Minupren & Epyleptika — Wir Brauchen Druck (Official Music Video)
Опубликовано: 5 мар. 2013 г.Lyrics:
«Hey wo bleibt der Bass? Wir brauchen Druck!»
«Hey wo bleibt der Bass? Wir brauchen Druck!»
«Hey wo bleibt der Bass? Wir brauchen Druck!»
«Stell das Bein nach vorn! Und jetzt die Hände!»
01.No Turning Back
02.Heavy Rain
03.The Great Moment
04.Escape
05.Resurgence Part II – The Journey
06.Snow Ghosts
07.Cause and Effect
08.Return of the Pack
09.Voyageur Radio
1-- 00:00 Space Maker
2-- 04:01 Once Upon a Time
3-- 09:03 One Hell of a Party
4-- 13:06 Napalm Love
5-- 16:33 Mayfair Song
6-- 20:58 Left Bank
7-- 25:01 Photograph
8-- 28:50 Mer du Japon
9-- 31:55 Lost Message
10-- 35:28 Somewhere Between Waking and Sleeping
11-- 39:01 Redhead Girl
12-- 43:36 Night Sight
Pocket Symphony is the fifth full-length album by French duo Air. The album was released in March 2007 and features collaborations with Jarvis Cocker and Neil Hannon. The album features art by Xavier Veilhan.
All Rights To Virgin Records,Astralwerks Records,Source Records
If owners/creators don't want to be this album on Youtube, please send me a message and i will remove the video immediately
Band: Sacrament
Album: Testimony Of Apocalypse
Published: 1990
Genre: Thrash Metal
Tracklisting:
1. Testimony Of Apocalypse [0:15]
2. Slave Of Sin [4:46]
3. Hellfire Denied [8:16]
4. Repentance [11:24]
5. Valley Of Dry Bones [14:38]
6. Mortal Agony [17:54]
7. Conquer Death [21:10]
8. Absence Of Fear [24:25]
9. The Risen [28:27]
10. Blood Bath [32:34]
Tracks I recommend:
— Testimony Of Apocalypse
— Conquer Death
— The Risen
Hello friends. Here in this video I bring you the first full album by Sacrament: Testimony Of Apocalypse.
I think it's one of the best albums of Christian Thrash Metal I've heard.
Banda: Sacrament
Álbum: Testimony Of Apocalypse
Publicación: 1990
Género: Thrash Metal
Lista de canciones:
1. Testimony Of Apocalypse [0:15]
2. Slave Of Sin [4:46]
3. Hellfire Denied [8:16]
4. Repentance [11:24]
5. Valley Of Dry Bones [14:38]
6. Mortal Agony [17:54]
7. Conquer Death [21:10]
8. Absence Of Fear [24:25]
9. The Risen [28:27]
10. Blood Bath [32:34]
Pistas que recomiendo:
— Testimony Of Apocalypse
— Conquer Death
— The Risen.
Hola amigos. Aquí en este video les traigo el primer álbum completo de Sacrament: Testimony Of Apocalypse.
Creo que es uno de los mejores discos de Thrash Metal Cristiano que he escuchado.
Drum&BassArena are back with another essential edition to our best-selling annual album series with the ultimate drum & bass document for 2015, featuring 60 tracks, 13 exclusives, three massive CDs.
A vinyl version limited to 1000 pressings featuring 12 exclusive tracks will also be released on Record Store Day Saturday 18th April.
Uniting the most important players in the game with consistency and clarity Drum&BassArena 2015 explores, embraces, represents and celebrates the entire spectrum of the scene, shedding light on all its many corners: — Heavyweight chart-topping influencers? Check: The Prodigy, Sigma, DJ Fresh, Wilkinson, Chase & Status and Matrix & Futurebound… Unequivocal scene legends? Check: Calibre, LTJ Bukem, Calyx & TeeBee, Spor, TC, Drumsound & Bassline Smith, Digital, Break, Spectrasoul… Super-sharp underground heroes? Check: Black Sun Empire, SCAR, Serum, Serial Killaz, Current Value, Eastcolors, L 33...
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.»