Old Fidelity - HiFi Klassiker Forum

http://milosh.bandcamp.com/track/water

Zitat:Jetlag picks up where Milosh last left off, capturing a revelatory life moment, holding tight to inspiration and artistic integrity along the way; the ultimate testament to true and absolute love. The album is a collaboration between Milosh and his wife Alexa Nikolas, recording unexpected intimate moments of laughter and love together; found sounds of everything from their travels around the world together to the most private spaces in their home. Previously living in Berlin and Thailand, Jetlag chronicles the time when the couple came together and eventually settled in Los Angeles. The refined sound plays as the ultimate romantic and joyful soundtrack, with equal parts homage to the minimal electronic artists like Autechre and Boards of Canada that inspired Milosh and classical and jazz elements from his formal training on cello. Further, all art and video for the project were created by and star Milosh and Alexa, adding to the multidimensional experience that Jetlag brings.

released 26 November 2013

die ersten Takte klingen wie 80`s

yepp, alle 30 Jahre wiederholt sich alles.

..gefällt mir aber

bin grad am überlegen,von welchem Lied der Anfang ähnlich ist...

ja, ja, und wenn der Schlagzeuger nicht wäre, wär's auch realistischer... Wenn das kein Drumcomputer ist, wächst mir morgen Gras aus der Tasche

KCRW

Skye:




Tokimonsta:




Laura Mvula:




Boy:




...und wie immer gilt: HD bitte nicht vergessen!

Gestern bei nem Kumpel gehört, die CD liegt hoffentlich bald im Briefkasten
Arcadic Fire - Reflektor

Im Gegensatz zu den 80ern gibt's heute aber so einige Trommler, die tatsächlich so spielen können. Damals gab es nur einen: Yukihiro Takahashi von YMO (und etwas später David Palmer von ABC***, der auf einer Tour für Takahashi eingesprungen ist).
Trommler, die es schaffen, einfach mal einfach zu spielen, findet man noch seltener als Gitarristen, die auf Gegniedel verzichten können.
Ich hab mal einen Trommler gesehen, der D'n'B live gespielt und das auch ein ganzes Konzert durchgehalten hat. Ich bin schon vom Zusehen ganz außer Atem gekommen.

Mark Knopfler - All the roadrunning.

Anspieltipps für Melancholiker :

I dug up a diamond
Rollin´on
If this is goodbye

Toy - Join the dots

http://soundcloud.com/toy_band/toy-join-the-dots

Moin Rasselbande,

nicht mehr ganz so taufrisch...

Etwas aus dem 4AD Stall... man könnte schon fast sagen im typischen Sound...... untypisch eher das Farbspiel des Vinyls.... irgendwo zwischen Olive und Tanne



gefällt mir ganz gut..... schön schräg und dieser spezielle Blues eben.... der nix mit Blues zu tun hat


Peter

...psychedelic Indie Folkrock Dreampop aus den Staaten:


Bobby - Bobby

Zitat:The garish album art for BOBBY's self-titled debut features two identical boys in their tighty-whiteys, one blank white and the other a photo-negative shadow; on the back, the theme is repeated with a black cat and a white cat nuzzling into an implied yin and yang. This art-folk group, comprised of recent Bennington grads (including Mountain Man's Amelia Randall Meath), are fascinated by opposites and negatives, by the sharp disparities between ambient and rhythmic, airy and earthy, restive and tranquil, male and female. For their self-titled debut, the circle of friends holed up in a tiny Massachusetts hamlet to arrange these dozen songs (most written by de facto frontman Tom Greenberg), then recorded them in Woodstock, New York. Spacier and less Americana-based than those settings might suggest, the result is an intriguing marriage of familiar sounds in new settings, sounding variously like a nodding-off Joanna Newsom or tUnE-yArDs with the caps toggle off.

BOBBY's songs float loose and untethered, occasionally nudged along by percolating percussion. The contrast between drift and momentum are intriguing, especially on "Sore Spores", which pits an emphatic female vocal on the verses with a smoother, slyer male vocal on the chorus. The transition between them is intentionally jarring, suggesting a he said/she said account of a relationship. With its sleepy-eyed bassline and whispers of guitar, "Nap Champ" lives up to its title, then rouses itself, upping the tempos and setting the guitars on high shimmer. Neither half would work without the other, but together they form a dynamic whole.

Sprawling to seven members, BOBBY take advantage of their inclusive roster by indulging many ideas, from the slightly menacing basslines to the great yawns of synths to the wordless vocal flourishes that adorn several songs. Opener "We Saw" knots up a melody that crescendoes with each steady repetition of its central phrases, the harmonizing voices moving against instead of with the plateauing chord changes. Few songs on BOBBY are quite so assertive, although the arrangements are often busy and mercurial: "It's Dead Outside" changes shape almost constantly, yet maintains its murky drift across seven minutes.

At times, the extremes are too extreme, with too much dead air abutting too many busy passages. Mid-album instrumental "Loading Phase" lulls BOBBY to sleep, while closer "The Shed" marries a churchly organ theme to a small chorale of voices, suggesting a cathedral in miniature-- or a shed, perhaps. The idea is more intriguing than the music itself, yet the idea is appreciated, as is the ambition to mix sounds together in subtly new ways. In that regard, BOBBY intently evoke that drowsy space between wakefulness and sleep. It's lively in its drowsiness, which may be the album's most compelling and distinguishing contrast.

Flunk - Lost Causes

Zitat:Bekannt wurde die norwegische Elektro-Pop-Band Flunk vor allem durch ihre in dieses Genre überführten Coverversionen: von New Order ("Blue Monday" und "True Faith") über The KInks ("All Day And All Of The Night") und Depeche Mode ("See You") bis hin zu Radiohead ("Karma Police").

Für ihr aktuelles Album "Lost Causes" machen sie jedoch so einiges anders: Der Coversong ("Only You" von Yazoo) landet auf der B-Seite der Single ("Sanctuary"), mit Kai Christoffersen übernimmt erstmals ein Außenstehender den finalen Mix, Erik Ruud (Schlagzeug) lässt die Band zum Quartett anwachsen und Anja Øyen Vister greift zur Gitarre, was Songs wie "Queen Of The Underground" oder "Awkward" deutlich prägt und bei "Subway (J'aime la pluie d'ete)" in Richtung Galaxie 500 führt. Auf den bekannten Downbeat-Pop, der mal an Club 8 ("Love And Halogen") oder Stina Nordenstam ("Awkward") erinnert, müssen Flunk-Fans jedoch nicht gänzlich verzichten.

Folgendes haben Anja Øyen Vister, Jo Bakke, Ulf Nygaard und Erik Ruud über ihr "Lost Causes" noch zu berichten:

All our records could be break-up records. Also this one. 'Awkward' is kissing our demons goodbye, 'Lost Causes' is telling we're not taking you home, 'Queen Of The Underground' is about all the fighters who stopped fighting, 'Love and Halogen' and 'Sanctuary' are about coming to peace, 'Primer' is possibly about stepping into someone else's dream, 'Bummed' is about the absurd luxury of living in one of the filthiest rich countries in the world with a bad taste in the mouth and utter bewilderment, since it doesn't make you happy - told in a dylanesque way or like the movie 'Big', 'Subway' is plain subjective confessions inspired by the French writer/photographer/painter Edouard Levé's inspiring book 'Autobiography'. 'Bus Ride' is possibly the most Flunk-like song on the album; it's just a restless song. And last, 'As If You Didn't Already Know', which was written for two sisters, Lara and Bano Rashid. Lara survived the Utøya terror attack in Norway on July 22 2011, Bano didn't. They both came from Iraq for the safety of the outskirts of the world, but didn't find it. Lara is a friend.

Leute, was´n los hier? Keine neuen Sachen mehr gehört?

Hab für mich noch Gentlemans Dub Club entdeckt - relativ frisch im Oktober rausgekommen.

Reggae / Dub aus Manchester...

sowas hör´ich ja sonst nie weil´s ja immer gleich klingt

Vienna Teng - Landsailor live w/ Aaron Long 10/04/13

klasse Serie mit geilem Soundtrack

der gute Dan wird aber leider nicht mehr live zu sehen sein

Voxhaul Broadcast - If I Run (OST The Lucky One)

Wenn ich schon diese Bandfotos sehen muss, läufts mir heiß hinten raus. Ist doch alles verkrüppelter Krempel, abgelutschter Wichs, "fliegenschiss und altweibergalle"! Divergenter Arschjgeruch! Für alle aus der Karrusellbremserdynastie, Menschen die gerne ihre Knarre putzen und leider auch für Hipserärsche die rummlaufen wie beim breakfast club....

74 Miles Away - Gear Change

Zitat:A new chapter to the metaphysics of a jazzthing.

74 MILES AWAY is a collaboration between jazz pianist/composer Pierre Anckaert, producer duo MonkeyRobot and flutist Stefan Bracaval. They’ll take you on a trip from the era of Bob James, Weather Report and Herbie Hancock, 80’s boogie to the future beat sound of today. Heavy analogue synth action and deep Moog basslines are omnipresent, keeping the lush Fender Rhodes sound in balance.

It is not without a healthy level of megalomania that these Brussels based musicians named themselves after one of the Cannonball Adderley Quintet’s hottest albums. For Adderley, in 1967 the Fender Rhodes piano played a key role. Here, however, a transverse flute from Stefan Bracaval interferes as well. The beats, moreover, are the craftsmanship of producer duo MonkeyRobot – which is why no seating is provided: the gentlemen make jazz get a move on.

http://74milesaway.bandcamp.com/album/gear-change

Laura Veirs - "I Can See Your Tracks"