novi albumi

[tomat]

Teengirl_Fantasy-Tracer-(RS1208D)-WEB-2012-WC2R

Sterling sophomore album from Teengirl Fantasy, confidently shaking off the
chillwave tag with a lush, proto-techno-pop-inspired suite for the legendary
R&S label. While the haze of their much loved 7AM album still glows softly in
the background, their tastes have evidently matured and diverged on Tracer,
seeking out more kinetic, body-sensitive strains of house and techno with a
wide-eyed new age wonder. Theyve got some help from talented guests this time,
too. Laurel Halo floats free in the sino-synth dream sequence of Mist Of Time
and Panda Bear soars over the concatenated dip and chrome swirl of Pyjama,
while Romanthony is reserved for the suitably epic, hands-in-the-air moments of
Do It, and Kelela belts out some R&B power moves on the jagged Linn drum funk
of EFX. Together with the filigree nuances of mandy (way better than molly)
rush tingles on opener Orbit, the mid-trip house melancholy of Vector Spray
and the plush pan pipe fantasy Inca, by all rights Tracer should be bigger
than its predecessor. Fans of Hyetal, Orbital, Actress, Laurel Halo need to
check it.

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http://fileover.net/72570510/Teengirl_Fantasy-Tracer-(RS1208D)-WEB-2012-WC2R.rar

[tomat]

Four_Tet-Pink-(TEXT018)-WEB-2012-WC2R

New album collecting the hitherto vinyl-only singles that Kieran Hebden has
released on his Text label in the last couple of years* This period of activity
from the London-based producer has marked a decisive move away from the woozy
electronica with which he made his name, towards more direct assaults on the
dancefloor, or at least so it seems - of course its not actually that simple.
Just listen to Locked, which despite its palpable dubstep influence has a
musicality and gentleness that wouldnt have sounded out of place on an album
like Rounds; yes, to his infinite credit, even Hebdens most club-focussed
productions are invested with his unmistakeable personality:.Lion teams
jacking, refreshingly unfussed-over drums with moody chord stabs and twinkling
Reich-funk vibes, while Jupiter combines rough-hewn, almost BoC-esque synth
melodies with choppy, Hessle Audio-style drum programming. 128 Harps is
galloping techno Four Tet-style, the percussive momentum opening up space for
the titular instrument to lavishly express itself, while Pyramid nods to
classic Chicago house. Tangerine Dream and Conrad Schnitzler would be intrigued
by fleet-footed ambient epic Peace For Earth. The at once slamming and
sensuous Pinnacles closes a set that will go down tremendously well with the
many Hebden-heads among you - this is really very strong material, make no
mistake.

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http://fileover.net/19809724/Four_Tet-Pink-(TEXT018)-WEB-2012-WC2R.rar

[Milosh]

The xx - Coexist

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http://uploaded.net/file/7vz3dtyj

[tomat]

Mark_Fell-Sentielle_Objectif_Actualite-2012-BCC

This recording contains [/color]7 remixes [/color]by[/color]MarkFell of the first three 12" singles
released on the record label SensateFocusin2012.These were called '10','5'and'3.3...'.The first of these,'10', was itself a reworking of
materials from an earlier project byFellandTerreThaemlitz, released on
ComatonseRecordingsin2012.The7
remixes were written and recorded inJune2012 at the UpperLounge,ChathamStreet(UK)using a MacBookPro running
DigitalPerformer, FM8 (featuring
manipulated DX100 and TX81Z presets),BatteryandRazor; monitored and mixed
withSennheiser HD 25 headphones.Here
hand claps are constructed from the
Roland TR707 clap, two copies of which
are detuned and panned hard left and
right,with an additional Yamaha RX11
Clap2 panned centrally; kick drums have
been constructed with the Roland TR707
Kick1 pitched up with bass content
attenuated, overdubbed with samples from
vinyl derived, it is assumed,from the
Roland TR909.Two hi hats are used: the
Yamaha RX11 ClosedHat1,and a sample
fromBassmentals'2DayeRevisit(KerriChandler remix)', released on NiteGrooves,1994.Recommended contextual
materials include:'CanYouFeelIt(DubbyDubMarcKinchen remix)'byChezDamier, released on KMS,1992;'HardToGet'byChooAbles, released on E-SA
records,1993.Additional DJ notes for playback
synchronisation:Track1 has a tempo of
137 beats per minute with a rhythmic
loop of 30 units each lasting 109.49
milliseconds.Track2,126 bpm with31
units each lasting 119.05ms.Track3,113 bpm with17 units each lasting
88.5ms.Track4,128 bpm with60 units
each lasting 117.19ms,with inserted
pauses of between 4and80 units.Track5,128 bpm with16 units each lasting
117.19ms.Track6,128 bpm with64 units
each lasting 117.19ms.Track7,125 bpm
with31 units each lasting 120ms.[/font][/color][/color][/size]

[/color][/font][/color][/size][/color]

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http://fileover.net/10738326/Mark_Fell-Sentielle_Objectif_Actualite-2012-BCC.rar

[Milosh]

Pet Shop Boys - Elysium

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http://uploaded.net/file/ez27sbnf

[Milosh]

Dinosaur Jr. - I Bet on Sky

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http://uploaded.net/file/1z3uz4lk

[Milosh]

Swans - The Seer



CD1

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http://uploaded.net/file/w3lzk5ib

CD2

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http://uploaded.net/file/g5y8m84h

[tomat]

Dr._Lonnie_Smith-The_Healer-(PCD001)-WEB-2012-dL

The first release for Pilgrimage Records, THE HEALER, is an exciting live document of the music that Doc's working trio (featuring guitarist Jonathan Kreisberg and drummer Jamire Williams) has been wowing audiences around the world with over the past couple of years.


Tracks 1, 2 & 6 Recorded June 22, 2011 at the Lamantin Jazz Festival, Hungary, by Laszlo Valik
Tracks 3, 4 & 5 recorded January 14, 2012 at The Jazz Standard, NYC, by Glen Forrest & Ian Hendrickson-Smith

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http://fileover.net/10185412/Dr._Lonnie_Smith-The_Healer-(PCD001)-WEB-2012-dL.rar

[Milosh]

Tilly And The Wall - Heavy Mood

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http://uploaded.net/file/4xmayly6


Stars - The North

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http://uploaded.net/file/nkfpciej


Juliana Hatfield - Juliana Hatfield (Covers Album)

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http://uploaded.net/file/olke6krk

[tomat]

VA_-_So_Click_Heels__A_DNS_Compilation-(CLICK1-CD)-2012-DRUM



malo neočekivano (bar za mene) izdanje za Downwards etiketu, ali interesantnije od njihovih uobičajenih uradaka. dakle, ne očekujte tehno

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http://fileover.net/88552042/VA_-_So_Click_Heels__A_DNS_Compilation-(CLICK1-CD)-2012-DRUM.rar

[tomat]

Can-The_Lost_Tapes-3CD-2012-DPS

Fifteen, twenty years ago, it would have been natural to respond
         to The Lost Tapes not just with astounded applause but with a
         rather lofty prescription: any group could learn a lot from close,
         repeated listening. Its still true, of course, but in 2012 it
         seems a bit out of touch. In many ways Can - whose name so clearly
         dates them to a time before the internet search - were not like
         us, sat here with conflicting histories of everything, isolated by
         choice and by the new demands of our miserable lives. Living and
         working together was the point; the strengths of five individuals
         merged to create something greater, something uncontainable.

         Its maybe a bit naïve to think that this ideal - the band as a
         cell, decrypting codes and forcing doors, not so much jamming as
         un-jamming - could be recaptured, here and now. These days, with
         the creation and, to a great extent, the consumption of music
         reflecting the conditions of late capitalism - atomisation, anomie
         - Cans collective action feels like a nagging dream, something
         drifting in from another time, from the long-forgotten fringes of
         the libertarian Left. The communal, the collective, the sense of
         musicians as cogs in a machine... its barely a factor in rock
         music now, let alone the avant-garde. Everyones too busy, or else
         intent on expressing their own worldview, their own confusion,
         their own longing for something beyond their own problems, their
         own self.

         It used to be different, like a lot of other things. From 1968 to
         1975, the period covered by The Lost Tapes, synergy between
         musicians was revered as popular musics basic source of power.
         This encouraged a certain snobbishness, of course, prioritising
         technique over content and giving a free pass to a great deal of
         rot - the loosening of entry requirements for pop, when it
         happened, was long overdue and quickly rewarded. But this is
         irrelevant to Can, who were always beyond the showy stuff, working
         as they were towards a somewhat higher goal. There was rarely room
         in their music for anything so crass as an extended solo; the
         explorations here were conducted as a team, each member dependent
         on the others. The subtlety and grace with which they avoided (or
         inverted) boredom on all those long trips out there and back is
         still unrivalled, the fluency and invention of their ensemble
         playing often uncanny. This much, lots of us know already - The
         Lost Tapes confirms it, over and over.

         Cans spontaneous, co-operative creativity hasnt been weakened by
         time or by anything else; the music here sounds somehow even more
         potent, having outlasted all the cultural currents which carried
         it in. It sounds almost revolutionary again. Something unburdened
         by the self, or by self-consciousness; free of the past and the
         present.

         Holger Czukay, somewhat professorial at the age of 30, joined
         Inner Space (the original name of the group formed by keyboard
         player Irmin Schmidt) on the understanding it would be a kind of
         art collective, a rather academic fusion of rock with the
         teachings of Karlheinz Stockhausen, he and Schmidts old teacher
         and mentor. In fact, from the sound of Millionenspiel, the
         opening track on this collection, Inner Space progressed very
         quickly to what would become the early Can sound (Millionenspiel
         is a psychedelicised Chantays on a surfin safari through medieval
         Europe and Jamaica in the 50s, far beyond the fumblings of the
         Prehistoric Future tape). Still, it was only when grainy-voiced
         Malcolm Mooney joined on vocals that Czukay grasped what could
         really be achieved. As he describes it in the sleeve notes to The
         Lost Tapes, "Stockhausen with a hell of a drive!"

         That drive was Cans trademark, powered not just by Mooneys
         aggression but by Michael Karolis tattoo-needle guitar style and
         (especially) the drumming of Jaki Liebezeit, in which the delicacy
         and invention of jazz was applied to a series of rigidly
         mechanised beats, a kind of percussive hypnosis driving the others
         forward without fear. In time, as Mooney was replaced by the
         ethereal Damo Suzuki, the drive became more of a glide, the sound
         spun out until it was almost translucent, but the band retained
         its eerie power: heavy when featherlight, direct when delirious.
         In the glow of Schloss Norvenich, their hidey-hole near Cologne
         (then later at Inner Space Studios, a refurbished cinema in nearby
         Weilerswist), Can spent hours and days and nights and sunrises and
         sunsets playing. Everything was recorded, although not everything
         survived, because of the cost of tape, and - according to Schmidt
         in the sleeve notes - because of Liebezeits insistence on
         constant forward movement: "Erase!" These three discs have been
         assembled from a pile of rediscovered masters, pulled from a
         cupboard after nearly forty years, and if theyd been recorded
         this morning theyd sound like they came from the future.

         Occasionally, the centre fails to hold and Can are pitched off in
         different directions: such is the price of freedom. Still, on
         those rare occasions where the music is slightly ragged, it
         remains relentlessly inventive. The single most jaw-dropping thing
         about Can was this unstoppable originality - what stands out most
         clearly here is that even at the point of exhaustion, where anyone
         else would fall back on shopworn blues riffs and keyboard-demo
         drum fills, Can were utterly incapable of cliché. And when all
         five members coalesce - which they do more often than not, more
         often than pretty much any other group who ever relied on
         improvisation and daring - the results are incomparable, sometimes
         indescribable.

         The Lost Tapes wouldnt be a good place to start, being
         essentially a sequence of snapshots; in that sense at least its
         clearly inferior to the self-contained worlds of Tago Mago, Ege
         Bamyasi and Future Days, the early-70s trilogy on which Cans
         reputation rests. But these are not just offcuts and outtakes -
         despite the inevitable incoherence which comes with any
         compilation, this is plainly superior to a fair few of Cans
         original albums, and here and there comes close to touching the
         tail of their very finest work. Almost nothing here is worthless,
         much of it is so good you could laugh out loud at the thought of
         sounding like this and then forgetting all about it for the best
         part of four decades. But Can were busy, doing something different
         in a different time; in many ways, they were not like us.

         In November 1968, a woman called Beate Klarsfeld climbed onto the
         podium at the conference of the Christian Democratic Union, West
         Germanys ruling party, and slapped the Chancellor, Kurt Georg
         Kiesinger, screaming "Kiesinger - Nazi! Stand down!" (It later
         transpired that she was in the pay of the East Germans, but its
         doubtful this fact would have put off many young firebrands at the
         time.) The swell of radical thought in the West that year took a
         slightly different shape in different countries, and in West
         German cities the mood was especially fractious and politicised.
         Kiesinger, formerly a NSDAP propagandist, was only the most
         visible link between the countrys new establishment and the
         horrors of the recent past.

         The de-Nazification of West Germany after World War Two was an
         almost impossible task handled badly. Plenty from the German
         professional classes had something in their history which didnt
         look good; some (most famously Wernher Von Braun, developer of the
         V-2 rocket turned architect of the US space program) were poached
         by the Allies for their expertise. Others - pen-pushers,
         bureaucrats, torturers - remained in the system providing
         continuity for the Bundesrepublik. For several decades ex-Nazis
         held positions of power at every level of German society: federal
         and local government, the police, the judiciary, the intelligence
         service, the civil service, the media, the church. The foreign
         ministry provided protection for former party officials, advising
         on and assisting with travel and any associated legal issues. At
         one point two thirds of the BKA, the Federal Criminal Police
         Office, were ex-members of the SS Totenkopf. The BND -
         Bundesnachrichtendienst, the West German secret service - was also
         riddled with SS veterans, and for years seemed disproportionately
         concerned with the surveillance and occasional harassment of
         German leftists and "pacifists". Generally, there was quiet
         acceptance that not much more could be done, and besides, a few
         old fascists could be useful weapons in a Cold War against
         Communism. A younger generation of Germans - Cans generation,
         born just before, just after or during the Second World War - were
         inclined to disagree. In 1967, a student protest against a state
         visit by the Shah of Iran was put down with such enthusiasm, a
         young man was shot through the head at point-blank range by the
         police, and instantly the battle was on.

         Its hardly surprising that the radicalism of West German youth in
         the 60s and 70s went beyond the waving of placards and sit-ins in
         the college canteen. Its seriousness, in fact, could reach
         ludicrous extremes: a poll revealed that a quarter of Germans
         sympathised with the murderous inanity of Andreas Baaders Red
         Army Faction. Crossover between this idealistic unrest and the
         extreme German music of the time was sometimes pretty direct -
         Baader-Meinhof fugitives hiding out at Amon Düüls place (much to
         the bands dismay, in fairness) - and sometimes a little more
         subtle. The music of Can was never explicitly political, but it
         was always radical. A synthesis of Stockhausen, Sly & The Family
         Stone, Sister Ray and Ornette Coleman would be musically
         incendiary at any time, but in these times it was more than that.
         Cans aesthetic choices may have been instinctive, but they
         werent coincidental: they were drawn to African rhythms, to the
         music of Eastern European gypsies, to non-hierarchical systems,
         personally and musically (crucial to their sound was the abuse of
         those strict tonal relationships enforced by the Third Reichs
         cultural guardians). They were, in Nazi parlance, Entartete Musik
         - degenerate music - taken almost to its limit. This was not
         necessarily a deliberate choice on their part. But with that
         mindset, in that country, at that point in history, there was no
         choice.

         Progressive rock in Britain reflected a kind of aspirational
         complacency: trying to escape a three-chord trap, these generally
         well-brought-up musicians reached for the classical forms in which
         so many of them had been schooled. Fundamentally snobbish and
         bourgeois, this approach was poison to the new German bands, the
         kind of thinking from which they felt compelled to take rapid,
         immediate flight. The so-called Krautrock groups, even as they
         pushed at the limits of what rock could do (or what it could be),
         were drawn to precisely the elements of this music the Brit-
         proggers sought to purge: the inarticulacy, the mantric
         repetition, the grunginess, the extraneous noise. In Cans case,
         this sat well with an avant-garde aesthetic which couldnt have
         been more clearly opposed to the fetishisation of formal
         "perfection". Whats more, they understood the potential
         significance of sound, its psychological sway, its strange
         capacity for subversion.

         "Television is immensely interested in the political opinions of
         beat musicians, because they cant talk," a smirking Irmin Schmidt
         informed a German TV crew in 1971. "TV is not at all interested in
         the political opinions of people who also want socialism and a
         more human society, [and] can spell it out. I am insecure, I know
         much too little... so television, being gloriously critical of
         society, can take me as an example. So that it can preach: look,
         they do not know what they want! [A little] bit of the revolution
         we want is included in the music, but you can destroy this when
         you manipulate the musicians in such a way that they are forced to
         interpret their music with words..."

         Jaki Liebezeit was playful when he suggested that Can could be an
         acronym for communism, anarchism, nihilism, but it wasnt supposed
         to be a joke. This is a side to Can which is often forgotten, but
         they were as much oppositional as anything else, an extreme
         reaction to their own past and present. Theres no other way to
         make sense of them; the unity, the exquisite restlessness, the way
         they work so very hard to transcend time and place. Cans
         relationship to the mood of post-war Germany is more than a
         footnote. It doesnt define them, but does provide a context
         within which theyre easier to understand, and harder to reduce.
         This was "alternative" music, not (just) in the sense of consumer
         choice; a demonstration of a different way of living, an
         impression of freedom. Way out, as a way out.

         The Lost Tapes is incredible, of course, but inevitably its not
         all great. A few of these tracks, like the live (and very long)
         Abra Cada Braxas, feature a lot of the shrieking and rumbling
         into which Can would sometimes descend when things werent really
         working out; despite its marvellous title, Networks Of Foam is
         an uncharacteristically lazy lollop into the middle of nowhere,
         Irmin Schmidts homage to Chick Corea let down by a meandering
         Karoli (finally, Schmidt gives in and just starts slamming his
         elbows down on the keys). Its not the musical form thats the
         problem - another live piece where they let it all hang out,
         Godzilla Fragment, sounds authentically crazed - its the form
         of the musicians. It would have been slightly creepy if Can had
         not had the occasional off-day, but be prepared: a couple are
         recorded for posterity here.

         While this is indeed three-and-a-quarter hours of unheard Can, in
         a way it kind of isnt, as many of these tracks are warm-ups or
         dry runs for some of the groups best-known recordings. A Swan Is
         Born is the pencil sketch for Ege Bamyasis Sing Swan Song;
         Desert is an early try-out of Soul Desert from Soundtracks;
         On The Way To Mother Sky is, perhaps unsurprisingly, a bash at
         the instrumental sections of Mother Sky (though there was still
         some way to go).

         The lengthy Dead Pigeon Suite - assembled from the soundtrack to
         a TV movie called Tote Taube In Der Beethovenstrasse; Dead Pigeon
         In Beethoven Street - is clearly the best of these works-in-
         progress. Groping towards Vitamin C (arguably the most compact
         and clinical Can tune, the track on which their experimentation is
         at its most economical), Dead Pigeon Suite is sprawling and
         open-plan, a sequence of variations spliced together and offered
         up like a sketchbook. Its almost a shame to be shown the workings
         - deep down, I think, wed all like to believe that Can just
         played for nine hours one day, and somewhere in there was Vitamin
         C - and yet as Damo Suzuki finds his bearings ("Hey!" he yells at
         7:09; "youre losing!" at 7:18; "hey you!" at 8:17, and so on)
         its impossible not to be drawn in. The band are still searching
         for the groove, as Liebezeit drums his limbs off and the others
         approach the track from every conceivable angle, and others
         besides. The keyboard break appears first as a spooky introduction
         on Damos penny whistle, then again towards the end as an even
         spookier organ piece, Smile set in Mitteleuropa. But while Dead
         Pigeon Suite is fascinating and at times almost painfully
         brilliant, its still a (slightly) inferior version of something
         we already knew - too much of this and The Lost Tapes would have
         gone down the same road as The Beatles Anthology, a curio, to be
         played increasingly rarely as the novelty wore off.

         Most of this stuff, though, is brand new even to Can collectors
         and sounds implausibly, miraculously fresh. The tracks with
         Malcolm Mooney date from both before and after Monster Movie (the
         one LP on which he appears) and provide a broader view of what Can
         were up to at the very beginning. Waiting For The Streetcar, the
         best example here of that early, explicitly garagey Can, is a
         definite progression from the first album, fantastically delicate,
         fluid and brutal. A couple of these early shots are no more than
         "interesting" (barely that, in the case of the painfully stoned
         True Story and the literally piss-taking The Agreement, a
         field recording from a lavatory) but theres plenty of Mooney
         material here which dwarfs Delay 1968, the earlier trawl through
         Cans 60s archive. When Darkness Comes, one of their last
         recordings together, sounds like Tim Buckleys Starsailor with
         the smack drained from its veins, and offers a clue to how Can
         might have sounded in the 70s with their original line-up (the
         answer is "not quite as good", which makes it easier to enjoy).
         The best bit is right at the end: Mooneys head begins to clear
         and he launches into some basic R&B chanting, Schmidt underlines
         it with a mangled chord, and the whole thing stops abruptly at the
         very moment its fallen together.

         The Can sound expanded slowly, from the infinite density of
         Monster Movie to the wide open spaces of Future Days and the
         underrated Soon Over Babaluma, finally reaching heat death at an
         unspecified point in the late 1970s, by which time The Lost Tapes
         is over (theres one track from 1975, but nothing at all from
         later than that). Inevitably, most of the action came in that
         early-mid period, during which Can were possibly the most exciting
         group on Earth. On the fabulous seventeen-minute Graublau, short
         wave radio samples weave through a roughly-edited jam which has
         Can at their most obviously "Krautrocky" - it sounds like it dates
         from some time in 1970, between Soundtracks and Tago Mago - and
         their most effortlessly inspired. Messrs Scissors, Fork And
         Light cuts together contributions to the soundtrack of Das
         Messer, another Can-scored polizei drama, and shivers exquisitely
         (with bits of Spoon stirred in) while Liebezeit tries to channel
         the percussive power of a West African village. A live version of
         Spoon does away with the records twilit larking, setting the
         controls to "up" and then accelerating for seventeen minutes.
         Equally bold is another live recording, in which Can strip the
         sullen Mushroom down to an ominous chug and lash at it with
         squeals from Karolis guitar, until the tension is broken with a
         scream from the synths and a sudden collapse; its frighteningly
         good. These are the moments where what Can "lost" in a cupboard
         sounds most beautifully like what most of us lost when we learned
         to speak.

         In between are a number of minor tracks, highlighting the
         endlessly-curious eclecticism which kept Can six steps ahead.
         These range from the entirely abstract (Blind Mirror Surf,
         Evening All Day) to snippets of ambient dislocated folk
         (Private Nocturnal, Obscura Primavera), serrated Teutonic funk
         (Bubble Rap, Midnight Sky) and even, on The Loop, a stunted
         and shivering Chicago blues. These odd diversions and little
         tossed pebbles were always a part of Can, and while none of these
         tracks are shattering, it wouldnt be the same without them.

         And whatever reservations can be rustled up in the name of
         objectivity or whatever, ultimately this is just... amazing. The
         Lost Tapes is in no way comparable to previous authorised doggy
         bags like Delay 1968 or Unlimited Edition. This is something else
         entirely - Can at their peak, indomitable.

         And so, that lofty prescription, then: any group could learn a lot
         from close, repeated listening. Its still true, I think, but...
         well, thats it. Its still true. Isnt it? Now more than ever.

         Trying to copy Can is irredeemably stupid, of course, unless you
         happen to have been trained up by a giant of the avant-garde, and
         have access to the greatest drummer in the history of popular
         music (anyone else intending to try should change the name of
         their band to Cant). People still talk about Can a lot, or steal
         a riff, or steal a beat, but whats worth taking is under the
         surface. The courage, the constant communication, the idea of the
         band as a cell; the countless possibilities suggested by Can in
         those five, six, seven years are still there ready to be used, and
         will bring light and space and something indefinable to any music
         brave enough to use them.

         Anyone, in fact, could learn a lot from this; anyone caught in a
         present defined by atomisation and anomie. You only have to
         listen. The beauty and strength of The Lost Tapes is a reminder of
         that unused alternative, something drifting in from another time,
         a glimpse of what we could really achieve by living and working
         together.
         --http://thequietus.com/articles/09079-can-the-lost-tapes-review

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http://fileover.net/71488802/Can-The_Lost_Tapes-3CD-2012-DPS.part1.rar
http://fileover.net/90358968/Can-The_Lost_Tapes-3CD-2012-DPS.part2.rar

[tomat]

VA-Julian_Copes_Copendium-3CD-Ltd.Ed.-2012-DPS

The hardbound Limited Edition of 250 version of Julian Copes
         Copendium comes with the three discs ripped herein.

         Julian Copes Copendium is his re-imagining of a useful canon of
         popular music, which is set to become required reading. Its
         available initially in a limited and highly collectable edition
         (see below) - with a standard edition due in November 2012.

         Copendium comprises a collection of album reviews and themed track
         samplers that lay out an alternative history of the last six
         decades of popular music, written by the visionary musician,
         antiquarian and musicologist. The result is a feast of obscure and
         neglected masterworks; Krautrock, motorik and post-punk, stoner
         and doom metal, occasionally even jazz, spoken word and hair
         metal.

         Julian Cope is the perfect guide to this novel terrain: impeccably
         informed, passionate, insightful and deeply funny.
         --http://www.faber.co.uk/work/copendium/9780571281930/
         (you may still be able to purchase the hardbound version from
         faber)



         p l a y l i s t



                   CD1                                                                                            ..
                                                                                                                                ..
         01     Lord Buckley - Supermarket                                              03:48
         02     Pärson Sound - Tio Minuter                                              10:32
         03     Blue Cheer - Feathers From Your Tree                      03:37
         04     A.R Machines - Invitation                                                01:05
         05     A.R Machines - To New Adventures                                  04:25
         06     A.R Machines - In The Magic Forest Of 7 Senses  01:14
         07     A.R Machines - In The Labyrinth Of The Mind        03:26
         08     A.R Machines - At The Waltz Of The Inclinations   01:56
         09     A.R Machines - Under The Black-Green-Red Banner   06:49
         10     A.R Machines - International Anthem                        01:54
         11     Cold Sun - Fall                                                            07:17
         12     Armand Schaubroeck - King Of The Streets                  03:39
         13     Mirrors - All My Life                                                    03:58
         14     Sand - Helicopter                                                                13:48
         15     Simply Saucer - Electro Rock                                      04:21
         16     Electric Eels - Tidal Wave                                              02:28
         17     Chrome - TV As Eyes                                                        02:20
                                                                                                                                ..
                   CD2                                                                                            ..
                                                                                                                                ..
         01     Monoshock - Crypto-Zoological Disaster                  08:36
         02     VON LMO - Mass Destruction                                              09:50
         03     Tight Bros From Way Back - Hurricane                     02:19
         04     Thrones - Oso Malo                                                              04:35
         05     Sunburned Hand of the Man - Jaybird                        17:01
         06     Vibracathedral Orchestra - Baptism.Bar.Blues      14:21
         07     Comets on Fire - Return to Heaven                                06:37
         08     The New Lou Reeds - Stranded in Ashland            03:09
                                                                                                                                ..
                   CD3                                                                                            ..
                                                                                                                                ..
         01     Haare - The Temple                                                              20:08
         02     The Vincent Black Shadow - Child Of Orion                02:55
         03     Orthodox - Geryons Throne                                               27:36
         04     Crow Tongue , Ghost Eye Gaze - Ghost Eye See      05:21
         05     Matt Baldwin - Weissensee                                                10:46
         06     Gunslingers - Lighter Slinger Festival                  12:49

                                                                                                                         222:40 min

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http://fileover.net/30768025/VA-Julian_Copes_Copendium-3CD-Ltd.Ed.-2012-DPS.part1.rar
http://fileover.net/32994109/VA-Julian_Copes_Copendium-3CD-Ltd.Ed.-2012-DPS.part2.rar
http://fileover.net/11770925/VA-Julian_Copes_Copendium-3CD-Ltd.Ed.-2012-DPS.part3.rar

[tomat]

DJ_Shadow-Total_Breakdown_Hidden_Transmissions_From_The_MPC_Era_1992-1996-2012-FTD

DJ Shadows "Total Breakdown: Hidden Transmissions From The       ÛÛ°
          MPC Era, 1992-1996" contains entirely unreleased material              ÛÛ
          spanning from 1992 to 1996, in other words after the "4-                ÛÛ
          Track Era" and just before "Endtroducing." Includes his                  ÛÛ
          experimentations on the Akai MPC and instrumental tracks                ÛÛ
          from the never-released 1994 EP with Gift Of Gab, which                  ÛÛ
          includes the original demo of what would eventually become            ÛÛ
          "Six Days."

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http://fileover.net/53864572/DJ_Shadow-Total_Breakdown_Hidden_Transmissions_From_The_MPC_Era_1992-1996-2012-FTD.rar

[HAL]

Нисам пар недеља скидао, ал се накупило. Обиман домаћи задатак, зајваљујем Томате и Милоше 

[Milosh]

Evo ga napokon i završni deo 777 trilogije!


Blut Aus Nord - 777 Cosmosophy

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http://uploaded.net/file/m81uf5a5

[Barbarin]

Odličn cover.

[Milosh]

The Raveonettes - Observator

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http://uploaded.net/file/1mj7v2j8

[Father Jape]

Nisam znao da Milosh sluša black metal. 

A ja se malo ovih dana edukujem u tim pravcima, pa ću baš i ovo da poslušam...

[Milosh]

Nisam znao da Milosh sluša black metal.

Poslednje dve godine otprilike, a pre toga gotovo da nisam slušao bilo kakav metal, pa ti vidi...

[Ghoul]

miloš je ušo u crnu fazu...

inače, meni su samo poslednja 3 albuma od ovih Blut Aus Nord slušljiva, s tim što mi je najnoviji i najbolji, a poslednja pjesmica je naročito zarazna.
krajnje jednostavna, praktično jedan dugački loop sa malo varijacija, ali - prija!

[Meho Krljic]

Da, ovaj najnoviji je najrealizovanija ta njihova vizija šugejzerskog, industrijalizovanog blek metala. Mada  ja i na njemu počesto imam utisak da idu na efekat (na primer ona sa recitacijom na Francuskom) više nego na, da kažem, kompoziciju samu, ali ovo je svakako njihovo meni najslušljivije izdanje. prethodni je bio pristojan a ono ranije je za mene tek kuriozitet. 

[tomat]

The_Gaslamp_Killer--Breakthrough-(BFDNL033)-WEB-2012-OMA

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http://fileover.net/61422420/The_Gaslamp_Killer--Breakthrough-(BFDNL033)-WEB-2012-OMA.rar

[tomat]

Chick_Corea-With_Eddie_Gomez_and_Paul_Motian-Further_Explorations-2CD-PROPER-2012-SNOOK

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http://fileover.net/22029201/Chick_Corea-With_Eddie_Gomez_and_Paul_Motian-Further_Explorations-2CD-PROPER-2012-SNOOK.part1.rar
http://fileover.net/62321060/Chick_Corea-With_Eddie_Gomez_and_Paul_Motian-Further_Explorations-2CD-PROPER-2012-SNOOK.part2.rar

[zakk]

Devin Townsend Project - Epicloud (Deluxe Edition)

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http://thepiratebay.se/torrent/7613212/Devin_Townsend_Project_-_Epicloud_%28Deluxe_Edition%29

Disc 1
No.    Title    Length    
1.    "Effervescent!"  0:44
2.    "True North"  3:53
3.    "Lucky Animals"  3:21
4.    "Liberation"  3:21
5.    "Where We Belong"  4:27
6.    "Save Our Now"  4:08
7.    "Kingdom"  5:29
8.    "Divine"  3:17
9.    "Grace"  6:09
10.    "More!"  4:05
11.    "Lessons"  1:07
12.    "Hold On"  3:57
13.    "Angel"  5:54
14.    "Epicloud" (vinyl bonus track)  6:07
Total length: 55:59    


Disc 2
Second disc is included in the album's deluxe edition, limited to 5,000 copies.
No.    Title    Length    
1.    "Believe" (demo)    4:05
2.    "Happy Birthday" (demo)    4:36
3.    "Quietus" (demo)    5:34
4.    "Heatwave" (demo)    3:36
5.    "Love Tonight" (demo)    4:49
6.    "The Mind WASP" (demo)    4:40
7.    "Woah No!" (demo)    4:11
8.    "Love and Marriage" (demo)    4:02
9.    "Socialization" (demo)    7:18
10.    "Little Pig" (demo)    4:53
Total length:   47:44


EPICLOUD TRACKS


Devin Townsend Project - Epicloud - Full Album

[zakk]

Steve Vai - The Story Of Light (2012)

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http://thepiratebay.se/torrent/7533015/Steve_Vai_-_The_Story_Of_Light_%282012%29_%5Bmp3_320%5D

The Story Of Light [06:15]
Velorum [06:09]
John The Revelator [03:40]
Book Of The Seven Selas [03:56]
Creamsicle Sunset [03:30]
Gravity Storm [05:33]
Mullach A'tSi [03:57]
The Moon And I [07:18]
Weeping China Doll [06:11]
Racing The World [03:45]
No More Amsterdam [04:16]
Sunshine Electric Raindrops [04:16]

ima... momenata

Steve Vai - John the Revelator (The Story Of Light - 2012)

Steve Vai - Book of the Seven Seals (The Story Of Light 2012)

[Milosh]

Autumn's Grey Solace - Divinian

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http://uploaded.net/file/hlk8iovd

[tomat]

Robert_Hood--Motor_Nighttime_World_3-(MMCD038)-WEB-2012-SiBERiA

pravo iz Detroita, obavezno overiti.

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http://fileover.net/76459177/Robert_Hood--Motor_Nighttime_World_3-(MMCD038)-WEB-2012-SiBERiA.rar

[raindelay]

Opaaa...Svedski psychedelic voodoo funk seljaci konacno izdali album:

Imagine Amon Düül, Electric Wizard and Roy Ayers collaborating in a ganja-wreathed 70s summer Harlem brownstone on a lost soundtrack to a Kenneth Anger film. 

Goat
WORLD MUSIC

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http://narod.ru/disk/59668102001.9dad26133859a63c96646081e749d7bb/Goat_-_World_Music.zip.html

Goat-Goathead

Goat-Goatman

[Father Jape]

http://www.balkanrock.com/index.php/vesti/novi-albumi/7071-straight-mickey-and-the-boyz-uzivo-u-digimediji

[Agota]

http://isohunt.com/torrent_details/414529937/mumford+%26+sons?tab=summary

http://www.theatlantic.com/entertainment/archive/2012/09/the-bittersweet-new-maturity-of-mumford-sons/262794/


Press my nose up to the glass around your heart.
I should have known I was weaker from the start.
You'll build your walls and I'll play my bloody part.
Mumford & Sons - Babel

[zakk]

Dobar ovaj Goat.

[Milosh]

Enslaved - RIITIIR

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http://uploaded.net/file/2j5v7egs

[Milosh]

Muse - The 2nd Law

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http://uploaded.net/file/g42kttsa

[Milosh]

Dordeduh - Dar De Duh

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http://uploaded.net/file/v4mfu6po


Odličan album! Ko je voleo Om od Negure Bunget, Dar De Duh zvuči kao direktan nastavak (što i nije čudo obzirom da bend čine bivši članovi Negure...)

[tomat]

Kid606--Lost_In_The_Game-(MEOW190)-WEB-2012-SiBERiA

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http://fileover.net/11169645/Kid606--Lost_In_The_Game-(MEOW190)-WEB-2012-SiBERiA.rar

[zakk]

Dordeduh - Dar De Duh

Hvala!

[Meho Krljic]

Kid 606 je i dalje u melanholičnom raspoloženju. Neka, neka, nek vidi kako je nama.

[tomat]

Grinderman-Grinderman_2_RMX-2012-SO

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http://www.terabit.to/cu97e7caf7rq/GG2R2S.rar.html#.UGq_b5jMiNA

pass

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sound-load

[Milosh]

Godspeed You! Black Emperor - 'Allelujah! Don't Bend! Ascend!

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http://uploaded.net/file/ezvr1qsx

[Meho Krljic]

Auh, prva pesma na GY!BE se zove "Mladic". Sad slušam da vidim da li će da se čuje "Ratko".

[zakk]

Heh, solo album Stiva Harisa!

http://www.steveharrisbritishlion.com/




01. This Is My God
02. Lost Worlds
03. Karma Killer
04. Us Against The World
05. The Chosen Ones
06. A World Without Heaven
07. Judas
08. Eyes Of The Young
09. These Are The Hands
10. The Lesson

Line-up:
- Steve Harris / bass
- Richard Taylor / vocals
- David Hawkins / guitar
- Graham Leslie / guitar
- Simon Dawson / drums

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http://garnett00.rusfolder.net/files/32757490
http://hammerland.rusfolder.net/files/32768329

This is My God on Vimeo

[zakk]

Artist: Nadja
Album: Dagdrøm
Style:  Drone Doom
Bitrate:  192 kbps
Size: 65 mb

Tracklist:
01. One Sense Alone
02. Falling Out Of Your Head
03. Dagdrøm
04. Space Time & Absence

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http://turbobit.net/34h1wvdkr306.html
http://rapidgator.net/file/48920959
http://garnett00.rusfolder.net/files/32994397

[sodomizer]

dobar je Harris, mirnije zvuci i nema nikakve veze sa Maiden zaostavstinom. to mi je i prijalo, album je pomalo melanholican, ali vidi se da je udahnuo sebe u isti, tako da stoji nezavisno, kao jedan redak kvalitet u danasnjem moru hiperprodukcije. ne kazem da ce prijati svakom, doduse.

[Milosh]

Tamaryn – Tender New Signs

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http://uploaded.net/file/cezvzgt5

[Milosh]

Bat For Lashes - The Haunted Man

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http://uploaded.net/file/h263ah09

[tomat]

Bat For Lashes - The Haunted Man

prethodni je bio zanimljiv, mogao bi i ovaj biti.

[Agota]

... malo zanimljivosti vezanih za cover
Photoed by Ryan McGinley, it recreates this also-sexy photo


http://www.chartattack.com/features/2012/10/11/15-controversial-nsfw-album-covers/

[tomat]

Submotion_Orchestra-Fragments-(EXLPCD1201)-CD-2012-hM

Submotion Orchestra is a live 8-piece project from Leeds,
incorporating deep bass-driven grooves and dense textures in their
progressive live dubstep sound.

Leaving crowds inspired and often open-mouthed in their wake, this
is not live dubstep to be taken lightly. The members have all cut
their teeth on live dub, funk, reggae, jazz and even grime bands
previously, so are no strangers to complex rhythm or rootical bass.
Having been formed in early 2009 as an experimental live project,
the band have quickly established themselves as one of the most
exciting up-and-coming acts this year.

Expect to hear blissful tones and weighty sub-bass, interwoven
with tight rhythmic intensity from this incredibly talented
outfit.

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http://fileover.net/17764047/Submotion_Orchestra-Fragments-(EXLPCD1201)-CD-2012-hM.rar

[Barbarin]

Parkway Drive 'Atlas' Full Album Stream

[Alex]

Diana Krall - Glad Rag Doll (2012)

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https://rapidshare.com/files/992123834/krasaviza.rar