| >> | No.53957337
File: 156 KB, 701x700, image.jpg [Show reposts] Image reverse search: [iqdb] [google]
 http://www40.zippyshare.com/v/72432165/file.html
The Gang Font featuring Interloper (2007)
>math rock, experimental, free improvisation
>This band utilizes influences from classic prog-rock acts like King Crimson or Zappa, but there are also elements of avant-garde and experimental artists like Captain Beefheart. The sound is ultimately rock, with overdriven guitars, repetitive basslines, and strong backbeats, but with complex, shifting-time signatures and song forms, as well as improvised solos and accompaniment, this album also draws some influence from classic avant-garde jazz players as well (especially from the keys player, Craig Taborn, who is becoming one of the most widely known pianists in contemporary avant-jazz.)
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| >> | No.53957375
File: 264 KB, 1086x1081, image.jpg [Show reposts] Image reverse search: [iqdb] [google]
 http://www71.zippyshare.com/v/40346542/file.html
Billy Hart- Enchance (1977)
>post-bop, free jazz.
>Brilliant tunes that blend exciting compositions and very loose, free but always engaging improv. Eddie Henderson, Dewey Redman, Oliver Lake, Don Pullen, Dave Holland, Buster Williams, and Thabo Carvin.
https://www.youtube.com/watch?v=ZKgPqPb9XJk
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| >> | No.53961091
File: 49 KB, 450x450, APRJ_7318__81991__04062012021050-5011.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Booker Ervin - The Song Book
>An album contributing to Ervin's 1964 "Book" tetralogy, The Song Book is the most melodic and traditional of the four albums, the others being The Blues Book, The Freedom Book, and The Space Book. Still, this core behind-the-scenes post-bop saxophonist will have you understand that this isn't exactly a usual hard bop album. The drummer, Alan Dawson, who played with some legends like Lionel Hampton and Jakie Byard starts the album with a quick and edgy cymbal shuffle and with his short solo at the end of the song he sounds like a not-so-far cry from his once-pupil, Tony Williams. The second track, a standard called Come Sunday, might sound like a usual ballad take, but if you play close enough to the music you'll hear Richard Davis doing some odd jumps and maneuvers to avoid ballad cliches and provide a subtle mood shift; unsurprisingly this is the same ultra-strange bass clarinet and bass ballad done on Dolphy's Iron Man. There's also the famous Tommy Flanagan, a very conservative pianist that played on several forward-thinking albums like Giant Steps and Trompeta Toccata, giving The Song Book its comfy atmosphere. A very neat session by one of the more overlooked saxophonists that masters both control of melody and progressive force. If you've listened to Dolphy's Five Spot dates, expect something similar to that with a more traditional lead horn.
https://mega.co.nz/#!JctwwYqR!Vg4hkZh47OMGNi6ay0TeqwALOSRGVN0Dw4B_F2PN74g
It's been a while, jazzthreadguy....
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| >> | No.53962298
File: 45 KB, 350x350, fodd dod.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Född Död - Studie I Närhet, Längtan Och Besvikelse [Northern Electronics, NE15]
>Ambient, electronic, experimental, new wave, techno, very laid back, moody and ethereal
Sample: http://northernelectronics.bandcamp.com/album/studie-i-n-rhet-l-ngtan-och-besvikelse
https://mega.co.nz/#!JwhBTB4Y!OaWVIvfjodVYUokU3YhGWzKDrV8BACTOK5gHdM_bZds
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| >> | No.53963008
File: 17 KB, 300x302, these hidden hands.jpg [Show reposts] Image reverse search: [iqdb] [google]
 These Hidden Hands - S/T, & Remixes I & II [Hidden Hundred, HH002, HH003 & HH004]
>Techno, experimental, dark ambient, Remixes have Ancient Methods, AtomTM, Marcel Dettmann, and SHXCXCHCXSH, and that's all you need to know
Sample: www.youtube.com/watch?v=oyLO_WMHQ6w
https://mega.co.nz/#!0gwzCbzb!IGsuPIsBeqb00yiejxCsB30kJPKjjUEZpM8JBJa1p94
https://mega.co.nz/#!p0YAmYLL!o3PdXZZtJvqfIco_KSjeMQC2bf6FvKjkTXOEpkFkCxg
https://mega.co.nz/#!MspxXbYY!_WSg-l2OYw9_0JlfHas2B0FDBf9TjGsStsxNMkBnC8A
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| >> | No.53963222
File: 16 KB, 300x300, pan sonic.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Pan Sonic - Kesto (234.48:4) [Mute, MUTE9243]
>Techno, IDM, experimental, dark ambient, industrial, noise, dogstep, starts upbeat but gets more ambient
Sample: https://www.youtube.com/watch?v=HVMR1HWODT4
https://www.youtube.com/watch?v=-YDGykUovGo
https://mega.co.nz/#!5kxGnIpD!3Wv4p-wXwrAH7z-FBJhSKKpzos98vq5EkuHd847i664
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| >> | No.53977200
File: 227 KB, 500x500, cover.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Richard Wagner - Tristan und Isolde (Böhm)
>Tristan and Isolde pushes the limits of even Wagner's own aesthetic vision of the orchestra's role in modern opera. Here the music is not simply an accompaniment to the singers; it is in fact a leading element, shaping and controlling the dynamics of the action and even establishing the psychological ambience within which the singers can achieve above and beyond what should be reasonably expected. Karl Bohm's incendiary and famous recording from the 1966 Bayreuth Festival is a perfect example of this. To start with, Bohm worked with a wonderful festival orchestra that played its heart out for him and the cast. As far as the singers are concerned, Wolfgang Windgassen's Tristan, Martti Talvela's King Mark, Christa Ludwig's Brangane, and above all Birgit Nilsson's Isolde set a standard which I doubt can be surpassed. Bohm's steady vision and firm control of all forces steadily builds to an abolutely apocalyptic, hair-raising Act 3. All one has to do is listen to Windgassen's agonized, searching, troubled exposition as the wounded, dying Tristan, leading to Nilsson's breathtaking performance of the concluding Liebestod as Isolde joins her beloved in immortality. This Tristan and Isolde was recorded live at Bayreuth, and I can only imagine the emotionally exhausted condition of the Bayreuth audience at the end. The same effect can easily be sensed by what is contained on these magnificent disks. I submit that this Tristan and Isolde is a recording for the ages, one which any self-respecting Wagner fan should own in his or her collection.
https://mega.co.nz/#!SBJz1SRS!Olq_0q63Q8Tn6D8oifbBi7_daLZCSaXzt9OaRuMN9OE
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| >> | No.53977245
File: 36 KB, 500x500, cover.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Dmitri Shostakovich - String Quartets Nos. 3, 7 & 8 (Hagen Quartet)
>As with their earlier disc of Shostakovich quartets, the Hagen Quartet take nothing for granted in this repertory. Every movement seems to have been put under the interpretative microscope, bringing very different emotional and textural perspectives to these works than some of the approaches that are familiar, particularly from Russian chamber groups. The results are bound to divide opinion. For example, in opting to play the opening passage of the Eighth Quartet with the minimum of vibrato the Hagens may sound far more disengaged from music that conveys a mood of utter despair than the Borodin or St Petersburg Quartets. Yet the long-term impact of holding back both here and in the equivalent movement of the Seventh (where the final reluctant resolution to a major chord is almost inaudible) actually serves to make the outbursts of anger in the second movement of the Eighth and the fugato of the Seventh sound all the more powerful. There are many other striking details: the unexpectedly slow glissandos in the second movement of No. 3 and the heavy thud of the repeated three-note patterns in the fourth movement of No. 8 spring to mind. As always, balance, intonation and ensemble are impeccable, and the Hagens demonstrate a masterly control of large-scale structure, nowhere more impressively than in the rise and fall of tension in the massive Finale of the Third.
https://mega.co.nz/#!HAYBFBpQ!9C2ETkle_UIaNOAcsPkIKd8EQGAJ6Vv1hnGT9b4Jbmw
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| >> | No.53977558
File: 49 KB, 600x600, cover.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Wolfgang Amadeus Mozart - Piano Concertos Nos. 20 & 24 (Markevitch, Haskil)
>The stylistic purity and sobriety of Haskil's playing is reminiscent of Rudolf Serkin's--a fact that's easily explained when you realize that both artists received their early training in Vienna under Richard Robert. After 1905, Haskil became a student of Alfred Cortot in Paris, yet surprisingly little of his influence seems to inform her Mozart performances, except perhaps for a sense of line and fluidity in the slow movements of the works on this disc. The D minor concerto requires neither pathos nor rhetoric to make its point. Haskil brings to it a firmer resolve than you might expect, and the implacable grandeur of her reading (she plays her own fine cadenza in the first movement) is sustained by her iron grip on rhythm and structure. Something of Cortot's finely cultured liquidity informs her reading of the slow movement, but the electric tension of the finale is often worryingly at variance with the visual image of this performer (small, grey, and over-modest) that still persists. The C minor concerto also has exemplary cohesion (cadenzas are by Haskil and Nikita Magaloff) and again, a sense of honesty and integrity combined with fine, fastidiously controlled pianism. The variation finale proves fascinating...Piano enthusiasts will find this an essential purchase.
https://mega.co.nz/#!KQBRVbJC!PK2KQUEMx3NZNbIK1m0hOX5fxrZREQmc7epH0_DzM5Q
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| >> | No.53977764
File: 49 KB, 500x500, cover.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Ludwig van Beethoven - Symphonies Nos. 3 & 5 (E. Kleiber)
>What distinguishes Kleiber('s 5th) from just about everyone else (even his son Carlos) is the exceptional tension and discipline he brings to the first movement, married to a moderately paced finale of Klemperer-like nobility and grandeur. Only Giulini, in his fine DG recording of this symphony with the Los Angeles Philharmonic, attempted something similar, but he doesn't share Kleiber's bracing view of the Andante con moto second movement, nor does his transition from the scherzo to the finale register with the earlier version's effortless inevitability. If you haven't heard these truly epochal Beethoven performances, you simply must, and at this price point, excellently remastered, you've no excuse for hesitation.
https://mega.co.nz/#!WABCyARb!kUtrIgr2PPs0mKb1ASsHwoKS4OCxkGmDOCXbvfaKXXY
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| >> | No.53977847
File: 28 KB, 500x500, cover.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Gustav Mahler - Das Lied von der Erde (Kubelik)
>Rafael Kubelik never made a studio recording of Das Lied von der Erde, but even if he had I doubt it would have been better than this simply stunning performance taken from a live concert on February 27, 1970. First, there's no need to make allowances for the sound: the engineers have captured an amazingly realistic and well balanced picture of both singers and orchestra, with every word perfectly clear and the voices well integrated into the musical texture. Few studio recordings enjoy such success. The audience remains on best behavior throughout, extremely quiet and attentive--and no wonder!...Just listening to the care with which the horns and winds articulate their oft-repeated rhythmic motto in "Der Abschied"--Kubelik's ideally chosen tempo (a hair slower than usual) permitting just the right sort of staccato, the decrescendo hairpins perfectly judged--reveals this to be a performance of unusual stature and vision. In short, in a work that doesn't lack for excellent recordings this one stands among the best, and I won't argue with anyone who comes away from this performance convinced that there are none better.
https://mega.co.nz/#!vcx3haYB!G2VJuGNMptrgaGQw7_dm5-PA8Qp_tKajtvlztRw5N54
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| >> | No.53987175
File: 21 KB, 400x400, 1a8e035bcb8bae1b90951c62615b786d.jpg [Show reposts] Image reverse search: [iqdb] [google]
 https://www.youtube.com/watch?v=qLetX2FNLPs
Waters - Out in the Light
>Alternative Rock
>WATERS is a musical project formed by Van Pierszalowski, the frontman of Port O'Brien, after Port O'Brien broke up.[1] Pierszalowski traveled to Oslo to work on the album. The group released their debut album, Out in the Light, in 2011 to generally favorable reviews.[2] The band consists of Van Pierszalowski (vocals/guitar), Brian DaMert (guitar), Greg Sellin (bass), Andrew Wales (drums), and Sara DaMert (keyboard).
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