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This Halifax, Yorkshire, England-based death metal quintet was formed in 1988, deriving their name from John Milton's epic poem. The band originally comprised Nick Holmes (b. 7 January 1970, Halifax, Yorkshire, England), Gregor Mackintosh (b. 20 June 1970, Halifax, Yorkshire, England; guitar), Aaron Aedy (b. 19 December 1969, Bridlington, Yorkshire, England; guitar), Stephen Edmondson (b. 30 December 1969, Bradford, Yorkshire, England; bass) and Matthew Archer (b. 14 July 1970, Leicester, Yorkshire, England; drums), and were signed to the independent Peaceville label on the strength of two impressive demos. They debuted in 1990 with Lost Paradise, which was heavily influenced by Napalm Death, Obituary and Death. It featured indecipherable grunting from Holmes, over a barrage of metallic white noise. Gothic saw a major innovation in the "grindcore" genre, with female vocals, keyboards and guitar lines that, for once, were not lost in the mix. Importantly, the tempo had also eased: "We started to play more slowly because all the others were playing as fast as possible." Many, notably Asphyx and Autopsy, followed suit. With indications in the early 90s of the metal subgenres becoming accepted within the mainstream, it came as no surprise when Paradise Lost found a wider audience with Shades Of God, their first effort for Music For Nations. Recorded with producer Simon Efemey, and with artwork from cult cartoonist Dave McKean, this release was heralded in the press as a "coming of age".

An old music-press adage claims that second albums are notoriously "difficult." If this were true, then Every Day should be one big disappointment. The fact that it's arguably one of 2002's finest jazz albums (yes, jazz--as in real, old-fashioned, clarinets-and-trumpets jazz) proves how talented Jason Swinscoe's Cinematic Orchestra are. Following up their impeccable debut, Motion, was going to be tough, but they've surpassed themselves here. While the former was a fusion of sample-culture smoky, backroom jazz, Every Day is jazz pure and simple--old jazz for the nu-jazz generation. "Man with the Movie Camera," "Burnout," and "Flite" are near-perfect soundtrack jazz pieces: epic, shuffling, ever shifting. "All That You Give" and "Evolution" highlight the enchanting vocals of legendary soul singer Fontella Bass. Best of all, though, is the Roots Manuva collaboration "All Things to All Men"--proof that jazz and rap aren't as strange bedfellows as some may think. It's spellbinding stuff and sure to be one of 2002's finer albums. --Matt Anniss
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Third record on the Ninja Tune label featuring the vocals from the legendary Fontella Bass and a spoken word performance from Roots Manuva. Across 7 sweeping, dramatic tracks, the group takes you through classic soul, jazz, choral pieces, minimalism and more.

Amon Tobin's mixing of jazz noir with breakbeats on Permutation resulted in one of the most infectious electronica discs of 1998. Using hard-bop drum samples, extended horn passages, and a constant groove, Tobin succeeded where others have fallen short: he captured the essence of jazz and made it ready for the dance floor. Thoroughly enjoyable and swinging.
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With its lush strings; its deep, snaking bass tremors; and its odd patches of percussive irritants, Amon Tobin's latest album sounds at times like the kind of noir-ish drum & bass that Luke Vibert (a.k.a. Wagon Christ) has left behind. Such torch passing seems fitting since Permutation's focus on jazz sample sources grew out of Tobin's own career switch: dropping, if only for now, the Brazilian percussion and pop flavors that have long infused his home-brewed electronica. A languorous dollop of bossa nova closes this album, but otherwise it almost exclusively explores jazz: hard-bop drum solos, luscious horn lines, and mellifluous fusoid guitar. Tobin programs all this expressly analog material into his small battery of synthesizers and produces one of the strongest albums of 1998.

victory wrote:

MRAVOJED wrote:

victory wrote:

ja ga već imam u svim formatima jer mi je na TOP 2 albuma ikad i zato ga toplo preporučujem svima

This edition comprises of three mixes: Winter Chill, Disco Heaven and Twisted Disco. Taste-wise, these titles are stylistically very different, but the overall flavour really works.

Featured tracks come from in-house Kandi talent like Bonnie Bailey - vocalist on the a huge club hit LnM Projekt’s Everywhere, StoneBridge, whose second single featured here Take Me Away recently debuted in the UK top ten, and Peyton, a favourite of Kandi clubbers who will be releasing his own album on HK later this year.

Other exclusive tracks come from Kandi’s many-sided dancefloors: current favourite, the Michael Gray remix of Be My Friend from Scape feat. D’Empress, the dirty rock of Freaks by Moguai, and not forgetting the loveliness of Aya’s Sean, this sampler definitely shows off Kandi’s diverse musical appetites. Three different Kandi flavours for a third of the price means these samplers don’t last long on the shelf!

victory wrote:
Paradise Lost - Paradise Lost (16/03/2005) rar, 101 MB

This Halifax, Yorkshire, England-based death metal quintet was formed in 1988, deriving their name from John Milton's epic poem. The band originally comprised Nick Holmes (b. 7 January 1970, Halifax, Yorkshire, England), Gregor Mackintosh (b. 20 June 1970, Halifax, Yorkshire, England; guitar), Aaron Aedy (b. 19 December 1969, Bridlington, Yorkshire, England; guitar), Stephen Edmondson (b. 30 December 1969, Bradford, Yorkshire, England; bass) and Matthew Archer (b. 14 July 1970, Leicester, Yorkshire, England; drums), and were signed to the independent Peaceville label on the strength of two impressive demos. They debuted in 1990 with Lost Paradise, which was heavily influenced by Napalm Death, Obituary and Death. It featured indecipherable grunting from Holmes, over a barrage of metallic white noise. Gothic saw a major innovation in the "grindcore" genre, with female vocals, keyboards and guitar lines that, for once, were not lost in the mix. Importantly, the tempo had also eased: "We started to play more slowly because all the others were playing as fast as possible." Many, notably Asphyx and Autopsy, followed suit. With indications in the early 90s of the metal subgenres becoming accepted within the mainstream, it came as no surprise when Paradise Lost found a wider audience with Shades Of God, their first effort for Music For Nations. Recorded with producer Simon Efemey, and with artwork from cult cartoonist Dave McKean, this release was heralded in the press as a "coming of age".

Don't Belong
Close Your Eyes
Grey
Red Shift
Forever After
Sun Fading
Laws Of Cause
All You Leave Behind
Accept The Pain
Shine
Spirit
Over The Madness

Given the sped-up classic soul samples with which Kanye West has made his mark, it comes as no surprise that the producer/rapper would pick a tradition-minded R&B singer as his first big pet project. Legend first made his name on Philly's incense-clouded, '70s-obsessed neo-soul scene, then found his way to New York and became West's right-hand man in the studio. His patron's pop smarts serve Legend well--while many contemporary R&B records rely too heavily on a singer's cadence and skill to carry underdeveloped tunes, Legend and West have composed genuine songs like the perky "Number One," which has a lovestruck West jabbering that he no longer believes that "my heart don't got nothing to do with my penis." (It's way more convincing than Snoop Dogg's pledge of love on the next track, "I Can Change.") And even when the melodies are slight, West slides some nasty bass lines underneath, hinting at just enough of a hip-hop sensibility to keep the album from drifting into retro nostalgia. Yet Legend is no mere producer's plaything. His voice isn't immediately distinctive; he's neither as careworn as Anthony Hamilton nor as creamy as D'Angelo. But his gift for restraint sets him apart: the sex-as-drug metaphor of the title track is hardly fresh, but Legend delivers it smoothly enough to make it work, without pressing the issue. All bedroom come-ons have been used before. This late in the game, it's a matter of how well you use 'em.

http://www.anothergirlsparadise.com/Mus ... licate.mp3
http://www.anothergirlsparadise.com/Mus ... olcano.mp3
http://www.anothergirlsparadise.com/Mus ... ughter.mp3
http://www.anothergirlsparadise.com/Mus ... onball.mp3
http://www.anothergirlsparadise.com/Mus ... Chests.mp3
http://www.anothergirlsparadise.com/Mus ... 20Amie.mp3
http://www.anothergirlsparadise.com/Mus ... Darlin.mp3
http://www.anothergirlsparadise.com/Mus ... 0Water.mp3
http://www.anothergirlsparadise.com/Mus ... member.mp3
http://www.anothergirlsparadise.com/Mus ... Eskimo.mp3

Irish troubadour Damien Rice doesn't so much reinvent the folk genre on this lush, impossibly mature debut album as push its boundaries in several compelling musical directions at once--all the more remarkable considering the album was largely self-produced and home-recorded. His songs revolve around familiar, bittersweet concerns of life, love, and their attendant frustrations, but delivered with conspiratorial intimacy on melodic wings (like on the graceful "Cannonball") that Rice seems almost embarrassed to share. If there's anything like a template here, it's "The Blower's Daughter," the song that first attracted the interest/stewardship of film composer David Arnold (whose guest production provides "Amie" with expansive cinematic elegance) and became a massive Irish hit. His plaintive vocal, embroidered by the mournful solo cello of Vyvienne Long, is suddenly brightened by an instrumental flourish and Lisa Hannigan's vocals--before just as quickly wafting on the breeze. With touches that range from "Day in the Life"-styled string collages to the dizzy, exhilarating neo-operatic excesses of the 16-minute "Eskimo," Rice's musical palate here is as adventurous as his songs are grounded in emotional intimacy.
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Damien Rice's intriguing brand of stylishly, un-styled dirty folk music has made him one of the standout artists of 2003. O was first released in Ireland, where it quickly broke the top ten, and achieved triple-platinum status.