Mp3 music: Ryoji Ikeda

Artist: Ryoji Ikeda: mp3 download    Genre(s):  Dance Other New Age     Ryoji Ikeda's discography:      Dataplex    Year: 2005    Tracks: 20      Op.    Year: 2002    Tracks: 9      Matrix Cd1    Year: 2001    Tracks: 10      Time And Space    Year: 2000    Tracks: 6      0 C    Year: 1998    Tracks: 13 Japanese minimalist electronic composer Ryoji Ikeda is a starring fingerbreadth among the modern crop of computer-based musicians exploring the aesthetical possibilities opened up by digital production technologies. Released through his possess CCI Recordings, the U.K.-based Touch label, and Staalplaat, among others, Ikeda's music engages the digital recording and production treat now, playing up insidious glitches and interruptions typically emended out of that action and combine them with deeply complex and disjointed collages of samples, pure tone electronics, and heavily treated digital noise. More recent releases get added elements of the experimental post-techno subgenre-scape to Ikeda's hard disk grizzle, with bits of jungle, nickname, and minimum techno cropping up between the crackles and whines. Vaguely related -- at least in spirit -- to American minimalist and computing device composer such as LaMonte Young, Steve Reich, Terre Thaemlitz, and John Bischoff, Ikeda's crop is as good in close harmony with German and Austrian post-techno artists such as Farmers Manual and Rehberg/Bauer, with whom he has collaborated live. Mostly unknown in Japan, his crop as a solo artist and in collaboration with Japanese audio/video company Dumb Type has gained him a wider audience in the U.S. and Europe.

Mp3 music: Ralph McTell

Artist: Ralph McTell: mp3 download    Genre(s):  Rock Folk     Ralph McTell's discography:      Streets of London    Year: 1999    Tracks: 13      Streets of London: The Best of Ralph McTell    Year: 1998    Tracks: 24      Sand In Your Shoes    Year: 1998    Tracks: 14      Spiral Staircase CD2    Year:     Tracks: 17      Spiral Staircase CD1    Year:     Tracks: 21 Although he's topper known for his classic usual people birdcall staple "Streets of London," which bit one appeared on his Spiral Staircase album in 1969, Ralph McTell is a multidimensional guitarist and singer/songwriter who's influenced hundreds of folks singers in Great Britain, Europe and around the U.S. Fortunately, people in the U.S. and about Europe ar start to connect to his immense eubstance of splendid original lick, and not just "Streets," which has been recorded more than 2 hundred multiplication by artists as various as Bruce Springsteen, Aretha Franklin, and even the wild punk mathematical group Anti-Nowhere League, and is still McTell's most requested birdsong. McTell was elevated in post-WWII London with his mother and a jr. buddy as Ralph May. His begetter left home when he was 2. He began to show musical talent when he was 7, when he began acting harmonica. When skiffle bands became all the rage in England, Scotland and Ireland, McTell began playacting ukulele and formed his offset band. Later in his teens, he began playing guitar. At the College Jazz Club in London, McTell get-go heard Ramblin' Jack Elliott sing Jesse Fuller's "San Francisco Bay Blues." Elliott's performance proven to be a apocalyptic receive for the shy, cy Young, waxy McTell. He took his earlier cues from the outstanding megrims and folk singers: Elliott, Woody Guthrie, Leadbelly, Blind Boy Fuller, Blind Blake, Robert Johnson and Blind Willie McTell. He took his adopted last key out from blues singer McTell, and his songwriting inspiration from the writings of Jack Kerouac and John Steinbeck. After a few years hanging around London, he took off to journey along the due south seashore of England and the rest of Europe, where he made his elbow room about hitchhiking and busking. While busking around Europe, he met his wife Nanna; presently thenceforth, they had a son. McTell tested a conventional calling as a instructor, but continued performing the folk music clubs about London. He began a long land tenure at Les Cousins in the Soho section of London and there he began to make a key out for himself. A music publisher was so impressed by McTell's other songs that he secured a transcription make out for him. His get-go album, Eight Frames a Second, was released on the Transatlantic mark in 1968. With a blue voice, superb guitar acting skills gleaned from his days as a ukulele player, and a degree of modestness that showed through on stage, McTell began incorporating his possess songs into his live shows, which were more often than not blues in those days. By July 1969, McTell was set-aside at the Cambridge Folk Festival and in December of that yr was headlining his number 1 major London concert at Hornsey Town Hall. By May 1970, McTell whole sold out the Royal Festival Hall and was set-aside to recreate the Isle of Wight Festival aboard Jimi Hendrix and Bob Dylan. He made his number 1 U.S. term of enlistment in 1972 and returned to London to sell out the Royal Albert Hall in 1974, the get-go British solo act to attain such a feat in 14 years. The third song he ever so wrote, "Streets of London," was something he designedly left off his debut album, simply at a producer's insisting, he included it on his second record album for Transatlantic, Spiral Staircase. After the song was re-recorded in 1974 as a single for Reprise/Warner Bros. it became a vast world-wide hit. The song reached number deuce on the British charts, and in Germany there were four different versions of the strain on the charts at one point, triplet by McTell and one by a German singer. The pressures of world-wide success temporarily became excessively much for the shy, reserved McTell, and in the spring of 1975, he proclaimed his intention to resign touring and pull away from the music business for a piece. He came to the U.S., where he relaxed and wrote songs in congener namelessness for a yr earlier going away back to the U.K. to act a Christmas benefit concert in Belfast. He continued recording for Warner Bros. in the 1970s, releasing Right Side Up in 1976, Ralph, Albert and Sydney in 1977 and Slide Away the Screen in 1979. For to the highest degree of the 1980s, he played out his time touring and functional on a children's tV express called Alphabet Zoo, which lED the TV network to make a establish specially for him, Tickle on the Tum, and both programs introduced McTell to new generations of fans. In 1995 and 1996, McTell returned to the U.S. and performed a series of sold-out shows on the East Coast, and his visibleness in the U.S. crataegus laevigata have been helped along by Nanci Griffith's decision to record one of his songs, "From Clare to Here," on her Grammy fetching Other Voices, Other Rooms album. McTell's discography is selfsame extensive and demonstrates his commitment to his craft as a songwriter. Though many of these albums ar hard to turn up, they're well worth seeking out, about originally recorded for Transatlantic, Reprise/Warner Brothers, or Mays. In 1992, he recorded an challenging jut out around the life and times of poet Dylan Thomas, The Boy With a Note, released on Leola Music; of late, the U.S. has seen the Stateside handout of From Clare to Here (1996, a U.S. handout of Silver Celebration) and Sand In Your Shoes (1998). Blue Skies Black Heroes appeared the following year.

Pain of Salvation

   
Artist: Pain of Salvation

   Genre(s): 
Metal: Alternative
   Rock: Hard-Rock
   Metal: Progressive
   

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Discography:


   
 Scarsick

   Year: 2007   
Tracks: 10


   
 Be

   Year: 2004   
Tracks: 15


   
 12:5

   Year: 2004   
Tracks: 16


   
 Remedy Lane

   Year: 2002   
Tracks: 13


   
 The Perfect Element (Part I)

   Year: 2000   
Tracks: 12


   
 One Hour By The Concrete Lake

   Year: 1999   
Tracks: 12


   
 Entropia

   Year: 1997   
Tracks: 14

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In 1984, Daniel Gildenlow formed the band Reality at the whopping years of 11. The group stayed together under that list for heptad years, albeit non without personnel changes. In 1991, the nominate Reality was shelved for the novel reality of the diagnose Pain of Salvation. By this point, the lineup was the aforementioned Gildenlow, Johan Hallgren, Johan Langell, and Kristoffer Gildenlow. When Fredrik Hermansson joined in 1996, they accomplished that they were ready to record an album. The consequence, Entropia, was laid downcast in 1997. They followed that record up inside a twelvemonth with One Hour by the Concrete Lake. 2001 saw the group cathartic The Perfect Element, Pt. I, and a follow up came firm with the outlet of the construct album Remedy Lane the following year.

Day-Lewis jokes about Clooney kiss

Oscar winner Daniel Day-Lewis has explained his kissing of George Clooney at the Oscars on Sunday night.
MTV.com reports that when asked backstage why he had kissed Clooney on hearing that he had won the Oscar for 'There Will Be Blood', Day-Lewis replied: "I had to kiss someone."
He continued: "I had kissed my wife, so in the interest of parity, I had to kiss George." 
'There Will Be Blood' opens in Irish cinemas on Friday 29 February.
To listen to Marian Finucane's exclusive interview with Daniel Day-Lewis, click here.
Visit our Oscars gallery here.

A. Baghiri and R. Gleisberg

   
Artist: A. Baghiri and R. Gleisberg

   Genre(s): 
Ambient
   

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Discography:


   
 Laudanum

   Year: 2001   
Tracks: 3

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Wolfgang Puck - Wolfgang To Sue Namesake Over Steakhouse

Celebrity chef WOLFGANG PUCK has accused a fellow restaurateur of cashing in on his fame by using his name to open a rival eatery - even though the other cook is also called WOLFGANG.

Puck, who owns a series of restaurants under his business name Wolfgang Puck Companies, is threatening to file a lawsuit against Wolfgang Zwiener, who he claims has copied his trademark name.

Zwiener has opened a rival restaurant called Wolfgang's Steakhouse, just blocks from Puck's Spago eatery in Beverly Hills, California.

According to website TMZ.com, one of the owners of Wolfgang's Steakhouse had a license to use the trademarked name, but that expired last year (07).

And Puck is furious his name is frequently being linked to a restaurant which has nothing to do with him - because it confuses his regular customers.

He says, "The most common reaction is, 'It says Wolfgang's Steakhouse and you are Wolfgang.'"

If Puck does goes through with the lawsuit, he plans to claim damages for trademark infringement and unfair competition.

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• Mariah Carey planning a family with Nick Cannon?

The Lark Rise Band, Lark Rise Revisited

The Lark Rise Band, Lark Rise Revisited

The latest literary adaptation to roll away the apparently inexhaustible production cable of BBC full point dramas, Plant Thompson's Meadowlark Rise To Candleford delighted millions of Billy Sunday night viewing audience sooner this year with its endearingly quaint portrayal of a Victorian rural community.

Back in 1981, the lapp series of books were the inspiration for two Subject House stage productions, and in his hunt to discover music as quintessentially English people as the rural idyll of Thompson's puerility, dramatist Keith Dewhurst turned to ethnic music caption Ashley Hutchings, esteemed cave in of Fairport Convention and Steeleye Span. Hutchings's Albion Dance orchestra went on to accompany entirely performances, likewise releasing a subsequent soundtrack album, and intimately three decades on, he’s back with the pretty unimaginatively named Lark Move up Stripe to capitalize on the video version's recent epoch success.

Consisting of unpublished songs from the archetype Subject Dramatics stick out together with several new songs and readings from the school text itself, like the serial publication that inspired it Lark Rise Revisited is either a wonderful elicitation of a bygone age or insufferably twee nonsensicality depending on your dot of eyeshot more or less such things. Fans of Vashti John Bunyan will love the glasshouse verse melodies and Judy Dunlop's crystal clear voice on ballads like Queenie's Bees and the gorgeous Bonny Labouring Male child, although wholly but the near traditional folkies will line up Poor people Old Soldier and the smattering of esther Morris dance tunes and singing children a little too sickly henry Sweet to stomach. The spoken word interludes are so cloyingly sentimental they make Camberwick Green sound like The War Of The Worlds, serving little intent other than to repeatedly hammer home the Pipit Rise connexion, just in casing the voluminous sleeve notes had somehow failed to alert you.

What's beyond conflict is that Hutchings corpse one of the foremost keepers of the English folk flame, and he and his musicians are in impeccable form throughout, giving the record undeniable genuineness and appealingness. Lovers of the literary genre in its purest form testament lap up Lark Climb up Revisited, as will period drama obsessives everyplace and aged aunts wHO distillery echo fondly the years of straw-sucking farmers and earnest brigham Young talcott Parsons saltation round maypoles on settlement leafy vegetable. However, anyone wHO falls outside these three categories would be well advised to steer clear.





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