Tracklist:
1) Windows
2) Ugly Duckling
3) Start Again Feat. Chimpo
4) Schlager
4.5) Running
5) Paragov
6) Open Your Eyes
7) Notting Hill
8) Leave Me
9) Into The Groove
10) Half Full (Original Mix)
11) Dema Beats
12) Cully Bridge
13) Blazin
14) Big Bang
15) Beat Goes On
16) Always Lovin You
17) All The Days
18) Acid Hands
19) Zombie Life (Original Mix)
20) Wilderness
21) What To Do In These Times (Original Mix)
We do not own the rights to the music in this video. It is here for promotional use only. We ALWAYS give credit to the performing artists/producers by linking them here. If you have a problem with the upload please contact us through YouTube. ✖ Subscribe: http://bit.ly/1aJSI71 Store: http://www.foreignsounds.spreadshirt....
Tokyo Prose Feat. Christoph El Truento — 16 Bar Cycles (SAMURAI)
Bop Feat. Elsa Esmerelda — Lucid Dreaming (MED SCHOOL)
Greg Packer & Danny Rhodes — Broken Soul (INTERPHASE)
Subsid — So Strong (SOUL DEEP)
Lenzman Ft. Riya — Open Page (METALHEADZ)
Al Pack — Cool Breeze (FUNKSTUFF)
Youngen — Along the Waves (FREE)
Aaliyah — Rock The Boat (Glen E.Ston Remix) (FREE)
Paul T & Edward Oberon — I Think About You (TILT)
DJ Marky & XRS Feat. Vikter Duplaix — Moments of Lust (INNERGROUND)
Lenzman — Lazy Dub (METALHEADZ)
Submorphics — Pacific Heights (FREE)
Submorphics — Higher Ground (Feat. T.R.A.C.) (LIQUID V)
Paul T & Edward Oberon — Trust Me (LIQUID V)
Loz Contreras — Sienta (DIGITAL BLUS)
Command Strange — Summertime (ANTILLECTUAL BEATS)
DJ Marky & XRS — Misto Quente VIP (INNERGROUND)
Utah Jazz — Roll That Blues (Ft. MC Fava) (SPEARHEAD)
Bachelors Of Science — Cant Let Go (CODE)
Logistics — Wanderlust (HOSPITAL)
Subsid — Those Tears (LIQUID COLOURS)
Utah Jazz — You Walked Away (ft. Hannah Eve) (SPEARHEAD)
Опубликовано: 24 мая 2015 г.1. Crazy Riddim by Diamond Geezer
2. Massive by Capone
3. Resolution by Keaton & Hive
4. Krush by Hive
5. Light Years by Dillinja
6. Empty Rooms by Outrage
7. Dance All Night (Calyx Remix) by Dom & Roland
8. Food For Thought by Break
9. Just So You Know by Dom & Roland
10.2097 by Dom & Roland
11.Metaphor (Kryptic Minds & Leon Switch Remix) by Dylan
12.Man Down by Photek, Technical Itch, Teebee
13.Raptor by Dom & Roland
14.The Raven by Ed Rush
15.Headz Up by Break
16.Surreal Killer by Hive
17.Long Road by Danny C
18.Bring It On VIP by Keaton & Hive
19.Innocence (Hive Remix) by Fresh & Fierce
20.Isolation by Stakka & Skynet feat Keaton
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: 15 янв. 2014 г.Flying the flag for the dnb/techno crossover, over the years The Sect have recruited a worldwide cult following surrounding their music and performances.
Their first contribution to the Filthcast bleeps & rolls the fuck out.
Thomas Krome — Shockabuku (The Sect Remix)
The Sect — Cybermen (Break Remix)
The Sect — Oxidize
The Sect — Underworld
The Sect — Slimer
The Sect & Cooh — Danger Nation
SPL — Take Me Away
Dean Rodell — Untitled
Kantyze — Vega
Replicator — Kemikal (Dean Rodell Remix)
Current Value — Circuit
The Sect — Manifestation
Nanotek & Current Value — Code of Chaos
The Sect — Exhibit A
Donny & Audio — Horribly Ribbed
Nanotek — Fuck The Win
Опубликовано: 10 окт. 2014 г.*Παίζουν με τη σειρά που ακούγονται οι ηθοποιοί Τιτίκα Νικηφοράκη, Τζένη Ζαχαροπούλου, Στέλιος Καλογερόπουλος, Γιώργος Παυλικανίδης, Γιώργος Σαλάχας* *Σκηνοθεσία Μιχάλης Μπούχλης*
Music in Twelve Parts, written by Philip Glass in 1971-1974, is a deliberate, encyclopedic compendium of some techniques of repetition the composer had been evolving since the 60s. It holds an important place in Glass's repertory — not only historically (as the longest and most ambitious concert piece for the Philip Glass Ensemble) but aesthetically as well. Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art.
In the past, Glass vociferously objected to being called a minimalist composer. He now grudgingly accepts the term — with the distinction that it only applies to his earliest pieces, those up to and including Music in Twelve Parts. It is difficult to see how such a mammoth work as Einstein on the Beach can possibly be called minimalist and Glass now speaks of himself as a composer of music with repetitive structures.
Part I remains some of the most soulful music Glass ever wrote, yet it is also one of his most reductive compositions: at any place in the music, reading vertically in the score, both a C# and an F# are being played somewhere in the instrumentation. Through skillful contrapuntal weaving, Glass creates a drone that is not a drone — an active, abundant, richly fertile stasis.
Part I leads directly into Part II, which introduces a different key, a faster tempo, greater rhythmic and melodic variety and the human voice. «A new sound and a new chord suddenly break in, with an effect as if one wall of a room had suddenly disappeared, to reveal a completely new view.»
Part III, one of the few self-contained movements, is a gurgling study in fourths, and one of the shortest. Part IV is extraordinary: after a brief introduction, it becomes a lengthy examination of a single, unsettled chord that sweats, strains and ultimately screams for resolution until the musicians suddenly break into the joyous, rushing catharsis of Part V.
Part VI is another example of how Glass can take what initially seems a standard chord progression and gradually build considerable interest on the part of his audience as he presents it to us, again and again, from different rhythmical perspectives. Part VII clearly derives from Music in Similar Motion, but the development is much more swift than that of the earlier work and it is infinitely more virtuosic (the soprano, in particular, does her best to avoid tongue-twisting and sibilance in the exposed, rapid-fire melismatic passages). And the close of Part VIII prefigures the «Train» scene in Einstein on the Beach, with its irresistible forward motion and sheer, «boy-with-a-gadget» fascination with a systematic augmentation and contraction of the soprano line.
«I had a specific purpose in mind when I set to work on Twelve Parts. I wanted to crystallize in one piece all the ideas of rhythmic structure that I'd been working on since 1965. By the time I got to Part VIII, I'd pretty much finished what I'd started out to do. And so the last movements were different. Parts IX and X were really about ornamentation.» Part IX, after a lithe, bouncing, broken-chord introduction, becomes a study in chromatic unison while Part X begins with a blaring, aggressively reiterated figure in the winds that is eventually softened cushioned — by the addition of complementary figures in the bass.
Parts I-X had all been based on stable harmonic roots that had remained constant throughout the movement. Part XI is just as rigorous in its application of an antithetical approach: the harmony changes with every new figure. In Part XI, which is essentially an aria for soprano and ensemble, there is more harmonic motion than in all of the mature works Glass had composed in the previous ten years put together.
Music in Twelve Parts ends with a musical joke that may be amusing to those who remember the musical politics of the 60s & 70s. Like most young composers of the time, Glass was trained to write twelve-tone music; unlike most of them, he rejected the movement entirely. And yet, in the bass line of Part XII, toward the end, the careful listener will discern a twelve-tone row, underpinning this riot of tonal, steadily rhythmic, gleeful repetition -underpinning, in other words, all the things that textbook twelve-toners shunned.
«It was a way of making fun not only of others but also of myself. I had broken the rules of modernism and so I thought it was time to break some of my own rules. And this I did, with the shifts of harmony in Part XI and then in Part XII, where, for the first and only time in my mature music, I threw in a twelve-tone row. This was the end of minimalism for me. I had worked for eight or nine years inventing a system, and now I'd written through it and come out the other end. I'd taken everything out with my early works and it was now time to decide just what I wanted to put back in — a process that would occupy me for many years to come.»
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