Опубликовано: 25 мар. 2015 г.Two of Critical's most revered artists met in the remix room, the results have been bringing down D&B club nights ever since. Released as a strictly limited vinyl and digital edition, this is the sound of the 'Mef:Lab'.
Support on Critical: http://bit.ly/MEF_LAB_digi
Support on Beatport: http://bit.ly/MEFLAB_Beatport
Grab the vinyl: http://bit.ly/MEF_LAB_vinyl
Czech of all trades ''Forbidden Society'' is on the verge of a new era. After a long haul of releases, gigs and a consistent output of mixes, he now returns with what he describes as a breakthough work to add to his long list of perfectly mixed efforts.
After delightfully receiving an invitation to play at one of the world's main events in Drum & Bass music called ''Inferno Pirate Station'' in St Petersburg (March 22, 2014) he rapidly switched on the decks to create
a mix that would represent his anticipation for the upcoming event. As motivated as ever Forbidden Society is ready to showcase his signature sound for one of the most exciting moments in his career thusfar.
EN:
Pirate Station is the world's biggest drum and bass music festival.It's held every year since 2003, when St. Petersburg held the first event. It has spread to biggest Russian cities (Moscow, Ekaterinburg, Novosibirsk, Samara etc.) and has also taken place in Estonia and Ukraine, which makes Pirate Station the biggest dance project ever. Almost half a million people visited the festival during these years. The main St. Petersburg show hosts more than 25,000 fans annually. Pirate Station is not just about music — it is a mix of unique performances and special effects united by a concept which changes every year. This is the promo mix for Pirate Station 2014 — Inferno from Forbidden Society.
CZ:
Pirate Station patří k nejvetším ruským eventům vůbec. Za 11 let existence prošlo vstupními branami už pomalu 500 tisíc návštěvníků a v samotném Sankt- Petěrburgu akci navštíví okolo 25 tisíc lidí! Pirate Station si získala od samotného začátku velké množství fanoušků díky silným lineupům, světelné show, videoprojekci, obří tématické dekoraci a neskutečné doprovodné show, která se v průběhu večera několikrát mění. Toto je promo mix pro Pirate Station 2013 — Inferno — od Forbidden Society
TRACKLIST
1.Hallucinator feat. The Modern Age Slavery — Redlines
2.Audio — Burn It Down
3.Current Value — Ghost Rider
4.Killer Industries — Side Kick
5.Forbidden Society — Cobra (Katharsys Remix)
6.Receptor & Engage — Gothic
7.Forbidden Society — Monger
8.Forbidden Society — Can't Be Soft (Counterstrike Remix)
9.Faith In Chaos — Possesion (Kemal & Rob Data Remix) (FS Hype Up)
10.Receptor — Punks
11.Current Value — Shimmer
12.Katharsys & Forbidden Society — Lords Of The steel
13.Forbidden Society — Forcer (Killer Industries Remix)
14.Katharsys & Forbidden Society — Lords Of The steel VIP
15.Rene Lavice — Perfect World
16.Evol Intent — Punchout
17.Mefjus — Dissuade
18.Lucio De Rimanez & Dereck — Why
19.Katharsys — Deadman
20.Black Sun Empire feat. Forreign Beggars — Dawn Of A Dark Day (Prolix Remix)
21.Forbidden Society & Coppa — Hurtlocker
22.The Bloody Beetroots feat. Refused — New Noise (FS Hype Up)
23.Forbidden Society & Coppa — Clap Back / Dope D.O.D. feat. Redman — Groove
24.Forreign Beggars feat. Noisia — Contact / Pornothrasher — Disco Illusion
25.Spl — Sickness / Noisia & Evol Intent — The Liquid
26.Hive — Neo (Audio Remix)
27.Excision — X Rated (Calyx & Teebee Remix)
28.Proton Kid — Scare (CA2K Remix)
29.Gancher & Ruin & CA2K — The Return Of Ardo
30.Forbidden Society — Hustlers & Hardcore
31.Forbidden Society — Bodycount
32.Katharsys — Iron Sky
33.Forbidden Society — Cobra
34.Forbidden Society — Surge
35.Slyer — Reign In Blood (PK Bootleg) (FS Hype Up)
Опубликовано: 16 февр. 2015 г.Not that this channel needs anymore recognition but i have been really enjoying the music on this channel and it is one of the reasons why I made this channel in the first place
So please go and subscribe to Fluidified if you haven't already.
Enjoy the mix!
Hello guys! Welcome to my channel!
Please like and favorite the video:)
Any suggestions would be appreciated! :D
•Tracklist:
1) Changing Faces ft. Charli Brix — Everything Is Gone (Basik Remix)
2) Fatkids — Albion Prelude
3) Direct — Under the Stars (Reaktion Remix)
4) Lurch — Feel the Night
5) Audiomorphics — How Can I
6) Sceptix & Grey's — Stay Alive (Fatkids Remix)
7) Holly Drummond — Forbidden (Vaizo Remix)
8) Fin Evans — Never Forget You (feat. Alex Foster)
9) Credit — Hearts & Minds
10) Lurch — Someday
11) Malaky — Being With You
12) Passive — For You
Опубликовано: 21 нояб. 2013 г.Philip Glass — The Hours, 2002. Michael Riesman transcription.
Branka Parlić, piano. Synagogue, Novi Sad. 5.VII.2005
«The Hours», Music from the Motion Picture for piano.
There are movies where you notice the soundtrack, and others where you don't. The latter is usually considered ideal, and yet it's impossible to ignore Philip Glass' pervasive, all-encompassing soundtrack while watching Stephen Daldy's celebrated follow-up to Billy Elliot (the same could just as easily be said of Elmer Bernstein's majestic music for Far From Heaven). This isn't such a bad thing — far from it. The piano-dominated score, incorporating motifs from Glass' Satyagraha, Glassworks, and Solo Piano is, by turns, lush, sumptuous, and stirring.
Philip Glass' score for the film The Hours is very typical of Glass, with its nearly constant repetition and slowly evolving variations on a theme. It suits the moods of the film perfectly, reflecting mesmerically the inner thoughts and emotions of the characters, but remaining subservient to the film itself. Michael Riesman, a long-time associate of Glass, has transcribed the score of The Hours for piano. It wasn't hard for him to do this: the score prominently features the piano alongside the orchestra, and Riesman performed the piano part in the soundtrack recording. His solo piano version covers exactly the same music as on the soundtrack album, but to call it a «reduction» of an orchestral work would be unfair. Yes, it is one instrument instead of many, but just by the facts that it's a single performer being responsible for realizing the music and it's no longer an accompaniment to screen images, Riesman is able to add to it more expression and more life. Even though his tempos and the track times match the soundtrack almost exactly, he is able to take tiny liberties with the phrasing of themes so that the quiet desperation of the music isn't quite as desperate. It doesn't matter if he uses a larger array of dynamics and is not quite as strict with time. Whereas listening to the soundtrack without the film can be almost unbearably boring or depressing, depending on your state of mind, listening to Riesman's version is less so. Although the track titles make no sense without film, in this version, the music is able to stand on its own as a distinct creative work, with more vitality and wider-ranging sentiment than the soundtrack.
The complicated storyline, based on Michael Cunningham's Pulitzer Prize-winning novel (which was, in turn, inspired by Virginia Woolf's Mrs. Dalloway) is inherently dramatic and emotionally compelling enough that it doesn't really «need» music to get its message across. And the actors, including Nicole Kidman (Virginia Woolf), Julianne Moore (Laura Brown), and Meryl Streep (Clarissa Vaughn), breathe such life into these three distinct characters, living in three different time periods, that they don't need really need the music either. But it's always there, like a ghostly presence in each woman's life, helping to tie their divergent storylines together as much as the themes that are common to each. In the end, the score is as much a unifying force as Peter Boyle's deft editing and, most importantly, Woolf's Mrs. Dalloway, which was originally to be called The Hours.
Pianist Branka Parlić is one of the most prominent interpreters of contemporary classical music in Eastern Europe. She graduated from the Belgrade University of Musical Arts in the late 1970s and studies under Professor Olga Mihailović. She later honed her craft at the Summer Music Academy in Nice under Professor Pierre Sancan of the Paris Conservatory. While studying, she also co founded the well-known Ensemble for Different New Music.
Taking on the task of presenting the cycle of the legendary Phillip Glass' «Metamorphosis,» is probably the most challenging task in the sphere of contemporary minimalism since Parlic's classical undertaking of Erik Satie's ''Gnossiennes'' in the 1980s. The album which she released back then, called «Initiés,» was the first album that contained one of Satie's compositions ever recorded here.
Branka Parlić premiered the Glass' pieces in Novi Sad in 2004 and the performance of «Metamorphosis No.2» recorded at this show was broadcasted regularly on prestigious British TV channel Classics FM. Recently, another British TV channel C Music TV http://www.cmusic.tv/cmusic/ started to broadcast two videos in Parlic' rendering: «Opening» by Philip Glass and «Spiegel im Spiegel» by Arvo Pärt. She also act as Artistic Director of the Concert Series «New Ears for New Music» in Novi Sad.
