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Музыка вызывает врезанные в сознание образы кварталов больших городов с проститутками, бандитами, залитыми дождем улицами, цепочками такси, шастающими взад-вперед одинокими людьми с пакетами, наполненными дешевой китайской едой, сумасшедшими бомжами, истеричными гранд-дамами с пакетами из дорогих магазинов, неприкаянной молодежью на скейтбордах, напивающимися перед вечеринкой тусовщиками.
Одним словом, урбанистическая картинка, призванная иллюстрировать огромный муравейник где всем одиноко, грустно, но все равно интересно.(Last.FM)
И они продолжают.....
Chromatics - Just Like You EP (2016) - почти новый мини-альбом
и
Chromatics - Cherry LP (2016) - переиздание (расширенное и дополненное) альбома 2014-го года.
и
Chromatics - Cherry LP (2016) - переиздание (расширенное и дополненное) альбома 2014-го года.
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![Muse - Black Holes and Revelations (2006) [Re:up] Muse - Black Holes and Revelations (2006) [Re:up]](/uploads/posts/1151667865_muse.jpg)
Примерно через неделю – 10 лет сайту xorosho.com. Космическая пыль для интернета, но мы же знаем чего стоит каждая пылинка? Как это начиналось: факты, комментарии, первый альбом и убитые ссылки. Упоротые меломаны – Гарик, Форевер и Дисиэскей. Интернету всего 60 кб в секунду.
Первая публикация на сайте
18
06

*на втором начало вштыривать.
Всем лета!
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Ah yes, the Red Hot Chili Peppers. We know what they’re all about: searing funk jams, bawdy raps and a general over-obsession with female genitalia, right? Well, yeah, kinda, but not so on ‘The Getaway’.
The band’s 11th album - their second with guitarist Josh Klinghoffer, following the (second) departure of longstanding six-stringer, John Frusciante - is full of surprises, the most immediate being in its restraint: a focus on delicate and melodic dynamics throughout suggests a more profound exploration of their sound beyond each musician’s virtuoso abilities. Perhaps this was a consequence of their choice to work under Danger Mouse as producer, or maybe real change was only possible upon parting ways with Rick Rubin, who’d helmed their albums since 1991’s breakthrough classic, ‘Blood Sugar Sex Magik’.
To adapt is to survive, and ‘The Getaway’ lives up to its name: if 2011’s ‘I’m With You’ was Klinghoffer tentatively stepping into Frusciante’s well-worn shoes with a weight of expectancy upon his/their back(s), then this album finds him - and his elder cohorts - escaping with assured strides as a resilient and purposeful unit: RHCP Mark VI, if you will. Or VII - it’s hard to keep track.
A change was apparent in lead single, ‘Dark Necessities’, when an elegant piano refrain appeared in a breakdown usually reserved for a wailing guitar solo - a disarming tactic further applied in the otherwise slinky funk of ‘Sick Love’, whose chorus is softer and dreamier than the song’s foreboding main body, which warns of the emptiness of fame, and in the drum-less chorus of the wistful ‘Encore’.
“Darkness helps us all to shine,” Anthony Kiedis sings in ‘Dark Necessities’, as if to vindicate the shadowy streak that runs throughout his narratives here. From calling it a day in ‘The Longest Wave’ with a girl who was “under my skin and half my age,” to penitence for a friend’s passing in ‘Feasting On The Flowers’ - death also surfacing in the affecting ‘Goodbye Angels’ - Kiedis nimbly sidesteps any assumptions that sex dominates his brain, instead painting a spectrum of vivid shades. The intense and melancholic closing track, ‘Dreams Of A Samurai’, is especially complex in its naked emotions; is he the “perfect storm” of which he sings? He’s certainly aware of his own capriciousness, noting: “Clearly I’m a contradiction”.
The fluctuating musical hues are seductive - Chad Smith lays down some Bonham-like might in the funky ‘We Turn Red’; ‘Go Robot’ is pure ’80s, like a long-lost Knight Rider theme, with shimmering synths and syncopated handclaps; ‘This Ticonderoga’ is thunderous punk, with incredible bass runs courtesy of Flea’s nimble fingers. Even J Dilla gets a shout out in ‘Detroit’.
A band reborn? Possibly. Refined? Definitely. The brilliance of ‘The Getaway’ is in its subtleties, which define their most intimate and expressive album to date, and suggest that, after 32 years, the Chilis can still keep us guessing.
The band’s 11th album - their second with guitarist Josh Klinghoffer, following the (second) departure of longstanding six-stringer, John Frusciante - is full of surprises, the most immediate being in its restraint: a focus on delicate and melodic dynamics throughout suggests a more profound exploration of their sound beyond each musician’s virtuoso abilities. Perhaps this was a consequence of their choice to work under Danger Mouse as producer, or maybe real change was only possible upon parting ways with Rick Rubin, who’d helmed their albums since 1991’s breakthrough classic, ‘Blood Sugar Sex Magik’.
To adapt is to survive, and ‘The Getaway’ lives up to its name: if 2011’s ‘I’m With You’ was Klinghoffer tentatively stepping into Frusciante’s well-worn shoes with a weight of expectancy upon his/their back(s), then this album finds him - and his elder cohorts - escaping with assured strides as a resilient and purposeful unit: RHCP Mark VI, if you will. Or VII - it’s hard to keep track.
A change was apparent in lead single, ‘Dark Necessities’, when an elegant piano refrain appeared in a breakdown usually reserved for a wailing guitar solo - a disarming tactic further applied in the otherwise slinky funk of ‘Sick Love’, whose chorus is softer and dreamier than the song’s foreboding main body, which warns of the emptiness of fame, and in the drum-less chorus of the wistful ‘Encore’.
“Darkness helps us all to shine,” Anthony Kiedis sings in ‘Dark Necessities’, as if to vindicate the shadowy streak that runs throughout his narratives here. From calling it a day in ‘The Longest Wave’ with a girl who was “under my skin and half my age,” to penitence for a friend’s passing in ‘Feasting On The Flowers’ - death also surfacing in the affecting ‘Goodbye Angels’ - Kiedis nimbly sidesteps any assumptions that sex dominates his brain, instead painting a spectrum of vivid shades. The intense and melancholic closing track, ‘Dreams Of A Samurai’, is especially complex in its naked emotions; is he the “perfect storm” of which he sings? He’s certainly aware of his own capriciousness, noting: “Clearly I’m a contradiction”.
The fluctuating musical hues are seductive - Chad Smith lays down some Bonham-like might in the funky ‘We Turn Red’; ‘Go Robot’ is pure ’80s, like a long-lost Knight Rider theme, with shimmering synths and syncopated handclaps; ‘This Ticonderoga’ is thunderous punk, with incredible bass runs courtesy of Flea’s nimble fingers. Even J Dilla gets a shout out in ‘Detroit’.
A band reborn? Possibly. Refined? Definitely. The brilliance of ‘The Getaway’ is in its subtleties, which define their most intimate and expressive album to date, and suggest that, after 32 years, the Chilis can still keep us guessing.
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Cloudfiles (2016) - является совместной работой двух австрийских музыкантов Simon "Philanthrope" Leinder и Fabian "Devaloop" Pfitzer, выпущенной сначала на кассетах(!). И это видно по нумерации.
С самого начала музыкальной карьеры в 2012-ом году и Simon, и Fabian всегда старались придерживаться классического old school'ьного звука, смешивая и добавляя джазовые семплы с ударными.
У них получился 24-х трековый релиз, из свежести и мягкости для любого вашего расслабона, будь то, рокс с вискрём, бокал красного или чего вы ещё желаете...
Релакс и умиротворение....
Philanthrope & Devaloop - Cloudfiles (2016)
13
06

И речь сейчас идёт не про неугомонного и часто мелькающего, Mr. Moods'a, засыпавшего нас своими релизами, и не про Potelin'a, как оказалось, почти такого же неугомонного, недавно здесь снова появившегося, и даже, не про интересный новый коллектив Noble Oak - несть им числа, а места может всем и не хватить. НО!
Нестандартный ход команды Moka Only в альбоме - I'm Delighted (2016) состоит в том, что композиции всей этой красоты крайне коротенькие, 1-1,5 минуты - но как это мастерски сделано! В эти коротыши вместилось практически всё! Moka Only сумел выразиться!
Мастерская работа.
Moka Only - I'm Delighted (2016)
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Лента комментариев
андрофаги, генетичні людожери. і це доведений науковий факт, не емоції. це є базис. надбудовою до цієї напівзвірячої суті є патологчні брехливість,
AnShot, Вже побачив, що ти потрапив
Кина, потрапив.!
AnShot, Не можу вставити сюди нове запрошення. У нашій групі у фейсбуці є посилання у постах, та де купа обкладинок з альбомами які були залиті у
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