MP3 Djerdan vol.6

[Hart]

Altsa, kad si vec udario po ovim domacim, moze li se gdje naci Buldozer, Borghesia, Quod Massacre, i sl.

[mirzoni]

ali su antonik web i antonik ftp taaaaaako spori da je to nevidjeno.. pa ko da je u zambeziju a ne u skandinaviji.. al eto hvala ti..

[Soul_Sista]

@Altsa,
zahvaljujem za Moloko!

[joki]

The Dears-Summer Of Protest

[victory]

Melissa Auf der Maur - Auf Der Maur (2004)

Melissa Auf der Maur has the best rolodex in rock: She played bass for both Hole and the Smashing Pumpkins; went to school with Rufus Wainwright; and purportedly counts Foo Fighters' Dave Grohl, Queens of the Stone Age's Josh Homme and Andrew W.K. among her romantic conquests. Her own record better be good. While Auf Der Maur's self-titled debut doesn't sound anything like either her friends or former employers, it's clear she's picked up a few tricks. Standout tracks "Followed the Waves" and "Real a Lie" storm out of the speakers with shameless arena rock bluster and volcanic urgency. Her lyrics stink (think witches and black light unicorn posters) but she compensates with the sort of million-decibel pterodactyl shriek that makes it hard to notice. And when she tries her hand at a bit of '80s-inspired noise pop with "Would If I Could" the results near My Bloody Valentine envelope pushing brilliance. She was obviously born to do this.

1. Lightning is My Girl
2. Followed the Waves
3. Real a Lie
4. Head Unbound
5. Taste You
6. Beast of Honor
7. I'll Be Anything You Want
8. My Foggy Notion
9. Would If I Could
10. Overpower Thee
11. Skin Receiver

[Altsa]

ORGY - Candyass

[Hart]

mnostvo dobre glazbe (nekategorizirano) na:

http://toolshed-media.com/ts/

[Altsa]

THE APEX THEORY

Code: Select all

http://corpse.afi.com.ru/mp3/Apex_Theory/01-Add_Mission.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/02-Mucus_Shifters.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/03-Come_Forth.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/04-Shhh....mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/05-Drown_Ink.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/06-Bullshed.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/07-Thats_All!.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/08-Bravo.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/09-Apossibly.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/10-Right_Foot.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/11-Aisle_Always.mp3
http://corpse.afi.com.ru/mp3/Apex_Theory/12-In_Books.mp3

[Hart]

Altsa, prijavi ako naletis na MOVING UNITS i ANTONY AND THE JOHNSONS

[Altsa]

MILLENCOLIN - Kingwood(2005)

Code: Select all

http://www.jwvat.co.uk/images/Millencolin-Kingwood-2005.rar

1. Farewell My Hell
2. Birdie
3. Cash Or Clash
4. Shut You Out
5. Biftek Supernova
6. My Name Is Golden
7. Ray
8. Novo
9. Simple Twist Of Hate
10. Stalemate
11. Mooseman’s Jukebox
12. Hard Times

Pass: FunkySouls.com

[joki]

malo ljute paprike za vene:
Korai Öröm-koncert,dec. '03. u Budimpesti
preporucam...sve...dobro,de...recimo 4..?
ili mozda ipak 5.??
ili... biz' ti marinko odavdi...

[Altsa]

Altsa, prijavi ako naletis na MOVING UNITS i ANTONY AND THE JOHNSONS

na ovom linku ima par pjesama od jednih i drugih.


LINK

imam ja Borghesiu album 4X12. pa ako hoces javi se.

[Altsa]

BIG BLACK - Songs About Fucking(1987)

[Altsa]

KILLING JOKE - Live/2003-11-10.Portland.Oregon

[victory]

The Walker Brothers - Gala

They weren't British, they weren't brothers, and their real names weren't Walker, but Californians Scott Engel, John Maus, and Gary Leeds were briefly huge stars in England (and small ones in their native land) at the peak of the British Invasion. Engel and Maus were playing together in Hollywood when drummer Leeds suggested they form a trio and try to make it in England. And they did -- with surprising swiftness, they hit the top of the British charts with "Make It Easy on Yourself" in 1965. "The Sun Ain't Gonna Shine Anymore" repeated the feat the following year, and the group also had U.K. hits with "My Ship Is Coming In," "(Baby) You Don't Have to Tell Me," "Another Tear Falls," and others. For a few months they experienced frenzied adulation almost on the level of the Beatles and the Stones, though in the U.S. (where they rarely performed) only "Make It Easy on Yourself" and "The Sun Ain't Gonna Shine Anymore" entered the Top 20.

While the Walkers looked the part of British Invaders with their shaggy mop-top hairstyles, they were far more pop than rock. Nor did they play on most of their records. With producer Johnny Franz and veteran British arrangers like Ivor Raymonde (who also worked with Dusty Springfield) and Reg Guest, they favored orchestrated ballads that were a studied attempt to emulate the success of another brother act who weren't really brothers: the Righteous Brothers. Not as soulful as the Righteous Brothers, lead singer Scott Walker's deep croon betrayed strong debts to non-rock vocalists like Tony Bennett and Frank Sinatra. While their biggest hits were covers of songs by American pop songwriting teams like Bacharach-David and Mann-Weil, Scott (and occasionally John Walker) could write brooding originals in a more personal, less overblown style when given the chance.

In the intensely competitive days of 1967, the Walkers' brand of pop suddenly become passé, and the group disbanded in the face of diminishing success and Scott's increasingly fruitful solo career. Scott ran off a series of Top Ten British solo albums in the late '60s, which have attracted a sizable cult with their idiosyncratic marriage of Scott's brooding, insular songs and ornate orchestral arrangements. Gary Walker released a few singles and an album with his group the Rain in a much harder-rocking guitar-oriented format. The Walkers reunited for a while in the mid-'70s, which produced a final British hit ("No Regrets"). Much of the Walkers' story is retold in the biography -Scott Walker: A Deep Shade of Blue, published only in Britain.

1 Make It Easy on Yourself (3:12)
2 Summertime (4:29)
3 My Ship Is Coming In (2:53)
4 Lonely Winds (2:32)
5 There Goes My Baby (3:03)
6 Living Above Your Head (2:41)
7 Here Comes the Night (2:23)
8 Stay With Me Baby (3:16)
9 No Sad Songs for Me (3:39)
10 Sun Ain't Gonna Shine Anymore (3:02)
11 Land of a Thousand Dances (2:29)
12 (Baby) You Don't Have to Tell Me (2:26)
13 Dancing in the Street (2:45)
14 In My Room (Amor) (2:30)
15 Walking in the Rain (3:24)
16 Just Say Goodbye (Regardez-Less) (3:34)

[victory]

Bright Eyes - A Collection of Songs: Recorded 1995-1997 (2000)

In 1995, at the age of 15, Conor Oberst left Omaha, NE, group Commander Venus and began working on the material for his solo project, Bright Eyes. A Collection of Songs gathers the results: 20 compositions recorded during the singer's mid- to late teens. Even at a young age, it's clear that Oberst is an extremely talented songwriter, seemingly incapable of penning a bad tune (except in the odd case when you sense he didn't try). Despite his obvious gifts, however, there are plenty of sour moments throughout A Collection, but they are almost always the result of the singer's delivery, rather than an inherent fault of the song. Oberst walks a fine line and occasionally his tendency toward unrelenting honesty chases him over the edge. His tone turns bitter and you sense that he can't stand to bear his soul without couching the sentiments in a combination of anger, sarcasm, and parody. On songs like "Patient Hope in New Snow," "Saturday As Usual," and "The Awful Sweetness of Escaping Sweat," the songs disintegrate as his vocals are reduced to the unintelligible babbling of a child. Any balance the music maintained up to that point, however fragile, is lost and so, more than likely, is the listener. Exercising more restraint, Oberst reveals a unique songwriting voice. On "Exaltation on a Cool Kitchen Floor," the results are truly touching as he whispers, "I can't help noticing that she is sitting closer to me than she ever has before" -- lines that manage to capture the deep emotional ache called love. On "How Many Lights Do You See?," he expands the simple subject matter, exploring it with a near-cinematic perspective. Elsewhere (on the collection's best material), he is found teetering on the edge. Barely able to contain the welling emotions, a quiver rises in his voice. In such cases, you'd be hard pressed to deny the truth of the sentiments Oberst is delivering.

1-3 ###
4 Falling Out of Love at This Volume (2:17)
5 Exaltation on a Cool, Kitchen Floor (2:26)
6 Awful Sweetness of Escaping Sweet (4:05)
7 Puella Quam Amo Est Pulchra (3:11)
8 Driving Fast Through a Big City at Night (2:11)
9 How Many Lights Do You See? (3:31)
10 I Watched You Taking Off (3:57)
11 Celebration upon Completion (4:15)
12 Emily, Sing Something Sweet (3:01)
13 All of the Truth (3:44)
14 One Straw (Please) (2:49)
15 Lila (2:51)
16 Few Minutes on Friday (4:08]
17 Supriya (2:29)
18 Solid Jackson (4:31)
19 Feb. 15th (4:06)
20 'Feel Good' Revolution (3:31)

[victory]

Kansas - Device, Voice, Drum (2002)

Kansas is one of America's premier progressive rock bands. Throughout their 30+ years, they have always displayed strong musicianship, thought provoking lyrics and dynamic composition. With their 2000 studio release, "Somewhere To Elsewhere", Kansas came full circle with the original line-up reuniting for the first time in 20 years. Their latest live CD "Device Voice Drum" brings the band to an even fuller circle.
Recorded in June 2002, "Device Voice Drum" captures a revitalized Kansas performing music mostly from the bands heyday in the 1970's. Classics such as "Belexes", "Song For America", "The Wall" and "Icarus" areplayed with the same intensity and vigor as they were back in the day. The Kansas standards "Carry On Wayward Son", "Dust In The Wind" and "Point Of Know Return" still haven't lost their cutting edge and are still among the band's best work.
Musically, the band sounds like they have come back to life in a big way. Singer/keyboardist Steve Walsh's voice has changed considerably since the early years of the band. His commanding forceful tone comes across now as being more strained and roughend. He still knows how to belt these songs out though. Violinist Robby Steinhardt still soars musically and vocally and can still harmonize effortlessly. Guitarist Richard Williams and the rhythm section of Bassist Billy Greer and drummer Phil Ehart are still solid aces on their instruments.
"Device Voice Drum" is an excellent live set from this legendary band. There is only one element missing out of this enitre concert, the presence of founder and band leader Kerry Livgren. Had he been on stage with the band during this concert, this would have been beyond description. However, the five-piece Kansas line-up does a fine job of displaying Livgren's music without him. I'm sure Kerry is proud of them.
This double-live-CD is definitely a piece of nostalgia and truly is a trip down memory lane. I can only hope that Kansas will continue their musical path in the direction they have been carrying it over the last five years.
This is classic Kansas for the 21st Century. In the words of Kansas member Robby Steinhardt, this CD is proof that you can "still rock when you're 52 years old".

1 Intro (0:15)
2 Belexes (6:41)
3 Icarus II (7:15)
4 Icarus (6:23)
5 Song for America (9:22)
6 Howlin' at the Moon (1:59)
7 Wall (5:36)
8 Preacher (4:08]
9 Journey from Mariabronn (9:19)
10 Dust in the Wind (4:25)
11 Cheyenne Anthem (7:18]
12 Child of Innocence (4:59)
13 (CD 2) Miracles Out of Nowhere (6:31)
14 (CD 2) Point of Know Return (3:19)
15 (CD 2) Portriat/Pinnacle (7:44)
16 (CD 2) Fight Fire With Fire (3:24)
17 (CD 2) Play the Game Tonight (3:47)
18 (CD 2) Carry on Wayward Son (9:45)

[victory]

Kansas - Leftoverture (1976)

For any art rock band, the fourth album means it's time for a self-styled masterpiece -- if you need proof, look at Selling England by the Pound or Fragile. So, with Kansas, the most determinedly arty of all American art rock bands, they composed and recorded Leftoverture, an impenetrable conundrum of significance that's capped off by nothing less than a five-part suite, appropriately titled "Magnum Opus," and featuring such promising movement titles as "Father Padilla Meets the Perfect Gnat" and "Release the Beavers." Of course, there's no telling whether this closing opus relates to the opener, "Carry On Wayward Son," the greatest single Kansas ever cut -- a song that manages to be pompous, powerful, ridiculous, and catchy all at once. That they never manage to rival it anywhere on this record is as much a testament to their crippling ambition as their lack of skills. And it's unfair to say Kansas are unskilled, since they are certainly instrumentally proficient and they can craft songs or, rather, compositions that appear rather ambitious. Except these compositions aren't particularly complex, rhythmically or harmonically, and are in their own way as ambling as boogie rock, which still feels to be their foundation. It's not really fair to attack Kansas for a concept album with an impenetrable concept -- it's possible to listen to Lamb Lies Down on Broadway hundreds of times and not know what the hell Rael is up to -- but there's neither hooks nor true grandiosity here to make it interesting. That said, this still may be Kansas' most consistent set, outside of Point of Know Return. Take that for what you will.

1 Carry On Wayward Son (5:25)
2 Wall (4:51)
3 What's on My Mind (3:28
4 Miracles Out of Nowhere (6:28
5 Opus Insert (4:28
6 Questions of My Childhood (3:40)
7 Cheyenne Anthem (6:55)
8 Magnum Opus: Father Padilla Meets the Perfect Gnat/Howling at the Moon (8:35)

[victory]

Kansas - Monolith (1979)

After the unexpected commercial success of 1977's Point of Know Return, Kansas was faced with the daunting task of following up their hit album. A fine live effort in Two For the Show bridged the gap to Monolith, #6 in what I like to call the "Lucky Seven" (seven consecutive quality albums in a row). This self-produced effort, however, is a portent of major change & eventual schism. A collection of eight 4-6 minute tracks, Monolith's rich packaging suggests a concept album, but the Native American theme so intriguingly presented on the cover is merely hinted at in the lyrics to just one song. This seemingly aborted concept, along with the exclusion of Kerry Livgren's mini-epic "No One Together" from the final LP (shelved for later inclusion on Audio Visions), and the lack of musical cohesion suggests that Monolith was an ambitious project that never came to fruition. Monolith and it's 1980 successor offer Kansas at it's most bi-polar: Livgren's full emergence as a born again Christian contrasted with Steve Walsh's more primal leanings into decidedly secular, straight-ahead rock. However, the mix makes for some fine moments: Livgren's oddly cryptic balladry of "The Other Side," the quality synth-pop of "People of the South Wind," Walsh's beautifully psychotic masterpiece, "Angels Have Fallen," and the blistering hard rock bloozer, "Stay Out of Trouble." The "Icarus" riff is resurrected amongst the ambitious prog of Livgren's "A Glimpse of Home," while Walsh's "Away From You" serves up some hook-laden, harmony infused prog/pop that Mozart would've loved if he were alive 20 years ago. Somewhat misplaced are Walsh's "How My Soul Cries Out For You," a "Heart of the Sunrise" on speed kicker which features an ill-conceived drum solo interrupted by restaurant drive-by audio, and Livgren's attempt to follow up "Dust in the Wind" with the fluffy, Styx-like "Reason to Be." Monolith's jagged path makes it apparent that Kansas would soon be split down the middle by its principle songwriters' respective runs for different borders.

1 On the Other Side
2 People of the South Wind
3 Angels Have Fallen
4 How My Soul Cries Out for You
5 Glimpse of Home
6 Away from You
7 Stay Out of Trouble
8 Reason to Be

[victory]

California Guitar Trio - Yamanashi Blues (1994)

For lovers of superb instrumental music, the debut by the California Guitar Trio, Yamanashi Blues, is one of the best of the '90s. Recorded strictly on amplified acoustic guitars (supplied by Bert Lams, Hideyo Moriya, and Paul Richards), the band touches upon a wide variety of musical genres, as they cover easily identifiable classical, surf, pop, and jazz tunes, with a few originals mixed in as well. Interestingly, all the songs on Yamanashi Blues were recorded in Bert Lams' living room. Great versions of '60s surf standards like "Walk Don't Run," "Pipeline," and "Sleepwalk" are included, as well as a few J.S. Bach pieces ("Prelude In C Minor," "Chromatic Fugue In D Minor," and others). The originals fit in perfectly with the cover material, such as Lams' "Carnival," Richards' "Blockhead," and Moriya's "Kan-non Power." Unlike most other instrumental albums, the California Guitar Trio stresses the importance of songwriting over instrumental technicality.

1 Yamanashi Blues (2:21)
2 Melrose Avenue (2:06)
3 Corrente (1:27)
4 Walk, Don't Run (1:57)
5 Ricercar (5:00)
6 Pipeline (1:53)
7 Beeline (1:15)
8 Chromatic Fugue in D Minor (4:34)
9 Tenor Madness (1:26)
10 Sleepwalk (2:17)
11 Carnival (1:42)
12 Prelude in C Minor (1:44)
13 Ciaccona (11:37)
14 Blockhead (2:12)
15 Kan-Non Power (3:21)

[Altsa]

victory jesi li gdje naletio na Thirteen Senses

[victory]

victory jesi li gdje naletio na Thirteen Senses

http://web.avtlg.ru/~fimin/media/

znam da nije ono sto bi zelio ali eto, ovdje imas samo 1, into the fire tune

[victory]

Moe. - No Doy (1996)

The members of Moe all grew up in or around Utica, New York. The members, however, never met prior to attending the University of Buffalo in New York. The group consists of Rob Derhak (founder, bass, vocals), Chuck Garvey (guitar, vocals), and Ray Schwarte (drums). Moe began their career playing in small, college bars where they soon developed a quite large and dedicated fan-base and following. At first, the group called themselves: Five Guys Named Moe. They used to rotate members on different nights. In 1991, the group recorded their first demo entitled Codename: Weaselshark. Later that year, Moe released their second demo entitled Spine of a Dog. In 1991, Moe added guitarist Al Schnier to their line-up. In 1992, Moe released Fatboy. It was at this point in the band’s career where they began improvising their music and jamming out. Shortly after the release of Fatboy, Schwartz was replaced by drummer Jim Loughlin. The group soon after re-located to Albany, New York. In 1995, Moe began touring nationally. In July of that same year, Loughlin left Moe to play for the band, Yolk. Thus, the group hired drummer Mike Strazza. Conflicts with Strazza caused him to leave and Moe to replace him with drummer Chris Mazur. In the spring of 1996, Moe was signed to Sony-550. The group soon released, No Doy. The album’s first single, “Meat,” lasted 45 minutes. Soon after the release of No Doy, Mazur was fired and the group hired Vinnie Amico of the Buffalo based band, Sonic Garden. In 1997, Moe received an opening spot on the Further Tour. Later that year they released Tin Cans and Car Tires. The album contained the credited singles: “Nebraska,” “Letter Home,” and “Plane Crash.” In 1999, Loughlin re-joined Moe as the group’s auxiliary percussionist. Soon after, Moe was dropped by their label, Sony-550. Moe then created their own label they named Fatboy Records. Soon after, they released L on their own label. The album was a double disc, live album. In 2000, Moe released Dither which was co-produced by John Siket. In 2003, Moe released Wormwood.

1. She Sends Me
2. 32 Things
3. St. Augustine
4. Bring You Down
5. Rebubula
6. Spine of a Dog
7. Moth
8. Buster
9. Four

[victory]

Dresden Dolls *** Boots

....a Boston-based duo that successfully blends alternative pop/rock with German cabaret. Lead singer Amanda Palmer brings an unlikely combination of influences to this release, and they range from Kurt Weill and Marlene Dietrich to goth rock, punk, and the riot grrrl movement. Palmer has been greatly affected by the emotional catharsis of PJ Harvey, Courtney Love, and Tori Amos -- her performances can be very stream-of-consciousness -- but she has also been influenced by the cabaret of Germany's pre-Adolf Hitler Weimar Republic (although Palmer writes and sings in English exclusively on this album). Hitler, a fanatically extreme social conservative, detested the flamboyant, sexualized imagery of the Weimar-era cabaret culture and did everything he could to eradicate it. But when Marlene Dietrich and others fled Nazi Germany, they took their cabaret with them -- and that Weimar-era influence is all over this intriguing CD. Not only has it affected Palmer's darkly theatrical melodies, but also, Palmer and drummer Brian Viglione (the Dresden Dolls' other half) sport a look that is part goth and part Weimar-era burlesque. And much to their credit, the Dresden Dolls make their unorthodox alt-rock/cabaret blend sound perfectly natural rather than forced.

[victory]

Fiona Apple


Fiona Apple i Sonyeve ucjene oko stampanja Fioninog novog albuma su odlican primjer korpracijske bahatosti koja trenutno vlada u svijetu diskografske industrije i muzickog biznisa. Naime, vec nekoliko godina Sony vrsi pritisak na Fionu Apple da preoblikuje (komercijalizuje) album kojeg je ona kompletirala i autorski potpisala jos prije nekoliko godina. Bez obzira na silne peticije upucene Soniju od strane Fioninih fanova i osuda izrecenih u krugu siroke muzicke zajednice, ovaj novi album koji bi se trebao zvati Extraordinary Machine i dalje cami negdje u mraku nepreglednih korporacijskih bunkera.

Zahvaljujuci internetu i nesebicnoj muzickoj sharing community, evo u prilici smo da bez obzira na Sonyevu monopolisticku silu i ucjene kojima je izlozen autorski integritet Fione Apple, snimimo i preslusamo ovaj materijal.

Svaka cast Fioni Apple na ustrajnoj zastiti svoga umjetnickog i autorskog dostojanstva, a ovim nezasitim korporacijskim mogulima zelim da sto prije izgube rat protiv istinskih autora i muzicara I onih pravih ljubitelja muzike organizovanih unutar internet (sharing) muzicke zajednice.