Felt Mountain is the debut album by English electronic duo Goldfrapp. It was released in the United Kingdom on 11 September 2000 by Mute Records. The album takes influence from a variety of music styles such as 1960s pop, cabaret, folk and electronica
Copyright to Label Mute Records
Producer Alison Goldfrapp, Will Gregory
Опубликовано: 31 дек. 2014 г.Full EP 2014
Purchase here: http://www.adnoiseam.net/store/igorrr...
I don't own any of this music, go check out both musicians though, their both brilliant.
Yahel- See You On The Dance Floor (Free Mix Jan 2015)
Опубликовано: 7 янв. 2015 г.After 14 years of producing 11 artist albums, 3 mixing CDs ,releasing dozens of vinyls, reaching to number 28 on DJMag competition,Yahel has established himself as one of the most popular and talented producers/Dj's to have come from the Israeli electronic scene.
Yahel performs around the world with his unique style. He is well known for tracks: «Voyage», " Intelligent life", «For the people », and oriental tracks like «Soul» & «Inta omri ». He has found success with major labels like Sony/BMG. His music played by Tiesto, PVD, Armin Van Buuren, Ferry Corsten and recently discovered by the huge Dj Paul Oakenfold.
«I'm very excited to hear that Paul connects to my new style. I always wanted to work with him! For more then 20 years I'm very influenced by the music he plays ».
Nowadays ,Yahel's favorite new style is Progressive-Psy trance, which is hitting up the clubs around the world. He has collaborated with a new and talented musician, Singer/Songwriter by the name of Liya which gives more dark atmosphere to Yahel's tracks.
Their new track «Creatures» has been signed at the well known label of Perfecto Records and together they keep on working intensely to bring the crowd the best in trance music...Yahel mixes ***FREE DOWNLOAD*** Enjoy
Опубликовано: 21 окт. 2013 г.~| no copyright infringement intended! |~
via NPR -
Over the course of 15 years, Tim Hecker's experimental electronic compositions have intensified like oceans. While few contemplated their soothing, unfathomable waves, the observant noted rising temperatures, torment and microcosmic disturbances that truly told of awesome powers. But with Virgins, Hecker may have reached his point of no return, a piece of such force and clarity that even the indifferent should tape up the windows.
From the opening seconds of «Prism,» Hecker heralds a change. His layered drones, incidental percussion and piano motifs, long submerged in deep chasms of noise, echo and static, are now exposed and glinting. «Prism» hurtles inexorably upward, piercing and shattering through sound barriers before the rest of the album bursts into fragments, then dust, then mist, almost as if Hecker himself is exploding from the murky beneath. Not only do you hear distinct notes and instruments; you also sense the room in which they were played and the people who played them. What had always been vaguely melancholy, solitary and dreamlike is now harrowingly vivid, visceral and real, yet no less mesmerizing.
On the surface, Hecker reinvents himself, but he also re-frames what he's done before. Compare Virgins' «Black Refractions» to «Borderlands,» from 2009's An Imaginary Country. Technically, they couldn't sound any different. The former sets a stunningly simple, repetitive piano melody atop distant but definite brushes, while the latter is a reverberating sound bath. But the underlying component remains the same: a beautiful, indelible melody. The comparison invites listeners to search back through these songs, to listen for what now seems obvious.
For the first time in his career, Hecker recorded his compositions with live ensembles and mixed these sessions with composer Valgeir Sigurðsson, whose engineering and producing credits include fellow Icelanders Björk and Sigur Rós. For an artist who recently referred to his process as «a kind of continual transformation,» the effect of Hecker's new way of working feels startling and revelatory. An artist many critics and fans assumed would simply continue to refine his signature sound has instead shed its most defining characteristics. The transformation is complete; this is a new being.
It is an artist's boldest move, to reject his established style, especially when his audience is relatively small yet devoted. It's as if Richard Serra demolished one of Gehry's shimmering civic trophies and built a rural mega-spiral from its scraps. Sharp, blinding, somewhat confusing, wholly fascinating and most definitely meaningful — but would his biggest fans long for the age of rust? For Virgins' listeners, the proposition is simpler: Hit play and forget what you know.
Disclaimer — This video is for Entertainment Purposes only. I do not own this, Copyrights go to the Original Owners.
«Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for „fair use“ for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.»
I must state that in NO way, shape or form am I intending to infringe rights of the copyright holder. Content used is strictly for research/reviewing purposes and to help educate. All under the Fair Use law.
Rendezte — Rónai Domonkos
Fényképezte — Szilágyi Fanni
Gyártásvezető — Reich Ida
Kamera assist. — Szilágyi Gábor
Grafika — Erdei András
Látvány — Tasnádi Zsófia
Fahrt — Benkó Tamás
Smink — Véger Fibi
Ruha — Sármán Nóra
Haj — Herdlein Péter, Detti
Werk fotó — Kárász Karolina
Catering — Kovács Nikolett
Szereplők:
Szalay Ákosné
Kiss Orsolya
Baloghné Székely Tünde
Dóczé Péter
Garádi Gréta
Szalay Henrietta
Hujber Szabolcs
Hujber Lívia Gabriella
Bognár Gergely
Miklósfalvi Júlia
Kruppa Nóra
Kuppa Gergely
Nagy Viktória
Mezei Réka
Nagy Gréta
Nagy Szilvia Virág
Gordos Zsuzsanna
Golyán Eszter
Horváth Tamás László
Horváth Tamás Lászlóné
Külön hatalmas köszönet :
Benke Éva, Szilágyi Ferenc, ifj.Szilágyi Ferenc, Bánáti Vanda, Zsólyomi Norbert, Aquamarina Hotel.
Опубликовано: 28 мар. 2012 г.Der Zett halt wie wir Ihn kennen… :) Vorallem das fette, kleine, verzogene Dreckskind, welches als Intro benutzt wird, dürfte ja mittlerweile jeder kennen.
«Ich will Unreal Tournament spielen!!» Ich finds herrlich!
