PRSPCT XL 21 PDCST — RVLT AREA by FFF

Опубликовано: 19 мая 2015 г.Tracklist:
-Cooh & Limewax — Selecta [PRSPCT Recordings — PRSPCT028]
-RoughSketch — Neo Criminals (FFF Remix) [Murder Channel — MURCD-036]
-FFF — Frantic [PRSPCT RVLT — PRSPCTRVLT008]
-Warped Dynamics — Sound For Champions [Beat Lab — BL007]
-Bizzy B — The Conceded [Bangface — BF001]
-Melt Unit — Speedwork [Cock Rock Disco — Crockp3-041]
-end.user- Pretense [Outbreak Records — OUTB035]
-Algorithmic — Noose Necked Royalty [Ninja Columbo #11]
-Voodoom — Alla Mala [PRSPCT RVLT 010]
-Dave Skywalker — Pandora [Bangface — BF001]
-Amboss — Vision Two [Praxis Recordss 53]
-Bizzy B — Control The Sound [Brain Records — DOPE CD 002]
-Limewax — Arsch Noisyum [PRSPCT Recordings — PRSPCT026]
-Deformer — Repossessor [PRSPCT RVLT — PRSPCT RVLT07]
-The Hard Way — Meatstick [PRSPCT Recordings — PRSPCT THW 001]
-FFF — PRL B58 [PRSPCT RVLT — PRSPCTRVLT005]
-Rich Kid — Badman Anthem (Skeeter's Juke Refix) [fukdup records — fkdp010]
-FFF — Murderous & Vicious [Upcoming Murder Channel]
-Noize Creator — Where There Is No Darkness [Praxis 51]
-Apzolut — Rub Disturbly On This (Newk's Rubberdub) [Ketacore Records — KETACDR007]
-Deformer — Roffadub (FFF Remix) [Unreleased]
-FFF feat. Daddy Freddy — Murder Channel [Murder Channel Dub]
-FFF — Kill MC (Roughsketch Remix) [Murder Channel Records — MURCD-010]

Dither — The Architect

Опубликовано: 28 янв. 2015 г.Label: Broadband Noise
buy at: https://broadbandnoise.bandcamp.com/a...

Tis Upload is made for promotional intents only. The Rights Of This Track Goes to the author

KRTM vs Tripped — Motormouth Podcast 001

Опубликовано: 17 дек. 2014 г.Twisted's Darkside presents:
Motormouth Podcast 001
KRTM vs Tripped — Final Versus
Country: Belgium

01. Tripped & Matt Green — Not This (Third Movement Records)
02. KRTM — Skanque (ft. Khaoz Engine) (Industrial Strength Records)
03. KRTM — Skanque (ft. Khaoz Engine) (Tripped Remix) (Industrial Strength Records)
04. KRTM — ID (Unreleased)
05. Tripped & Matt Green — Human Ritez (Third Movement Records)
06. KRTM — Post-Celebrated (Matt Green Bitches Leave RMX) (Motormouth Recordz)07. KRTM — Post-Celebrated (Motormouth Recordz)
08. Tripped & Matt Green — Punx Kevlar (Third Movement Records)
09. KRTM — ID (Unreleased)
10. Omyigacore — There’s Nothing That Can’t Be Done (KRTM Remix) (Motormouth Recordz)
11. Tripped — Tweek ‘N Pound (Motormouth Recordz)
12. KRTM — Radiate Others (Motormouth Recordz)
13. Tripped — Obomba (Badback Records)
14. KRTM — Dildo XL (Motormouth Recordz)
15. Tripped — So Fucking Cool (Industrial Strength Records)
16. KRTM — Blindnetz (Six Feet Underground Records)
17. Tripped & Matt Green — We Do Not Lose (Third Movement Records)
18. KRTM — Medicat 11 (Motormouth Recordz)
19. Tripped — ID (Unreleased)
20. Tripped — Fuck The Millenium (badback Records)
21. KRTM — ID (Unreleased)
22. Tripped & Matt Green — They Got Steel (Third Movement Records)
23. KRTM — ID (Unreleased)
24. Tripped & Matt Green — Underground Panther Jacket (Third Movement Records)
25. KRTM — Smokin’ Boobs Café (Motormouth Recordz)
26. Tripped — Zweetn Lik E Zwien (Badback Records)
27. Sandy Warez — We Are In The Dark (KRTM Remix) (Nois.j Records)
28. Tripped — Corrupt (Badback Records)
29. E-Noid — Screaming (Industrial
Terrorists Remix) (DNA records)
30. KRTM — Weltmeister (Motormouth Recordz)
31. Tripped — Fuck The Millenium (Industrial Terrorists Remix) (Badback Records)
32. Darkcontroller & S’aphira — 6 Demons (Tripped Remix) (TBA)
33. Tripped — Midnight Television (Rebelscum Records)
34. Tripped — Dig This (Cheeze Graterz Records)
35. KRTM — ID (Unreleased)
36. Angerfist & Drokz — Deathmask (Tripped Remix) (Masters Of Hardcore)
37. Tripped — Infiltration (Rebelscum Records)
38. Tripped — Feminine Feet (Badback Records)
39. Tripped — Morningfucker (Badback Records)
40. Tripped — Death Kiks (Elektrokut)
41. KRTM — Aars Bischop (Headfuck Records)
42. Tripped — AAAi (Strike Records)
43. Tripped — Serial Wanker (KRTM Remix) (Narkotik Records)
44. D.O.M. — Fuck The System (Tripped Remix) (Audiokore records)
45. Akira & Tripped — Hard Spuitwater (Motormouth Recordz)
46. Angerfist — Fuck The Promqueen (Tripped Remix) (Masters Of Hardcore)
47. Destroyer — Noise On The Bass (Tripped Remix) (Airfight records)
48. Tripped — 123 Kuj Gie Nog Teln (KRTM Remix) (Headfuck Records)
49. Tripped — Couldn’t Find A Title (Spootnik records)
50. Tripped — Hostile (Hong Kong Violence)
51. Tripped — Foggy Cunt (The Destroyer Remix) (Airfight records)
52. Tripped — USA Holls (Cheeze Graterz Records)
53. Tripped — Sucy’s Night Off (Roest Records)
54. Tripped & Traffik — Breakneck 303 (Badback Records)
55. Tripped — Foggy Cunt (Narkotik rekordz)
56. Tripped — Droge Keel (Violent recordings
57. KRTM — ID (Unreleased)
58. Tripped — R. Vangheluwe (Footworxx)

~Find out more about the artist~
www.facebook.com/KRTMNR216
www.facebook.com/Trippedofficial

~MOTORMOUTH LINKZ~
www.facebook.com/MotormouthRecordz
www.youtube.com/user/MotormouthRecordz
@motormouth-recordz
www.twitter.com/MotormouthRecz

~OTHER TWISTED SITEZ~
www.twisted.fm
www.impactscotland.co.uk
www.infexious.tv
www.motormouthrecordz.com
www.twistedartists.com
www.ibizahard.com

The Montauk Chronicles

Опубликовано: 28 мая 2015 г.On this episode of Expanded Perspectives the guys talk with film maker and director Christopher P. Garetano about his new film “Montauk Chronicles”. Montauk Chronicles examines the stories and legends that surround the alleged Montauk Project. A government program that kidnapped young teens for a wide range of sinister and phantasmagoric experiments. Garetano traveled to Montauk for a full analysis, and takes the audience into the homes of the men who claimed to have worked on the top secret “Montauk Project” to hear their first hand tales.

Lusine — Headwind

Дата загрузки: 5 мая 2010 г.Album — Language Barrier

Hecq — Reprise HD

Дата загрузки: 10 сент. 2011 г.From the new album «Avenger».

Filthcast 025 featuring The Sect

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.

Feedburner:
http://feeds2.feedburner.com/BarcodeF...

iTunes:
http://itunes.apple.com/gb/podcast/fi...

Direct Download:
http://www.barcoderecordings.com/filt...

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

SEVENTH ANGEL ►The Dust Of Years◄ [Full Album]

Опубликовано: 21 окт. 2013 г.(English) — The aim of the upload of this album is to promote and spread the Christian metal. If you like this album, collaborate with their purchase.
(Español) — El objetivo de la subida de este álbum es promocionar y difundir el metal cristiano. Si te gusta este álbum, colabora con su compra.
0:00:00 — 01.Chaos of Dreams
0:05:07 — 02.The Turning Tide
0:10:07 — 03.Exordium
0:16:14 — 04.Weep Not for Us
0:22:22 — 05.Abeland and Heloise
0:28:53 — 06.In Ruins
0:36:04 — 07.Lamentations
0:43:38 — 08.The Raven Sky
0:53:42 — 09.Oświęcim
SEVENTH ANGEL — The Dust Of Years (2009)
Voz & Gitarra: Ian Arkley. Guitarra & Teclado: Simon Bibby. Bajo & (Narración en «Abelard and Heloise»: Mark Broomhead. Batería: Tank.
Additional musicians- Flauta en 8: Cat Brazier. Narración en 5: Kate Hamilton (My Silent Wake). Gruñidos de invitados: Greg Chandler (Esoteric).

Sephiroth — R'lyeh

Опубликовано: 8 мая 2012 г.from the Cold Meat Industry compilation «The Absolute Supper»
uploaded via http://www.mp32u.net/

[1993] Erik Desmazières — The temptation of St. Anthony

Philip Glass — Music in Twelve Parts

Опубликовано: 1 авг. 2013 г.0:00
18:14
37:30
50:46
1:08:05
1:31:14
1:45:24
2:05:20
2:23:36
2:35:50
2:53:00
3:07:28

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.»