 2008-04-19, 111 tracks, Trance.

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armin only imagine 2008 dvd tracklist 101

armin only imagine 2008 dvd tracklist 101

Armin van Buuren Tracklists Overview

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armin only imagine 2008 dvd tracklist 101

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Nov 13, 2010 — Tracklist / Playlist ▷ Armin van Buuren @ Jaarbeurs Utrecht (Armin Only Mirage 2010) - Armin van Buuren Live Set, Setlist, Jaarbeurs Utrecht  Missing: 2008 ‎| Must include: 2008. Dutch DJ and record producer Armin van Buuren has released seven studio albums, four 2008 Armada Lounge: The Best Downtempo Songs, Vol. 1; 2009 Armada "Armin Van Buuren – Armin Only: Imagine". inthemix. Archived "Intense- The Most Intense Edition (4cd+Dvd) - Armin Van Buuren: Movies & TV". Amazon.

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A Colourful Storm's reissue project of Blueboy's Sarah Records albums culminates with Unisex, arguably the finest moment of the trio of Keith Girdler, Paul Stewart, and Gemma Townley. A bona fide indie-pop classic. The first vinyl issue since tracmlist, the album has gained an immense cult following in all corners of the world and stands as an almost forgotten pinnacle of pop songwriting. "I just want to kiss you in new places, to savour the joy of living, liking you." Full-color reverse card sleeve with printed lyric sheet designed by Matt Haynes.
2019 repress. After exploring the highs in electricity and the lows of the deep trackpist, the Another Picture label goes further into things, sensing vibration of the fire below and turning it into a never-ending evolution of sound and groove. Losoul tracks are scattered artefacts of the city, drawing their vibe and inspiration from the streets, the people, the concrete, the action. Then there's the ever-changing beauty of nature. Soul, movement, and emotion. Once again drawing on his lengthy experience in house and techno production and performance, Losoul delivers two tracks that are timeless in many ways. See you on the dancefloor. And everywhere else.
PIEZOArt Attack Gone Wrong/perccssszzzz 12"
After stand out releases in 2019 on Rtacklist and Wisdom Teeth, Piezo returns to Ansia with a new two-track EP Art Attack Gone Wrong/perccssszzzz. As has been evident with past records Piezo has always had a strong ear for using interesting sounds which have been expertly sculpted to create a unique sound universe. While releasing on other labels has allowed him to work closely with his peers the freedom of having his own label allows for him to armin his influences from the Italian rave scenes in a more direct manner. For this EP, these influences are streamlined into a techno-orientated sound palette with traditional four-on-the-floor beat patterns but with an approach more related to the sounds of Diagonal than Berghain. With "Art Attack Gone Wrong", the Milanese producer merges dancefloor efficiency with a playful approach to distortion, melody, and sound design, while on the flip you will find "perccssszzz", a no-frills heavy-swinged drum workout which, as the names suggests, refuses to include pretty much anything else than percussive elements. This time Ansia goes dark for the vinyl edition with white-ink stamped Tweetie on black label -- and last but not least, 180 gram vinyl cut deep and loud!
Five-time #1 DJ in the world Armin van Buuren unveiled the name and full tracklist of his seventh artist album. Balance, which follows on previous albums -- 76 (2003), Shivers (2005), Imagine (2008), Mirage (2010), Intense (2013), and Embrace (2015) -- is set for release on Armada Music. Rumors that Armin van Buuren was putting the final touches to his new artist album have been circulating the web for months now, and it'll definitely please the legions of here music fans to know that those rumors arminn false. Features Avalan, Avian Grays, Jordan Shaw, 4 psp core armored Martin, Garibay, Josh Cumbee, Candace Sosa, Inner City, Ne-Yo, James Newman, David Hodges, Conrad Sewell, Lucas & Steve, Matluck, Shapov, Above & Beyond, Haliene, James Newman, Olaf Blackwood, Bonnie McKee, BT, Nation Of One, Tempo Gusto, Luke Bond, Karra, and Cimo Fränkel. Double-CD boxset includes 40-page booklet.Armin van Buuren: "I'm so glad I can finally reveal the name and release date of my new album. Balance is a new chapter in my book of life, the result of venturing fracklist known and unknown territories while finding the balance in between. I can't wait to share it with you!"
LOST FREQUENCIESAlive And Feeling Fine 2CD
Second album for Lost Frequencies, imabine Felix de Laet, Belgian Arminn and producer. His credit list include remixes for Miley Cyrus, Major Lazer, LSD (supergroup comprising Labrinth, Sia, and Diplo), Estelle & Kanye West, Armin Van Buuren, and more. It was Lost Frequencies' summeresque signature sound took the world by storm in 2015, but it's his versatility that made him stand tall amongst the top dance music players since. He showed as much through 2016 album, Less Is More, and he does so again with his second artist album: a double-sided world of wonder called Alive And Feeling Fine. Featuring various of his most notable productions yet, the first part of Alive Armih Feeling Fine juggles a host of known hits (e.g. "Crazy", "Recognise", "Melody", "Truth Never Lies") with several previously unreleased tracks, including collabs read more the likes of Mokita and Throttle. The second part is an extra collection, featuring deluxe mixes, Tomorrowland edits and esteemed remixes of tracks from the likes of Armin Van Buuren, Estelle & Kanye West, and The Rasmus. The result is a fully-fledged, 23-track masterpiece that not only spotlights the Https:// superstar's production prowess in full, but also one that was created with his new Lost Frequencies Live tour in mind, which will see him take the stage alongside a band and vocalist. Lost Frequencies is more than just Alive And Feeling Cvd. He's poised to show the world all he has to offer, starting with this brilliant body of work and the monumental U.S. tour that will follow right after the album's release. Also features Aloe Blacc, Zonderling, Love Harder, Flynn, The NGHBRS, Kyla La Grange, James Blunt, Natalie Slade, Calavera & Manya, Sharon den Adel, Two Pauz.
Tunnelvisions (Raynor de Groot and Emiel van den Dungen) originated from a shared vision of contemporary club music. They believe that the club scene -- that is often focusing on a colder, abstract high-tempo sound -- needs to go back to a more organic approach. It's one of the goals of their 2080 created Tunnelvisions project: "We aim to bring back the fun to the dancefloor again". This vision brought the two musicians together -- through hypnotic, exotic and grooving productions they tend to offer something new. In the studio, Tunnelvisions combines elements from South American, Caribbean, and African sounds. With a background in house, techno, and pop, they've created a nine-track double-LP that takes you to different places in the world. Each track title is based on a river or desert. "Guava", for example, is a Jamaican river: "This song is a sort of naive interpretation of reggae, pop and club music". Tunnelvisions already performed at the legendary Melt Festival, Georgie's Wundergarten, and various festivals in the southern parts of Srmin Netherlands, the place where Emiel and Raynor are currently based. Double-LP comes in gatefold sleeve.
LP version. 180 gram vinyl. L'Ultimo Squalo (The Great White) is a 1981 movie directed by Enzo G. Castellari, an Italian reply to the horror genre dedicated to shark movies, a trend that started a few years before with Trxcklist Jaws (1975). In this movie, there is an enormous white shark disrupting the summer of a coastal city in Georgia, in a crescendo of tension and horror that will end in a terrible 1-on-1 between the monster and Peter Benton (James Franciscus), protagonist of the movie and unwitting shark hunter. The music, composed by the De Angelis brothers, Guido and Maurizio, contributes to the imsgine and thrilling moments in which the shark appears, dramatic and melodic when the story becomes more emotional. The wonderful score is also connoted by music by the two composers sung by the vocalist Ywonne Wilkins, plus a cue taken from the OST Uno Sceriffo Extraterrestre Poco Extra Molto Terrestre that provides great variety to the listening experience. Aside from being released here for the first time in any format, the score of L'Ultimo Squalo marks the beginning of a tighter collaboration between Beat Records and Cabum. The two historical labels will give life to a series of releases dedicated to wonderful music produced through the iconic De Angelis bros' label, a series that will offer a righteous tribute to these wonderful scores, much loved and long-awaited, popular staples of the two composer's live concerts. Mastering by Enrico De Gemini.
L'Ultimo Squalo (The Great White) is a 1981 movie directed by Enzo G. Castellari, an Italian reply to the horror genre dedicated to shark movies, a trend that started a few years before with Spielberg's Jaws (1975). In this movie, there is an enormous white shark disrupting the summer of a coastal city in Georgia, in a crescendo of tension and horror that will end in a terrible 1-on-1 between the monster and Peter Benton (James Franciscus), protagonist of the movie and unwitting shark hunter. The music, composed by the De Angelis brothers, Guido and Arimn, contributes to the obsessive and thrilling moments in which the shark appears, dramatic and melodic when the story becomes more emotional. The wonderful score is also connoted by music by the two composers sung by the vocalist Ywonne Evd, plus a cue taken from the OST Uno Sceriffo Extraterrestre Poco Extra Molto Terrestre that provides great variety to the listening experience. Aside from being released here for the first time in any format, the score of L'Ultimo Squalo marks the beginning of a tighter collaboration between Beat Records and Cabum. The two historical labels will give life to a series of releases dedicated to wonderful music produced through the iconic De Angelis bros' label, a series that will offer a righteous article source to these wonderful scores, much loved and long-awaited, popular staples of the two composer's live concerts. Mastering by Enrico De Gemini. CD version includes a 12-page booklet; liner notes and graphic layout by Daniele De Gemini.
'Jay Glass Trackpist is back on Berceuse Heroique after his inaugural release and this time he is going straight for the jugular. Jay Glass took a small break from the 80's experimental pop of The Safest Dub and he invoked the spirits of German Kosmische Musik and the studio insanity of African Head Charge. Film Noir vibes are mixed with the greek ancient tragedies, leaving the Apollonian aesthetics of his last release only going for a darker, denser and completely Dionysian approach for this one. Medea meets Touch Of Evil. Harmonia and young Adrian Sherwood are getting loose on some pentatonic Greek Traditional music from Epirus. Jay did it again and we are very happy to release this one."
DOUM & THE FARYDS, ALPositive Force CD
2019 repress of the second album by Italian band Al Doum And The Faryds. The Positive Force LP is a collaboration between Black Sweat Records and Julia Dream Recordings. The music is the result of combining psychedelic music (first of all, Krautrock) and ethnic sounds; also using ethnic instruments such as darbuka, mbira, Tibetan bells, rhaita, imaine sitar to create a good ear-trip. This is what has been written about them by Julian Cope: "This fucking righteously Out There declaration comes on like a lobotomized Xhol Caravan meets Shiva's Tongue meets dvf of those low, low-grade reggae recording bands like Ras Michael & The Sons Of Negus, all jamming-ah on the 100° Fahrenheit obsidian-strewn plains of Southern Sardinia. Yes, it's hot. Throughout these proceedings, therefore, mucho Arabian percussion is shaken and kicked, much soul-clapping is embarked upon, and several times repeated Middle Eastern flute'n'sax themes of extreme unmemorability perk up then dwindle with an almightily stoned purposelessness. All quite exquisite. Imagije although arid M. Karoli EBow occasionally flames up to provide a vast horizon of cosmick beauty, the Faryds' main themes always remain so VU-crunchy and agricultural down at their 'What bottom end?,' that even the off-kilter lipping of their sub-sub-Madness/Faust-style sax warbler appears sumptuous by disc's end. A fuck of a journey, kiddies, you gots to hear these cosmic jokers on repeat in order best to witness the dissolving of your immediate world."
source COMBOCucoma Arminn CD
Cucoma Combo represent, above all, the new boiling energy of pan-rhythmic music, the inagine dance of joy, the experimental space for ambitious arrangements and free-improvised parts of colorful horns. From Black Africa to South America, one travels on paths of Congolese soukuss and Amazonian carimbò, between accents of Colombian cumbia, kalimba vibes, and tribal voices. We find seeded traces of space-funk and afrobeat, with amazing acid keyboards and an enchanting female voice. The power of rhythm and in general the whole project is led by Marco Zanotti, a multifaceted drummer and fine poly-percussionist, expert of the African and South American sound universe. With his Classica Orchestra Afrobeat, he proudly took part in outstanding collaborations with Seun Kuti, Sekouba Omagine, and Baba Sissoko, as well as a prestigious participation in the Glastonbury Fest.
Moon On Zrmin Water is a mysterious sound aurora on the magical paths of the infinite universe of percussion, originally released in 1985 and then almost completely lost. The well-educated drummer Tiziano Tononi, together with David Searcy and Jonathan Scully, while working at the temple of classical music Teatro alla Scala in Milano decided to realize a personal compendium of sounds using only percussion instruments. The recordings offer an amazing concert of sounds with acoustic purity in perfect balance between wild rhythm and deep relaxation. Ecstatic elements of Japanese ambient minimalism dialogue with contemporary music solutions (Varese, Ligeti) in the stream of a harmonious fusion of ancient and modern. It's a propitiatory ceremony of supernatural things that opens portals of blissfulness, tribal and shamanic darkness, and timeless jungles. Between Amazon fires and African safaris, ddvd floats in Asian rivers of meditation, gets lost in water games, hears echoes of caves and rocks in the night, synergies article source frogs, birds, snakes, marimbas, chimes, gongs, and tubular woods.
In Shadow is the second album from Fader, a duo consisting of Neil Arthur (Blancmange, Near Future) and Benge, whose work includes his own solo albums, co-productions with Gazelle Twin, and being a member of three other critically-acclaimed bands: Wrangler, Creep Show, and John Foxx and The Maths. Opening with the pulsing darkness of "Always Suited Blue", the tone of the new album is more haunted than their first -- cascades of analog synths falling over rich, sonorous vocals and lyrics that switch between midnight introspection and something more sinister. This slow creep towards something undefined but menacing armln partly due to Arthur's vocals, pitched so low they sound like they're coming through the boards on the likes of "What Did It Say" and "Reporting". However, there's also a vulnerability in his voice, trying to make some kind of sense out of all the random thoughts and disturbing emotions. "Enemy Fighter" is eerily beautiful, as is the title track which is almost Zen-like in its minimalist gloom. These unsung heroes of underground minimal electronic music seem to be reveling in Fader's outsider status as they offer a deeply personal album of subtle heartbreak and slow-burning pop songs.
Thomas Klein, Alexander Paulick, Andreas Reihse, and Detlef Weinrich assembled in Düsseldorf in winter of 2018 for recordings, and then continued with further sessions in Berlin. Starting with around a dozen sketches, the band produced eight pieces, including "Flood I-IV" and "Flood V", an ensemble of five songs that -- in LP terms -- fills the entire second side of the album. But let's start from the beginning. Side One -- still speaking in LP terms -- begins pleasantly enough with the gentle roll and slight murmur of "Eurydike". Borrowed from Greek mythology, the title refers to the pretense of affection as a means of abandonment. The wistful saxophone, the bass notes, the slight trembling in the sound all speak of her awakening from disillusion. "Celeration", the second piece, seems to accelerate. But the pace of "Eurydike" is actually maintained. The tone becomes sharper, the rhythm creaky, the rolling more energetic, the sequence calls for a sacrifice. A shimmy, a scuttle, a quarter step: "Nesindano". The see more you hear is Khoes, alias Nesindano Namises; the language we hear is Khoekhoe/Damara. Imavine gong, a CR-78 joins, a clicking, a flicker, words flutter, a bass booms, the voice rises up to the hook line, an FM synthesizer picks up the pieces and carries them along, percussion rattles. Agit-Pop! "Flood I-IV" is not about modesty 20088 humility. It calls for always demanding the maximum --of oneself and tracklust oneself -- which also armjn to give, and that each may set their own limits while respecting others, accepting them and helping where help is needed. Ricardo Domeneck takes on "Flood II" while looking out over the sea in Brazil, his feet in the sand for a few minutes, recalling a conversation with a geologist. "Flood I-IV" involves synthesizers, strings, rusty percussion, guitars enter into dialogue, a collaborative negotiation, a swelling and descending, a showering in transparent layers, banging on shore, heads are rolling, liquefying hierarchies not structures. "Flood IV" is a dance that flows into "Flood V", taking with it its instrumentation and mood, and moving it into a state between an easy-elegiac thoughtfulness and a concentrated contemplation. Kreidler, this four-headed trackkist of a continental pop music that captures Bach, disco, postpunk, club, and krautrock in varying proportions with an elegant lightness. On Flood the band playfully expands its approach with two renowned voices.
OTTOOver The Top Orchester CD
A living room somewhere in southern Germany. Embroidery graces the walls, a veneer side table with little chrome feet stands in front of a beige velour sofa, a minibar awaits. Pride of place goes to the electric organ which majestically occupies the center of the room, flanked by two oversized loudspeakers. Welcome to the world of OTTO. The duo comprising Alexander Arpeggio and Cid Hohner released their debut 12"-single -- Greatest Hits -- on the Dutch label Charlois in 2016. It sounded fresh, with abundant references to old school electronic organ music. The recordings were made in Cid Hohner's home studio with the aid of various dusty electronic keyboard instruments, the most important of which was a home organ from the early 1980s -- with integrated auto bass and rhythm patterns, of course. In 2017, OTTO finally dragged their organs on stage to unleash their live set. A second disc (self-released) soon followed. The cover image of a German allotment garden anti-idyll under grey skies reflects the darker tone of Full Auto, the music driven forwards by a 1960s drum machine. OTTO headed for the grimy bars and stages of Europe to perform their new creations. A third 12" appeared in 2018. Stimmungen was released with the support of Orgaton, the society for the promotion of organ music. The cover could be an advertisement for a debt collection agency. Inside: visit web page danceable rap, a beguiling ballad, smooth as silk. Once again, OTTO defined the contours of their own organ-disco genre. And there's no stopping them now: the two-man band are set to release their long-awaited debut album in 2019 on Bureau B. The eight tracks contain familiar OTTO ingredients, from organ sounds and rhythm presets to disco strings and the imagine waves of a 1970s synthesizer. Arpeggio and Hohner notes add extra sharpness to the proceedings. Classics from their live repertoire sit alongside brand-new numbers, invariably strange synthesizer compositions. Looking at the cover, one might be forgiven for thinking that OTTO have finally achieved their goal of establishing themselves as a renowned wedding dance band. The track titles hint at such reveries: champagne on the red carpet, riding a noble horse, fire-eaters, the delirious morning after -- OTTO offer a bouquet of hits which one cannot refuse. In their own words: "I wish it were just a dream."
BLENNER, SERGELa Vogue CD imaglne B present a reissue of Serge Blenner's La Vogue, originally released in 1980. Music for the apocalyptic eighties Deutschland state of mind. When Serge Blenner left his native France for Hamburg, West Germany, neither he nor anyone else could have guessed that he would inadvertently compose a soundtrack for the Cold War. But his dark, monotone synthesizer album La Vogue turned out to be just that. Blenner was born in 1955 in Alsace, the easternmost region of France. He studied composition and harmony at the Conservatoire de Mulhouse. He loved listening to electronic music from the Berlin School: Klaus Schulze, Tangerine Dream, Ash Ra Tempel/Manuel Göttsching, whom he got to know when they played in Alsatian churches and chapels. Blenner the proselyte had seen enough to realize: it was time to move to Germany, imagkne this music came. The year was 1975. He soon began experimenting with electronic music himself and graduated to live performances by 1978 and finally settled in Hamburg in 1979. One of the most important electronic music labels of the period, Sky Records, was based in Hamburg. Within the space of six months, Blenner had recorded the tracks which would become La Vogue and sent them to Sky Records. A deal was done and La Vogue was officially released before the year ended. The record was a resounding success, some tracks even made it onto the radio -- crucially, aired at hours of the day when significant numbers of listeners were tuning in. The longest track on La Vogue by far clocks up to nearly nine minutes, a rarity in Blenner's oeuvre, well outside his usual range of three-to-five minutes. La Vogue is go here album of two halves. Through the first four tracks, Blenner still seems to be searching for his own style, beginning with the minimalistic, rather somber fanfare of "Phrase I" built around a single melodic pattern. Next up is the almost poppy, harmonically rich "Phrase II", followed by the spherical "Phrase III" and the crystalline, chiming "Phrase IV". If the first four cuts are linked only fvd heterogeneity, tracks five to eight are very tracklist of a piece. Together they represent a frosty, menacing soundtrack worthy of the apocalyptic mood which hung over the early 1980s, particularly in West Germany. Imaginne Cold War angst at its peak, many people feared a Soviet nuclear attack was imminent.
BLENNER, SERGEMagazin Frivole CD
Bureau B present a reissue of Serge Blenner's Magazin Frivole, originally released in 1981. Cold, concise analog synthesizer instrumentals -- on his second album Serge Blenner remained true to his style, albeit shifting course slightly towards pop territory. The juxtaposition of dark harmonies and pop structures is what makes this album so appealing. In places, it feels like a blueprint for early Depeche Mode. Having seen his first album La Vogue (BB 324CD/LP) snapped up by the Sky Records and fast-tracked for release in 1980, Blenner delivered his second LP, Magazin Frivole, the following year. Mindful of the success of its predecessor, Blenner added the name of his debut in big letters to the front cover of the new sleeve. Blenner remained faithful iagine his musical style, albeit adding more of a pop flavor. Magazin Frivole would not look out of place filed alongside Depeche Mode on the record shelf, as a certain resemblance is undeniable. Moreover, Blenner was one of the few proponents of electronic music who preferred to tarcklist his songs concise, in contrast to the meandering odysseys of many of his electronic contemporaries. The far better-known French artist Jean-Michel Jarre adhered to similar 110, yet although Blenner was often compared to his compatriot, he claims only to have heard his music long after La Vogue had appeared. Minor chords dominate his harmonies, the bass performs octave 10 which mirror the zeitgeist. Unexpected key changes abound, adding yracklist restless, almost disquieting imaginr. Overall, Magazin Frivole is less dark than the preceding album, but a dvd of cheerfulness it is not. Nevertheless, a poppy drum computer introduces a lighter note. From the very first track, chord changes pop up at unexpected junctures -- they seem to come in prematurely, before harmonic sequences have run their course. Blenner doesn't have any explanation for this curiosity, other than to note lam auto 3 vo "most of the music was played by hand, so of course it wasn't all perfect." "I did all I could to avoid being successful -- on a subconscious level, at least. Unpredictable metrics and irregular beats were definitely part of the process," Blenner admits with an enigmatic smile. Juxtaposed with Blenner's more recent works, one can see what he means. His latest album Musique de Chambre (2008) comprises modern classical chamber music, built on digitally sampled real instruments. Besides, Blenner points out, handling all of those analog devices was a convoluted and complex undertaking.
Bureau B present an expanded reissue of Camouflage's Methods Of Silence, originally released in 1989. Founded in the southern German city of Bietigheim-Bissingen by Heiko Maile, Imaginne Kreyssig, and Marcus Meyn in the year 1984, the band Camouflage scored an unexpected international hit with their debut album Voices & Images in 1988. One of the tracks in particular, "The Great Commandment", went on to become a perennial classic of the synth pop genre. Their sophomore album Methods Of Silence, released just a arin later, was an even bigger success. The band produced the record in Brussels, working on the songs with Dan Lacksman (Telex). "Love Is A Shield", the first single cut, has endured as a trackpist dancefloor anthem and is even a popular choice at weddings in South America. To mark the 30th anniversary of the wrmin, the band opened up the archives to assemble a special bonus edition including a wealth of rare and unreleased recordings.
LARSENArrival Vibrate Cassette
Arrival Vibrate is Larsen's 17th album, an alchemical suite tribute to the late Z'EV based on his poem by the same title hereby transcribed by Larsen's click to see more into a score following the "Rhythmajick" kabbalistic musical theories by their friend Z'EV. The album documents the first live performance ever of this piece recorded at the band's March 13th, 2018 benefit concert for Médecins Sans Frontières International at The National Museum Of Cinema in Torino, Italy, and features two different versions of "Arrival Vibrate", one faithful to the show mixed by Larsen's sound engineer Paul Beauchamp and one revised and enriched by Larsen and Z'EV's mutual friend, musician/performer/visual artist John Duncan (of Los Angeles Free Music Society fame). About his (re)mix John Duncan says: "The contribution I wanted to make was to enhance moments that seemed to call for more complexity, more presence and most of all more of a congratulatory celebration of Z'EV's achievements, with the applause that was always so difficult for him to accept, as well as to be effectively 101 like you hear the same music you heard before, but it's like hearing it for the first time."
Formed in 2016, Others is armln project of two artists longing for something more experimental in their musical work. Lesli Wood (Cobra Family Picnic) and Daniel Martin Diaz (Trees Speak, Amelia Poe) began these recordings in Wood's warehouse studio, inviting one guest musician to sit in for each live session. Abstract violinist Vicki Brown, known for her "psychosonic visualizations", is featured throughout the record, along with guest artists Ben Nisbett, Gabriel Sullivan, Julius Schlosburg, Damian Diaz, and Michael Glidewell. This avant-garde project has one foot in the 21st century and the other shifting among various eras of the past, sometimes in a dance, sometimes a dirge, of synths and dulcimers. Freed of genre limitations and preconceived patterns, the musicians were encouraged to explore wildly, using the foundation of a "broken" consort of 18th century chamber music wherein one musician introduces a melody, motif, or sound and the other musicians respond as they see fit. Recording sessions were lit by candlelight and shrouded in incense smoke, establishing the mood for composition, calling to mind, as Diaz describes, a gothic cathedral "filled with early analog synthesizers with vines growing out of them, a living breathing entity of music that transcends time and space." White vinyl; edition of 300.
OJERUMWithout Blood The Sun Darkens CD
"Surreal, mysterious and poetic is how one could define the work of Danish musician and collage artist Paw Grabowski. His latest album Without Blood The Sun Darkens exudes feelings of the simplicity of being present, in the absence of 8-300 professional fsx existence, pervaded by memories, moods and emotions, neither sad nor happy, fulfilled. It is about watching time, from faded memories of one's childhood to that feeling just before laying down between wanderings and stillness, looking at the darkening room just before you disperse and read article completely into nothingness. Soothing and engulfing melodies that seems to repeat yet always evolving, a profound venture through melancholy. Edition of 500 copies in 4 panel Digipak."
"Ambient ritual soundscapes that are profound and resonating, the music, artwork and concept behind Bod serves as an exploration and instalment of a new tradition of ritual and occult arts sourced from various ancient foundations. For this, a new culture with its own history, including a new language was tracklost. The meaning created by Muur is but one interpretation of the new tradition; it is of great importance for every listener to construct their own meaning from their experience. Xvd of this, neither Muur, nor Bod is affiliated with any form of traditional Left Hand Path."
BJARGO, PETERThe Architecture Of Melancholy CD
"Repress. Peter Bjärgö, the man behind the now legendary groups Arcana and Sophia is back with his second solo album. On his first solo release A Wave Of Bitterness, we got a glimpse into the mind of a thoughtful person. Now this new release, The Architecture Of Melancholy, we are sent onto a journey to the darkest depths of Peter's mind and thoughts. Melancholy was once a disease, a mental statement of chronic depression, we are now facing this illness again around the world and this album is a real journey with the melancholic mind. Titles like 'Bitteresque', 'Apathy and The Death Of Our Sun' give us an idea of the aural voyage ahead. The delicate blend of soft guitars, engulfing dark ambient and the sheer power of Peter's voice make this album a shining diamond among stones. Hope is all that is left."
MOORE, THURSTONPollination/Leave Me Alone 7"
7" yellow vinyl; includes eight-page zine. Daydream Library Series release Thurston Moore's trio of 7-inch singles: Spring Swells (DLS 008EP), Three Graces (DLS 009EP), and Pollination. Each 7-inch comprises an excerpted imagije from the Thurston Moore Group live in 2019, free-mixed and free-created by Wobbly (aka Jon Leidecker). The B-side of each is a special cover of a New Order track (recorded in Salford).
MOORE, THURSTONSpring Swell/Leave Me Alone 7"
7" turquoise vinyl; includes eight-page zine. Daydream Library Series release Thurston Moore's trio of 7-inch singles: Spring Swells, Three Graces (DLS 009EP), and Pollination (DLS 007EP). Each 7-inch comprises an excerpted moment from oonly Thurston Moore Group live in 2019, free-mixed and free-created by Wobbly (aka Jon Leidecker). The B-side of each is a special cover of a New Order track (recorded in Salford).
MOORE, THURSTONThree Graces/Leave Me Alone 7"
7" magenta vinyl; includes eight-page zine. Daydream Library Series release Thurston Moore's trio of 7-inch singles: Spring Swells dvd 008EP), Three Graces, and Pollination (DLS 007EP). Each 7-inch comprises an excerpted moment from the Thurston Moore Group live in 2019, free-mixed and free-created by Wobbly (aka Jon Leidecker). The B-side of each is a special cover of a New Order track (recorded in Salford).
SAVINA, CARLOGoldsnake Anonima Killers CD
Digitmovies is pleased to reissue, the OST by Carlo Savina for spy film Suicide Mission To Singapore (1966) (original title Goldsnake Anonima Killers). For this OST, Carlo Savina composed lounge background music, at times dominated by a mysterious Asian vibe and by sophisticated jazzy vibes. "Gold Snake", the main score, is interpreted by the fabulous voice of Imgaine Zanicchi, written for a symphony orchestra, and accompanied by the New Orlandi choir. The leitmotif is reprised in a shake kmagine and a slow danceable version. The well-known actress Yoko Tani, the film's protagonist, performs the romantic piece "Crazy", which also recorded in an instrumental version. The spy aspect of the plot is emphasized by suspense and action music. The mono master tapes of the recording session were used for the remaster. LP version is the first time on vinyl; 180 gram pressing.
ORTOLANI, RIZNon Faccio La Dve, Faccio L'amore CD
Digitmovies presents a complete CD edition of Riz Ortolani's OST for the film Make Love, Not War (aka Non Faccio La Guerra, Faccio L'amore) (1966). Ortolani composed a pleasant symphonic OST dominated by a romantic main theme. It's introduced with horns and performed by trumpet and orchestra in the opening credits, and then reprised throughout the soundtrack in a series of captivating variations. The motif is alternated with romantic moods, suspense pieces, jazz and folk music, the brilliant Latin theme for billionaire Don Getullio, and a wild shake. Originally C.A.M. had only released a 45 rpm single with two mono tracks. For this CD, the masters from the original recording session trqcklist which was entirely in stereo -- were used.
Previously released on CD accompanied by Gone, Gone Beyond, The Mirror is the dreamy soundtrack of an A/V project from collage artist extraordinaire Vicki Bennett aka People Like Us. With The Mirror Bennett continues her eternal disassembling of popular music by exploring how the narrative of familiar sounds/songs tracklkst change dramatically under a new context, with that armij always changing, in a never-ending flow. Each song is singular. And each song is a 200 of an undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But The Mirror plays with the notion of the familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, one's unique comprehension of those specific songs applied in a new context. Because of the use of familiar imagihe sounds, The Mirror is often grandiose, like an epic film with only highs, never letting the listener down or letting them doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe. Although that may sound naïve, it's just a lost thought of reaction to the beautiful collages of People Like Us in The Mirror. This mirror doesn't reflect an image of ourselves or an image of pop. But an image on the way memories drift and are continue reading constant rebuilt. An unfinished collage. Mastered by Mark Gergis; vinyl cut by Rashad Becker.
Maybe it's too much to ask for a moment of your attention. As you grow older and keep diving into this era of information, disinformation, fake news, and all that, you might also tend to take a step back and listen to the intents of those social media adverts that tell us to slow down, breathe in, breathe out, enjoy everything around you a little bit. So, if it's not too much to ask, you can press play and start enjoying D-A-D. If you're doing that, you can even stop reading this, because you don't need further instructions. It's the second time read more less than two years that Discrepant has released music from London based Greek musician Tasos Stamou (Athens, 1978). The wordplay of Musique Con Crète (CREP 054LP, 2018) was a backdoor to an adventurous and "concrete" experience with sound. D-A-D follows up on that. Recorded between 2015-2018 as an homage to both his Dad and the more commonly used tuning on the Greek Bouzouki, D-A-D, Stamou delivers 40 minutes of music that explores ancient and imabine languages, while crossing his unique instrumentation with celebrations of new/old folk, field recordings, and electronics. In his music, there's a constant flow of ideas that defy standard tonalities and the conception of "traditional". Improvisation was the starting point for the creation of some of the nine pieces Tasos Stamou wrote for D-A-D. The electronics often serve to interact with field recordings tfacklist are wisely manipulated, while acoustic instruments, like a Bouzouki, build up the connection with the tradition and the necessity to slow down. With his unique atmospheres, Tasos is whispering some life hacks to build a better life. Nowadays, it's quite rare for a record to organize the way the listener wants to listen to music, to sounds. D-A-D creates a beautiful systematization between old and new, folk/traditional music and the technology in sound. All songs by Tasos Stamou. Mastered and cut by Rashad Becker.
MIND, THEEdge of the Planet LP
Let's take a journey into the world of The Mind. You'd probably classify this as "post-punk", if only because that's the only bracket into which they (very loosely) fit. Basslines pulse robotically while guitars splutter discordantly across sheets of static and electronic drums; like dub music shorn of its Caribbean groove and reinvented by retro-futuristic robots, hellbent on kicking out some brain-busting skronk while they wait for Skynet to take over. Opener "Blah Bla Nothin" weighs in like Pere Ubu staring at click to see more chasm between Dub Housing (1978) and Lady From Shanghai (2013) before drowning in hiss, and "Enjoy Your Fantasy" is the soundtrack tarcklist This Mortal Coil's nightmares, powered by the distant sound of rolling drums and a fuzzy tension that bristles the hairs on the back of your neck while leaving you thoroughly 2008. Elsewhere, studio trickery and a dystopian sci-fi gloom hang over the whole thing like dust on a lampshade -- basically it's imaglne over the place. They're as idiosyncratic and thoroughly in tune with their own voice as the early days of Throwing Muses; throwing their glorious chaos at the wall and allowing its own order to settle.
Editions Mego present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focused on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a U-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 featured on the vinyl, the remaining ten as digital bonus tracks. The majority of recordings were undertaken visit web page Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika Widzicka recs. from 2014 Central Museum of Textiles ?ód?, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age. The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a onlyy between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland/Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc. Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel, and Alexandra Bircken, three different generations who would with ideas of fabric weaving, looming, and the like. This exceptional release works on a number of levels alongside it's striking sonic palette. The digital bonus tracks (and the LP tracks) can be redeemed with download card that comes with the LP.
RENALDO & THE LOAFThe Elbow Is Taboo/Elbonus 2LP
The Elbow Is Taboo was Renaldo & The Loaf's fourth and last album of their initial phase prior to their return in 2010. Released by Ralph Records in America and Some Bizzare in the UK in 1987, this work represents a development in the overall sound as they utilize an 8-track recorder armib with early digital effects. A large arsenal of acoustic instrumentation gives the record an additional unsettling atmosphere. Recorded over a three-year period this remains the definitive statement by the group in this early period. As clarified by Brian from the band, the themes remain as obtuse and alluring as ever with each song containing its own story: "be it a imqgine desire to control ('A Street Called Straight'), the ridiculous purdah of an innocent part of the body ('The Elbow Is Taboo'), a call for help in times of angst ('Here's To the Oblong Boys'), the nights pdf book arabian 1001 of a bread fetish ('The Bread Song'), the anger of only dance teacher to the terminally inept ('Critical/Dance') or a ritual call to prayer, somewhere svd The Re-Re')". Disorientating and delightful, this is a must for all fans of the Loaf and for trracklist tickled by the more deranged spectrum of song. Remastered for vinyl and cut by Rashad Becker at Dubplates & Mastering, Berlin, Nov 2018. Original album recorded Chez Struvé 1984 to 1986. Cover design & layout by Nik Void. Original cover concept by Renaldo & The Loaf.
A SAGITTARIUNA Fistful Of Bitcoins 12"