Venetian Snares - Breezeblock Mix 2003
Venetian Snares — Breezeblock Mix 2003
Опубликовано: 23 дек. 2012 г.Breakcore addict
Опубликовано: 23 дек. 2012 г.Breakcore addict
Dinah Washington & Max Richter-This bitter earth - On the nature of daylight
Dinah Washington & Max Richter-This bitter earth — On the nature of daylight
Дата загрузки: 25 февр. 2010 г.This bitter earth
Well, what fruit it bears
What good is love
mmmm that no one shares
And if my life is like the dust
oooh that hides the glow of a rose
What good am I
Heaven only knows
Lord, this bitter earth
Yes, can be so cold
Today youre young
Too soon, youre old
But while a voice within me cries
Im sure someone may answer my call
And this bitter earth
Ooooo may not
Oh be so bitter after all
Дата загрузки: 25 февр. 2010 г.This bitter earth
Well, what fruit it bears
What good is love
mmmm that no one shares
And if my life is like the dust
oooh that hides the glow of a rose
What good am I
Heaven only knows
Lord, this bitter earth
Yes, can be so cold
Today youre young
Too soon, youre old
But while a voice within me cries
Im sure someone may answer my call
And this bitter earth
Ooooo may not
Oh be so bitter after all
Monolog "2 Dots Left" - album presentation podcast
Monolog «2 Dots Left» — album presentation podcast
Опубликовано: 7 окт. 2013 г.Presentation mix recorded by Monolog for his new album, «2 Dots Left», which will be released on Ad Noiseam on October 21st, 2013.
This mix features mostly material from the «2 Dots Left» album, as well as a number of yet-untitled new tracks. It gives everybody an idea of how intense, cold, complex and hard Monolog's new album (and his live shows) is.
More information about Monolog's «2 Dots Left» album can be found at www.adnoiseam.net/adn172
01. Estrangement (featuring Dean Rodell)
02. Davaii
03. Gas stations make me smoke
04. Reburn
05. Untitled
06. Viable
07. Untitled
08. Knocks
09. Drift
10. Untitled
11. Mutestates
12. Untitled
13. Harvest In The Field (featuring Cooh)
14. Untitled
15. The siva
16. Thecho
17. Jabs and blocks (tease)
18. Untitled
19. Gas stations make me smoke (revisited)
20. Untitled
21. Jabs and blocks
22. Untitled
Опубликовано: 7 окт. 2013 г.Presentation mix recorded by Monolog for his new album, «2 Dots Left», which will be released on Ad Noiseam on October 21st, 2013.
This mix features mostly material from the «2 Dots Left» album, as well as a number of yet-untitled new tracks. It gives everybody an idea of how intense, cold, complex and hard Monolog's new album (and his live shows) is.
More information about Monolog's «2 Dots Left» album can be found at www.adnoiseam.net/adn172
01. Estrangement (featuring Dean Rodell)
02. Davaii
03. Gas stations make me smoke
04. Reburn
05. Untitled
06. Viable
07. Untitled
08. Knocks
09. Drift
10. Untitled
11. Mutestates
12. Untitled
13. Harvest In The Field (featuring Cooh)
14. Untitled
15. The siva
16. Thecho
17. Jabs and blocks (tease)
18. Untitled
19. Gas stations make me smoke (revisited)
20. Untitled
21. Jabs and blocks
22. Untitled
LoveGreece.com presents: Athanassios Kavoukas, CEO of Symphonia Ltd
LoveGreece.com presents: Athanassios Kavoukas, CEO of Symphonia Ltd
Опубликовано: 13 окт. 2014 г.Athanassios Kavoukas decided to get involved with the production and exports of traditional Greek products such as olive oil and honey, with only one goal: to produce only the highest quality products and results.
More: http://www.lovegreece.com/people/atha...
O Αθανάσιος Κάβουκας αποφάσισε να ασχοληθεί με την παραγωγή και εξαγωγή χαρακτηριστικών Ελληνικών προϊόντων, όπως το ελαιόλαδο και το μέλι, με ένα μόνο στόχο: να παράγει μόνο υψηλότατης ποιότητας αποτέλεσμα.
Περισσότερα: http://www.lovegreece.com/el/people/a...
Συντελεστές
Σκηνοθεσία & Post Production: Βασίλης Τσαπόπουλος
Διεύθυνση Φωτογραφίας-Κάμερα: Ανδρέας Στανωτάς
Δημοσιογραφική Επιμέλεια: Γιώργος Μητρόπουλος
Υπεύθυνη Παραγωγής: Φωτεινή Νταφώτη
Опубликовано: 13 окт. 2014 г.Athanassios Kavoukas decided to get involved with the production and exports of traditional Greek products such as olive oil and honey, with only one goal: to produce only the highest quality products and results.
More: http://www.lovegreece.com/people/atha...
O Αθανάσιος Κάβουκας αποφάσισε να ασχοληθεί με την παραγωγή και εξαγωγή χαρακτηριστικών Ελληνικών προϊόντων, όπως το ελαιόλαδο και το μέλι, με ένα μόνο στόχο: να παράγει μόνο υψηλότατης ποιότητας αποτέλεσμα.
Περισσότερα: http://www.lovegreece.com/el/people/a...
Συντελεστές
Σκηνοθεσία & Post Production: Βασίλης Τσαπόπουλος
Διεύθυνση Φωτογραφίας-Κάμερα: Ανδρέας Στανωτάς
Δημοσιογραφική Επιμέλεια: Γιώργος Μητρόπουλος
Υπεύθυνη Παραγωγής: Φωτεινή Νταφώτη
Βιτσέντζος Κορνάρος - Ερωτόκριτος
Βιτσέντζος Κορνάρος — Ερωτόκριτος
Опубликовано: 12 дек. 2014 г.*Ηχογράφηση από το Ωδείο Ηρώδου Αττικού* *Παίζουν Νικήτας Τσακίρογλου, Κωνσταντίνος Κωνσταντόπουλος, Όλια Λαζαρίδου, Αντιγόνη Βαλάκου, Κώστας Γιαλίνης*
Опубликовано: 12 дек. 2014 г.*Ηχογράφηση από το Ωδείο Ηρώδου Αττικού* *Παίζουν Νικήτας Τσακίρογλου, Κωνσταντίνος Κωνσταντόπουλος, Όλια Λαζαρίδου, Αντιγόνη Βαλάκου, Κώστας Γιαλίνης*
Matt makes Horchata, zombie style
Matt makes Horchata, zombie style
Дата загрузки: 18 июл. 2007 г.…
Дата загрузки: 18 июл. 2007 г.…
Greg Haines — Komarovo
Greg Haines — Komarovo
Опубликовано: 24 мая 2013 г.From «Komarovo» © 2009 Slaapwel Records. Uploaded for promotion @Collectables: http://blog.adrianoesteves.com/
I do NOT own the copyright for the music that I upload and will remove it immediately upon request from copyright holder or band.
More info: http://slaapwel.bandcamp.com/album/ko...
Photo by ©Jelena Martinovic: http://www.flickr.com/photos/disconne...
Typeface by Silas Dilworth © TypeTrust: Heroic Condensed
Опубликовано: 24 мая 2013 г.From «Komarovo» © 2009 Slaapwel Records. Uploaded for promotion @Collectables: http://blog.adrianoesteves.com/
I do NOT own the copyright for the music that I upload and will remove it immediately upon request from copyright holder or band.
More info: http://slaapwel.bandcamp.com/album/ko...
Photo by ©Jelena Martinovic: http://www.flickr.com/photos/disconne...
Typeface by Silas Dilworth © TypeTrust: Heroic Condensed
Satyagraha Conclusion Act 3, by Philip Glass, live Lisa Moore piano Eastern Ripples 12:17:15
Satyagraha Conclusion Act 3, by Philip Glass, live Lisa Moore piano Eastern Ripples 12:17:15
Опубликовано: 29 дек. 2015 г.Satyagraha Conclusion Act 3, by Philip Glass, (arr. Reisman)
Lisa Moore piano
live @ the Thalia Theatre, Symphony Space, NYC
Steinway Salon series
Eastern Ripples recital, 12:17:15
www.lisamoore.org
Filmed by Asaf Blasberg
www.asafblasberg.com
Опубликовано: 29 дек. 2015 г.Satyagraha Conclusion Act 3, by Philip Glass, (arr. Reisman)
Lisa Moore piano
live @ the Thalia Theatre, Symphony Space, NYC
Steinway Salon series
Eastern Ripples recital, 12:17:15
www.lisamoore.org
Filmed by Asaf Blasberg
www.asafblasberg.com
Philip Glass - Music in Twelve Parts
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.»
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.»
The Prototypes - Pop It Off (feat. Mad Hed City) (Official Video)
The Prototypes — Pop It Off (feat. Mad Hed City) (Official Video)
Опубликовано: 13 апр. 2015 г.'Pop It Off' available for instant download when you pre-order The Prototypes new album 'City Of Gold' on iTunes: http://smarturl.it/cityofgold. Also available on Beatport exclusive: http://bit.ly/vpr071bp
'Pop It Off' single out 3rd May 2015. 'City Of Gold' album out 17th May 2015 on Viper Recordings. Available on CD, Vinyl & Digital. Full tracklist and info on the official Viper Recordings website: http://bit.ly/coginfo
The Prototypes
Like → http://www.facebook.com/theprototypes
Follow → http://www.twitter.com/theprototypesuk
SoundCloud → http://soundcloud.com/theprototypes
Spotify → http://smarturl.it/spotifyprototypes
Official Site → http://www.theprototypes.co.uk
Viper Recordings
Like → http://www.facebook.com/viperrecordings
Follow → http://www.twitter.com/viperrecordings
SoundCloud → http://soundcloud.com/viperrecordings
Spotify → http://bit.ly/viperspotify
Official Site → http://www.viperrecordings.co.uk
Video Credits:
Director — Boris Thompson-Roylance
Producer — Ailsa Vanessa Tapping
Cinematographer — Jack Thompson-Roylance
A DeadBeat Film (www.deadbeatfilms.co.uk)
Godson Production:
Theo Oloyade 'Godson'
Dean Stewart
Tyrone Issac-Stuart
Warren Gordon Scott 'Wild G'
» Connect with UKF
Facebook (Drum & Bass Page) → http://facebook.com/ukfdrumandbass
Twitter → http://twitter.com/UKF
Spotify → http://bit.ly/UKFSpotify
SoundCloud → http://soundcloud.com/ukf
Website → http://ukf.com
Sign up to the Newsletter → http://ukf.com/signup
Submit your demo → https://wavo.me/ukf/submission-chart
Опубликовано: 13 апр. 2015 г.'Pop It Off' available for instant download when you pre-order The Prototypes new album 'City Of Gold' on iTunes: http://smarturl.it/cityofgold. Also available on Beatport exclusive: http://bit.ly/vpr071bp
'Pop It Off' single out 3rd May 2015. 'City Of Gold' album out 17th May 2015 on Viper Recordings. Available on CD, Vinyl & Digital. Full tracklist and info on the official Viper Recordings website: http://bit.ly/coginfo
The Prototypes
Like → http://www.facebook.com/theprototypes
Follow → http://www.twitter.com/theprototypesuk
SoundCloud → http://soundcloud.com/theprototypes
Spotify → http://smarturl.it/spotifyprototypes
Official Site → http://www.theprototypes.co.uk
Viper Recordings
Like → http://www.facebook.com/viperrecordings
Follow → http://www.twitter.com/viperrecordings
SoundCloud → http://soundcloud.com/viperrecordings
Spotify → http://bit.ly/viperspotify
Official Site → http://www.viperrecordings.co.uk
Video Credits:
Director — Boris Thompson-Roylance
Producer — Ailsa Vanessa Tapping
Cinematographer — Jack Thompson-Roylance
A DeadBeat Film (www.deadbeatfilms.co.uk)
Godson Production:
Theo Oloyade 'Godson'
Dean Stewart
Tyrone Issac-Stuart
Warren Gordon Scott 'Wild G'
» Connect with UKF
Facebook (Drum & Bass Page) → http://facebook.com/ukfdrumandbass
Twitter → http://twitter.com/UKF
Spotify → http://bit.ly/UKFSpotify
SoundCloud → http://soundcloud.com/ukf
Website → http://ukf.com
Sign up to the Newsletter → http://ukf.com/signup
Submit your demo → https://wavo.me/ukf/submission-chart