Click to expand.I'm a little on the fence at this point about getting vinyl from digital sources. I used to not think about it so much (probably was better off that way too), I'm sure I have plenty of records that are from digital sources, e.g.
I bought all of the Pink Floyd's albums from their recent reissue series and I think they all sound great. At the moment, though, I have a temporary stay on getting new vinyl that I know or suspect to be digitally sourced. Especially any recently recorded albums that are tracked digitally in Pro Tools or a DAW, I've just decided to go for the CD (or SACD, preferably, if it is available).I don't want to open the can of worms that is that debate, though. That's just where I'm at currently. I'm a little on the fence at this point about getting vinyl from digital sources. I used to not think about it so much (probably was better off that way too), I'm sure I have plenty of records that are from digital sources, e.g.
I bought all of the Pink Floyd's albums from their recent reissue series and I think they all sound great. At the moment, though, I have a temporary stay on getting new vinyl that I know or suspect to be from digitally sourced. Especially any recently recorded albums that are tracked digitally in Pro Tools or a DAW, I've just decided to go for the CD (or SACD, preferably, if it is available).I don't want to open the can of worms that is that debate, though. That's just where I'm at currently.
Click to expand.Wow, that does look like a great show, it seems like it'd be difficult to play a guitar that has so much varying light flashing on it! Doesn't sound like she is still doing this show, but it would be awesome to see, so I'd say you scored on getting to see that one. I have her first four albums but none after Dreaming for Revenge that I posted above. Seems like Until We Felt Red received less than favorable reviews, particularly on Pitchfork, but I really liked it from what I remember (been a while since I gave it a listen), although I admit to have a penchant for the work of Tortoise (John McEntire of Tortoise was the producer on that album).
I have never had a copy of Vol. Even though I own all the albums before (and after) I have had copies of the first two volumes and know them as compilations (and agree that Vol.
2 works really well). That's why I've wanted digital versions.I wasn't as excited about SACD as I have been since late last year. I bought the PS Audio DirectStream Memory player which sends the native DSD from an SACD to my PS Audio DirectStream DAC. I've had a handful of players before that are SACD capable (the best being the Sony XA-5400ES and the Denon DVD-A100) but none wowed me the way that this PS Audio due does. So now I'm glad I've been buying SACD over the years, and am really happy that Mobile Fidelity has been doing the Bob Dylan and Miles Davis Columbia titles they have.Now back to this LP, this time Record 1.
Quote from: some random Amazon review since last.fm and AMG have NOTHING I recently listened to this album and lord knows, I can't stop playing it. It immediately grabs you from the opening track with it's latin/jazz/trip hop mixture and continues to the final track, which truly caps off a wonderful project.The music is reminiscent of '70s blaxploitation soundtracks with drums and groovy bass lines. Immediately, you're taken back to the era of Shaft and Dolemite, with some mellow tracks that take you to places that only exist in your mind.If you're a fan of NIGHTMARES ON WAX 'Smoker's Delight', then this album my friends, is definitely one to grab and cherish. Quote Considering the incredible appeal of American Football's debut single with Polyvinyl, it was quite easy to expect great things from their first album - tracks like 'The One with the Tambourine' took Mike Kinsella far beyond his emo roots, into beautiful territory that had more in common with Red House Painters than Cap'n Jazz. American Football, the group's album debut, may not hit quite the same heights, but it comes close enough that no one should be bothered; Mike Kinsella treads the same brightly arpeggiated post-emo (to coin a phrase) territory his brother Tim Kinsella does with Joan of Arc (albeit without the abstraction). The obvious progression from the Polyvinyl single comes in the form of horns and Wurlizter dabbed tastefully onto a few tracks; when the band picks up into more conventionally driving territory ('Honestly?' ), things are still appealing - but Kinsella's main strength seems to be in drifting, floating waves of melody, and American Football makes good on this in a pretty impressive way.
Quote from: YOUR CRUEL OVERLORDS Rules:No hot-linking images or albums. You can re-host images at.Ensure your tags are correct and that you have specified both Artist/Album in your post.Upload your files in either a.zip or a.rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.Post your link using code tags. It's the # icon above the afro emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.Also, please do NOT request albums.Repost the rules at the top of each new page.
Quote Dave Brubeck (piano) began his Columbia Records association on a second album of material that his quartet had cut during its spring of 1954 tour of North American college campuses, Paul and Dave's Jazz Interwoven (1954) being the first. Joining Brubeck are Paul Desmond (alto sax), Bob Bates (bass), and Joe Dodge (drums), whose support of Brubeck is uniformly flawless, ultimately producing what many consider as the most memorable music in the artist's cannon. 'Balcony Rock' commences the platter from sides documented at the University of Michigan in Ann Arbor. The heavily improvised tune is formed on an eight-bar blues as Desmond steers the combo via his inspired and lyrical leads. The bouncy 'Out of Nowhere,' comes via a show at the University of Cincinnati and centers on Brubeck's uncanny timing as his passages quickly vacillate between edgy and atonal to decidedly more fluid and melodic. Again, Desmond is nothing short of exemplary as his sax weaves around the rhythm section. 'Le Souk' hails from Oberlin College in Ohio and provides Desmond another strong vehicle.
His lines tie Bates' prominent propulsions together with Dodge's solid backbeat and Brubeck's similarly aggressive bashing. This takes place behind Brubeck's emphatic and frenetic pounding and garners considerable appreciation by those in attendance. The sturdy bop supporting Duke Ellington's 'Take the 'A' Train' is given further fuel thanks to the combination of Desmond's straightforward and unfettered blows and Dodge's punchy interjections. 'The Song Is You' is a minor masterpiece as Desmond's efforts resonate his exceptional fluidity. In fact, practically the whole track is marked by his cool, limber phrasing, with Brubeck taking the helm only briefly at the end.
The refined and stately reading of 'Don't Worry 'Bout Me' reaches far beyond the blues intimated by the sense of forlorn in Brubeck's contributions, thanks to the simple if not austere arrangement. The converse can be said regarding the striking energy of 'I Want to Be Happy' as the band leans in hard with a purpose and finesse that can be eloquently summed up in the final phrase as all four members seemingly draw the song to a dynamic and dramatic conclusion.
Kaki King Until We Felt Red Rar Software Torrent
Indeed the genre gets schooled on Jazz Goes to College, a (dare say) perfect representation of the Dave Brubeck Quartet's pre-Time Out (1959) antics in the preferable concert performance setting. Quote And indeed, since he was heading off to do just that, the Descendents bowed out the earliest phase of its existence with another collection of blink-and-you'll-miss-it songs about life, love, girls, losers, and, of course, food. Starting with the classic rip-and-riff of 'Myage,' which started a long-standing trend of Descendents songs ending with '-age,' the four-piece pureed everything it loved - pop hooks, punk and hardcore thrash, and whatever else it enjoyed - and came up with an unpretentious, catchy winner. The playing of the core band is even better than before, never mistaking increased skill with needing to show off; the Lombardo/Stevenson rhythm section is in perfect sync, while Navetta provides the corrosive power. Add in Aukerman's in-your-face hilarity and f.ck-off stance, and it's punk rock that wears both its adolescence and brains on its sleeve. Aukerman lets his heart slip through more than once amid all the hilarious descriptions and putdowns, like the slow-burn introduction to 'Catalina,' with Navetta's guitar the perfect snarling counterpoint. There are a couple of moments where the band's young age is all too obvious - the trendoids slammed in 'Loser' deserve the total trashing given, but the casual homophobia is unfortunate no matter where you stand.
As for 'Kabuki Girl,' you've got to wonder. Generally, though, this is smart, sly music and words coming from people interested in creating their own lives and style as opposed to following trends. There's 'Tonyage,' another rant against punk/new wave wannabes who 'were all surfers last year'; the wise-in-advance-of-its-years 'I'm Not a Punk,' perhaps the band's greatest song; and the power-singalong 'Suburban Home,' with its spoken-word start and ending, 'I want to be stereotyped, I want to be classified!' The music never stops, neither does the energy - an instant party album of its own kind. Quote from: Sputnikmusic There are 16 minutes on Portrait’s discography where its hard to imagine anything being more remarkable. Whether it’s the hypnotic viola lulling you, the harsh vocals rousing you, or the melodic yet dynamic guitar and drum combination, the songs “Missing the Shore”, “Constellations of a Stargazing Iris”, and “North Ebony” are the perfect emo songs.
They take you through a range of emotions, through a range of musical ideas, and in the end leave you with a sense of awe that something so clearly harsh could still be that beautiful.That’s the kind of band Portrait was. Taking the formula established by bands like Moss Icon and Indian Summer, and adding in their own unique touches like a viola player (think Smart Went Crazy) and generally harsher vocals in addition to a more Heroin influenced sound, and bam you’d have name drop formula heaven to describe Portrait.