Preporučite album

[zomri]

Nije album, nego sajt (i record label mislim) - popdepresija, ima i recenzija albuma i plejlisti i svega.

sajt, projekat šta već od lončarevića sa sport kluba. ispade on kao neki renesansni čovek

[Nierika]

Nije album, nego sajt (i record label mislim) - popdepresija, ima i recenzija albuma i plejlisti i svega.

sajt, projekat šta već od lončarevića sa sport kluba. ispade on kao neki renesansni čovek

Nisam znala čiji je sajt šta već, na osnovu drugih izvora sam došla tamo. Good to know.

[Nierika]

[Modest Musorgski]

[zomri]

Morao sam dignuti temu radi ovoga. Stvarno sam oduševljen albumom

[Altsa]

[Altsa]

[broj dva]

Ajme meni

[youtube]https://www.youtube.com/watch?v=KNJ0B5uU1QQ&t=66s[/youtube]

[n+1]

Da malo oživimo temu, dajte kakvih preporuka.

Evo jedan solidan space - post - rock meets synthwave.

[zomri]

ko je volio Stereolab i sličnu muziku moglo bi mu se svidjeti

[Altsa]

[dale cooper]

Odličan novi album portugalskog eksperimentalnog kompozitora Rafaela Torala koji je kao neka sumacija njegovog dosadašnjeg rada.

The first time I heard Spectral Evolution, I was walking through a park as dusk was starting to settle. As the album’s last sighing drone faded out, I started to hear evening bird song and planes flying overhead as the music subsided in my headphones. It was seamless. The music Rafael Toral had composed simply carried on outside the acoustic space of my headphones. When the final coda of animalistic synthesis that closes the record seeped in, it was perfectly at one with my surroundings.

Spectral Evolution is the nature fixation of nineteenth-century Romanticism updated for a time when soundscapes can seem increasingly surreal: when rainforest sounds can come from phone speakers and birdsong can be heard over traffic. Toral’s music is wide, it’s huge, it’s environmental. But it’s not about the sublime – at least not as it’s typically thought. Spectral Evolution doesn’t reflect the awe in canyons, mountains and wide-open spaces. It doesn’t evoke huge things, but the inundation of little things. A world that can seem clearly demarcated visually, getting blurry when you only hear it.

“You can look at seeing, but you can’t hear hearing,” wrote Marcel Duchamp on one of the notes in his Box of 1914. The aphorism gets at the peculiarity of sound. You can see someone hearing something, perhaps startled, headbanging, blocking their ears. You can even listen to the same sound. But can you ever hear what someone else heard, how they heard it? On Spectral Evolution, Toral bridges that gap through a beautifully harmonious cacophony.

Toral’s work across the last four decades could be broadly classified in the zones between minimalism, ambient and jazz. But more than anything, Toral’s music gives us insights into him as a listener. 1995’s Wave Field, was inspired by seeing the Buzzcocks supporting Nirvana in 1993 in his home city of Lisbon. It wasn’t the music itself that moved Toral to make a record. He was inspired by the venue’s unsympathetic acoustics, the “amorphous roar” he heard. On Wave Field, guitar tones are separated from their instrument and allowed to shimmer unbound by attacks and decay. As if you’re hearing a flicker of feedback stretched out and filtered through a miniscule aperture.

For 1998’s Aeriola Frequency, Toral fixated on how electric resonance affects electronically transmitted audio. The album is made from a feedback loop with no input, allowing us to hear the music that electricity makes when it’s not burdened with conveying something. This interest in fields of sound and energy continued into the new millennium. In the 2000’s, Toral started hearing with his hands, moving from guitar to an array of haptic tools: glove and theremin-controlled synthesizers, joystick-controlled modulators. Sound became matter to move through, agitate and disturb.

On 2006’s Space, he invites us into a cosmic haunted house. Through chasms of silence, emerge spooky creaks, alien chitters and luminous keys. It’s as though he’s bringing to audition sounds that are always there – we just need to be in the right relation with them in space and time to hear. Later, a series of records with the Space Quartet saw him playing with an ensemble of bass, drums and saxophone. Across four albums, electronic and feedback tones deliver everything from bird-like calls to extraterrestrial interference in a precarious commune with the acoustic instruments.

In some ways, Spectral Evolution is an aggregation of Toral’s practice so far. It’s a harmonically and texturally lush record, one which is as evocative as it is elusive. Guitar sounds glide in organ-like tones or descend into ghostly feedback. Electronics teeter from the synthetic to a sound like wildlife. Other times they evoke an ensemble of wind and brass instruments. Sometimes Toral riffs on standards by George Gershwin or Duke Ellington and Billy Strayhorn. Drastically slowed down and rendered barely recongnisable, they melt into Toral’s electro-avian accompaniment. The result is something like if Olivier Messiaen had made a slow-swinging ballad from his ornithological transcriptions.

What can we hear Toral hearing on Spectral Evolution? The interest in mapping sound as fields still shapes his compositions, but now those electro-magnetic fields blend into the biosphere. Opening with languidly picked chords on electric guitar, things rapidly swarm sideways as raspy synths and weird chirps enter. Smooth brushstrokes of tone drift and rise. On top, a polyphonic babble initially seems chaotic, until your ears adjust and start to hear a gorgeous equilibrium between the voluble and the ornate. Voicings that sound organic get mutated into chirping robots. Sliding glissandos start to sound like howls and whines. Deluges of wah-wah soaked guitar carry the volatility of a weather system. It’s a symphonic composition with the verdancy and overlapped temporalities of a soundscape; a soundscape with the pace and grace of a symphony. It evokes a dilapidated cathedral whose dome has collapsed to let flora, fauna and cosmic rays in.

Unusually for a Toral release, there’s little explanation of what he heard to inspire this music. But, to me, it’s a record which synthesizes the effect of sitting in an inner-city park, with your eyes closed and your ears open. The spectrality of the sounds he uses, how their origins start to blur, and the way haphazard timbres blend into elegant crescendos, mimics a tableau of wildlife, background traffic and passing Bluetooth speakers. It doesn’t sound like any of those things specifically. But it’s music that sounds composed from the perspective of hearing those crossovers.

We live in a time when biodiversity is plummeting, the planet is warming, and human impacts on the environment are undeniable. It makes it hard not to hear added meanings in a record which toys with the borders between the organic, the electronic and the instrumental. To be clear, as far as I know Toral hasn’t mentioned a connection between Spectral Evolution and notions of the anthropocene. But it seems to me it’s impossible to not read music like this as reflecting something about how we relate to the environment.

There’s a school of thought in sound ecology that divides the audio world. Biophony is the sounds made by organic life outside humanity. Geophony is the geological. Anthrophony is the human intervention: our devices, voices and vehicles. As a composition, Spectral Evolution reflects a mode of listening that bypasses these divisions. Where previous Toral records mapped fields of energy and sound, Spectral Evolution is what happens when they mingle. The results are gorgeous. The fact that Toral makes this potential cacophony sound so harmonious is remarkable. And it perhaps points to a way of hearing and understanding a world where everything folds into everything else.

[Osmi Socrates]

The Rise and Fall of a Midwest Princess od Chappell Roan.

Ko je žanrovski nazi, ko pocrveni od muke kad čuje izraz "pop muzika", ko ne želi da ičemu što dolazi od novih generacija da ikakvu šansu, ko je isključiv na milion drugih načina (dosadilo mi nabrajat'), možda i ne treba da ga pokuša slušati. I sam sam nekad takav.

Ali, ovo je drugačije. Hrabro, bezobrazno, ponekad flertuje sa lošim ukusom (namjerno), pa ide do najdubljih psiholoških stanja osobe koja se traži (ili se tražila) u svakom smislu.

Najvažnije je da je iskreno. To je uvijek najvažnije. Koncept album konačno. Vrijedan preporuke. Rijetki su danas takvi. Chappell vuče inspiraciju iz mnogih uglova istorije popularne muzike. God bless her voice. I talenat za pisanje pjesama.

Ako ne vjerujete meni, vjerujte Sir Elton Johnu.

Nisam gledao prethodne stranice. Možda je neko već preporučio. Mada sumnjam.

[Osmi Socrates]

I nešto sasvim drugačije.

The Death of Slim Shady by....guess who

Nažalost, ne mogu reći da preporučujem ovaj album zbog kvalitete istog. Mada je takođe koncept, album je neinspiriran, neinspirativan, rijetko dostigne kvalitet vrijedan preporuke. Kad dostigne, stigne te neka neobjašnjiva nostalgija.

Međutim, to je Eminem. I oni kojima su njegove pjesme bile dio djetinjstva i odrastanja (kao meni), poslušaće ovaj album iz poštovanja. Možda i dva-tri puta. Možda se i zalijepi za uho.

Kao kad slušaš starog dedu koji priča pomalo dosadne i predvidljive priče. Iz poštovanja ćeš ga saslušati, jer dedo je dedo. I možda njegova zadnja (?) priča nije najzanimljivija, ali that's not the point. Priče iz prošlih dana su uglavnom bile vanserijski dobre.

Nećeš napustiti klub za koji navijaš samo zato jer možda danas igraju dosadniji fudbal nego prije.

[billy organ]

I nešto sasvim drugačije.

The Death of Slim Shady by....guess who

Nažalost, ne mogu reći da preporučujem ovaj album zbog kvalitete istog. Mada je takođe koncept, album je neinspiriran, neinspirativan, rijetko dostigne kvalitet vrijedan preporuke.

Međutim, to je Eminem. I oni kojima su njegove pjesme bile dio djetinjstva i odrastanja (kao meni), poslušaće ovaj album iz poštovanja. Možda i dva-tri puta.

Kao kad slušaš starog dedu koji priča pomalo dosadne i predvidljive priče. Iz poštovanja ćeš ga saslušati, jer dedo je dedo. I možda njegova zadnja (?) priča nije najzanimljivija, ali that's not the point. Priče iz prošlih dana su uglavnom bile vanserijski dobre.

Nećeš napustiti klub za koji navijaš samo zato jer možda danas igraju dosadniji fudbal nego prije.

Nije ti leglo jer znas koje su Eminemove najjace stvarke i znas kad mu je bio vrhunac, 99-2006. Isto ko i bilo koja druga grupa. Moze Metallica izbacivati milion novih albuma, svi ce na kraju traziti One da se svira.

[Osmi Socrates]

Da, nažalost. Čovjek ne može uletjeti u slušanje novih albuma nekih muzičara sa istim entuzijazmom i sa "tabula rasa" stanjem mozga i duha, kao što je mogao kad je bio mlađi.

Ali, evo, sve je bolji i bolji.

Svakako treba slušati album od početka do kraja, jer je priča. Eminem fanovi i ne bi trebali drugačije.

[Tito_i_Partija]

Nije još zvanično izaš'o, al' Songs of The Lost World od The Cure već dobija odlične ocjene. 92 na Metacriticu, pet zvijezda od The Guardian.

https://www.theguardian.com/music/2024/ ... bum-review

Prva dva singla, Alone i A Fragile Thing su meni lično super, nadam se da je i ostatak albuma na tom nivou.

@dale cooper

[zomri]

Ma kakav The Cure u 2025toj haman, ja to automatski preskačem

[Tito_i_Partija]

Što si ba toliki hejter?

The Cure je, što bi ameri rekli, timeless.

[dale cooper]

Nije još zvanično izaš'o, al' Songs of The Lost World od The Cure već dobija odlične ocjene. 92 na Metacriticu, pet zvijezda od The Guardian.

https://www.theguardian.com/music/2024/ ... bum-review

Prva dva singla, Alone i A Fragile Thing su meni lično super, nadam se da je i ostatak albuma na tom nivou.

@dale cooper

Da, odlične su ove dvije nove pjesme. Vuku na Disintegration eru, što je sjajno. Taman muzika za jeseni i nadolazeću zimu.

@zomri Don't be an ageist man!

[Better Man]

Preporuka za odličan novi treći album The Smile Cuouts. I još jedna Preporuka za novi album Nicka Cavea The Wild God. Fantastičan album. Bio sam na koncertu u Zagrebačkoj areni. Kakav spektakl od 2 i pol sata. Sigurno jedan od najboljih koncerata ikad, ako ne I najbolji Nick Cave and the Bad Seeds su bili savršeni, a u bendu je pridruženi član Colin Greenwood iz Radiohead. Poseban pečat i šlag na tortu je bio London Gospel Choir. Tri tamnopute pjevačicebu bijelom i jedan tamnoputih pjevač u crnom čine hor. Njihovo pjevanje je čista čarolija i poj anđela. Poslije ovakvog koncerta se zapita da li vrijedi više išta pogledati i poslušati uživo? Ovakav koncerata teško da se ikada može desiti kod nas. Prvo nemamo i frastrukturu, a drugo nemamo ljude sposobne da obmvako nešto organiziraju. I kad bi mogli, oni bi doveli šablonski ocvale zvijezde, koje godinama nisu snimili suvisao ton, a kamoli pjesmu ili album. Čist primjer takve zvijezde je Sting, koji je jedan isprogramirani robotizirani muzičar, koji ima jednu te istu set listu koja traje 90 minuta i samo je ponavlja gdje god da svira beznikakve specijalne emocije i da unese nešto novo. S druge strane Nick Cave sa svojim the Bad Seedsima na svakom koncertu ponudi nešto novo u izvedbi i nema nikakvog šablonski ponavljanja i sve je čista emocija. Jednostavno lik je genije. Ne treba zaboraviti da mu je predgrupa bila odličan Irski sastav iz Dublina ThenMurde Capital. Svirali su 45 minuta i bili su odlični. Organizacija je bila fantastična. Sve je bilo na vrijeme I ni minute nike kasnilo. Zvuk je bio savršenstvo nad savršenstvima. Svaki i najmanji ton se čuo. Čista perfekcija. Evo Vam link za profi recenziju i profi slike s koncerta.

https://ravnododna.com/nick-cave-the-ba ... cert-ikad/

[Altsa]

[Altsa]

[Altsa]

Preporuka za odličan novi treći album The Smile Cuouts. I još jedna Preporuka za novi album Nicka Cavea The Wild God. Fantastičan album. Bio sam na koncertu u Zagrebačkoj areni. Kakav spektakl od 2 i pol sata. Sigurno jedan od najboljih koncerata ikad, ako ne I najbolji Nick Cave and the Bad Seeds su bili savršeni, a u bendu je pridruženi član Colin Greenwood iz Radiohead. Poseban pečat i šlag na tortu je bio London Gospel Choir. Tri tamnopute pjevačicebu bijelom i jedan tamnoputih pjevač u crnom čine hor. Njihovo pjevanje je čista čarolija i poj anđela. Poslije ovakvog koncerta se zapita da li vrijedi više išta pogledati i poslušati uživo? Ovakav koncerata teško da se ikada može desiti kod nas. Prvo nemamo i frastrukturu, a drugo nemamo ljude sposobne da obmvako nešto organiziraju. I kad bi mogli, oni bi doveli šablonski ocvale zvijezde, koje godinama nisu snimili suvisao ton, a kamoli pjesmu ili album. Čist primjer takve zvijezde je Sting, koji je jedan isprogramirani robotizirani muzičar, koji ima jednu te istu set listu koja traje 90 minuta i samo je ponavlja gdje god da svira beznikakve specijalne emocije i da unese nešto novo. S druge strane Nick Cave sa svojim the Bad Seedsima na svakom koncertu ponudi nešto novo u izvedbi i nema nikakvog šablonski ponavljanja i sve je čista emocija. Jednostavno lik je genije. Ne treba zaboraviti da mu je predgrupa bila odličan Irski sastav iz Dublina ThenMurde Capital. Svirali su 45 minuta i bili su odlični. Organizacija je bila fantastična. Sve je bilo na vrijeme I ni minute nike kasnilo. Zvuk je bio savršenstvo nad savršenstvima. Svaki i najmanji ton se čuo. Čista perfekcija. Evo Vam link za profi recenziju i profi slike s koncerta.

https://ravnododna.com/nick-cave-the-ba ... cert-ikad/

Cave je odavno odsvirao svoje. Sad ubija dosadom sa klavirskim recitalima. Live je uvijek bio odlican sto se ne moze reci za zadnje albume koji su cista dosada. Jedina istina iz posta je da je The Murder Capital odlican band. Njih sam vec par postova ranije i preporucio.

[dale cooper]