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Altsa wrote:victory moze li se naci nesto od The Thermals

victory wrote:
SR-71 - Here We Go Again (2004)

Taking their name from the fastest airplane ever built, the alternative rock foursome SR-71 are here to stand and deliver jaunty punk songs with a corporate rock edge. Coming together in the early '90s in their native Baltimore, SR-71 -- guitarist frontman Mitch Allan, bassist Jeff Reid, drummer Dan Garvin, and guitarist Mark Beauchemin -- lunge into quick swirling three chord loops and spastic excitement, similar to punk-pop revivalists such as Blink 182 and Less Than Jake. SR-71's raw punching sound reflects the band's deep influential roots in British punk bands such as UK Subs and the Sex Pistols, but they also cite respect for the Beatles, Queen, Duran Duran, and The Police. Their debut for RCA, Now You See Inside, was released in summer 2000. It eventually went gold, however changes loomed ahead. Within a year the band saw the departure of Garvin and welcomed drummer John Allen. The new four-piece resumed schedule for a sophomore record. Tomorrow boasted a slicked sound from SR-71 and appeared in fall 2002.

1. Axi Rose
2. In Your Eyes
3. Gone
4. 1985
5. Mosquito
6. Here We Go Again
7. All American
8. Blue Light Special Life
9. 15 Minute Idol
10. One
11. Everything
12. Blood And Bourbon
13. She Was Dead

DaysleepeR wrote:Znam da je bilo prije, al ako moze ponovo...

Kill Bill 1&2 Soundtrack?

Tnx

Altsa wrote:

victory wrote:
SR-71 - Here We Go Again (2004)

Taking their name from the fastest airplane ever built, the alternative rock foursome SR-71 are here to stand and deliver jaunty punk songs with a corporate rock edge. Coming together in the early '90s in their native Baltimore, SR-71 -- guitarist frontman Mitch Allan, bassist Jeff Reid, drummer Dan Garvin, and guitarist Mark Beauchemin -- lunge into quick swirling three chord loops and spastic excitement, similar to punk-pop revivalists such as Blink 182 and Less Than Jake. SR-71's raw punching sound reflects the band's deep influential roots in British punk bands such as UK Subs and the Sex Pistols, but they also cite respect for the Beatles, Queen, Duran Duran, and The Police. Their debut for RCA, Now You See Inside, was released in summer 2000. It eventually went gold, however changes loomed ahead. Within a year the band saw the departure of Garvin and welcomed drummer John Allen. The new four-piece resumed schedule for a sophomore record. Tomorrow boasted a slicked sound from SR-71 and appeared in fall 2002.

1. Axi Rose
2. In Your Eyes
3. Gone
4. 1985
5. Mosquito
6. Here We Go Again
7. All American
8. Blue Light Special Life
9. 15 Minute Idol
10. One
11. Everything
12. Blood And Bourbon
13. She Was Dead

victory - password

Analord 10 is one of the most intriguing Aphex Twin releases. Released in a limited run and only available to order directly from rephlex, it nonetheless managed to generate huge hype, especially from the internet community.

Apparently recorded and produced using old skool analogue equiptment, I was expecting something that sounds similar to vintage Aphex such as Heliosphan or Polynomial-C. Instead, we have 2 tracks which are quite unlike anything Richard has produced before.

"Fenixfunk 5" is the more uptempo of the two tracks, and combines an electro/hip-hop style break, and a full workout of the vintage synths Richard has collected over the years. It actually kinda reminds me of "Camelot Jostle" by Ceephax Acid Crew, especially the main melody.

"Xmd5a" is less immediate, though ultimately the most successful of the two for me. It combines a slow breakbeat, a wicked acid line, and a strangely disjointed piano (which sounds like the same one he used for Drukqs). Initially quite hard to get into, it nonetheless has proven to be a bit of a grower for me.

To be fair, considering the massive hype surrounding this release, it was always going to be difficult to match expectations. The melodies are certainly not as memorable as the classic aphex tracks I mentioned previously, but then that particular era of music is over. A masterpiece it isn't, but analord 10 remains one of the better releases from RDJ, and proves that he is still able to produce interesting, innovative music, regardless of the equiptment he chooses to use.

http://www.discogs.com/release/377967

Released after Vaughan's death in a 1990 helicopter accident, The Sky Is Crying collects unreleased studio tracks from throughout the guitarist's recorded career. In Vaughan's early years, he was a stylist who thought nothing of using ten notes when three would have worked. Rock stardom, cocaine, and alcohol did little to temper his tendency towards overstatement, but by In Step, his last studio album (and first clean-and-sober effort), he'd begun to transcend his many influences to forge a hard-boiled style of his own. The collection documents this passage, starting with unreleased covers of Lonnie Mack's "Wham" and Jimi Hendrix's "Little Wing" from the time of his debut album. "The Sky Is Crying" was originally cut by Elmore James, but Vaughan's lead guitar owes its stylistic debt to the bluesman who had a most profound influence on his playing, Albert King. The highlights are two tracks cut at the time of In Step--the hard-edged "Boot Hill," with Vaughan on slide guitar, and "Life by the Drop," in which Vaughan accompanies himself on acoustic guitar and toasts a life that would end far too soon.

A decade after his tragic, untimely demise, electric-blues legend Stevie Ray Vaughan has left behind a void that remains largely unfilled, despite a number of ballyhooed young pretenders. The guitarist's career was long troubled by personal demons, and this album chronicles those deceptively languorous, slow blues jams where Vaughan did battle with them. The howling, fervent tone he coaxed from his instrument was a product of lessons learned only in the School of Hard Knocks, accompanied by a voice--perhaps the most underrated of Vaughan's talents--that perfectly underscored his tortured gospel. But those who stereotyped Vaughan as a paint-by-numbers bluesman misunderstood the breadth of his lexicon; listen to "Chitlins con Carne" (from the guitarist's posthumous The Sky Is Crying album) here and you'll hear tinges of Wes Montgomery and other jazz inflections. Especially notable are three previously unreleased cuts: a live version of "Texas Flood," a 1985 Montreux Jazz Festival duet-jam of "Tin Pan Alley" with the late Johnny Copeland, and an '84 outtake of Elmore James's "The Sky Is Crying"--plus a 15-minute TV-taping workout with Albert King on the elder legend's "Blues at Sunrise." Raw, passionate, and uncompromising, this is SRV at his gut-wrenching best.

victory wrote:

Bravery - Bravery (29/03/05)

http://s30.yousendit.com/d.aspx?id=0UDL ... L41T7S42P0

pozuriti, limitiran broj dl-a

dinash wrote:

victory wrote:

Bravery - Bravery (29/03/05)

http://s30.yousendit.com/d.aspx?id=0UDL ... L41T7S42P0

pozuriti, limitiran broj dl-a

imash li jos kakav (normalan) link pliz. thnx.

Since disbanding the Talking Heads many years back, David Byrne has charted a singular course in the pop world. He has delved deeply into the worlds of both Brazilian and African music, while never losing touch with his art-school rock roots. With the release of Look into the Eyeball Byrne once again delivers a seamless blend of the musical forms that inspire him, with his trademark wry humor and keen sense of detail. While Byrne may never write the great heartbreaking standard, there is something quite moving about his droll observations on modern life. In songs like "Smile" and "The Revolution" (both of which feature beautiful string arrangements) one senses a genuine sadness, whereas perhaps in the old Talking Heads days one would feel only that they were lucky to be in on some prankster's intellectual joke. So what we have here is a mature artist at the height of his powers adding yet another classic to his already prodigious canon.

Btw, Victory ako imas jos koji link za Tool bio bih ti neizmjerno zahvalan