Moby

Last Night

March 31, 2008

After three albums that seemed to find Moby in some sort of creative stasis, Last Night sees the once-restless DJ/producer changing the record and returning to one of his first loves: the heaving dancefloors of his native New York. Soulful, uplifting piano rave is the order of the day here, and while some hallmarks of Play remain--Moby still has a fascination for long, tearful synth lines and sampled vocals, which he drops in here and there, seemingly to yield the maximum emotional response--Last Night still feels like a clean slate. "I Like to Move in Here" shimmies along on a languid house beat that doffs a cap to early hip-hop in the shape of a cameo from MC Grandmaster Caz, one of the writers of "Rapper's Delight", while "Everyday It's 1989" is the sort of overdriven, ecstatic piano house that Moby perfected on his 1995 classic Everything Is Wrong. There's more guest spots in the shape of British MC Aynzli, the Nigerian 419 Squad and Sylvia from dark NYC disco band Kudu, but the most impressive thing about Last Night is the peaks that Moby can reach when he's working alone: see the grand, emotive swell of "Sweet Apocalypse", cold synths and driving beats that, were it released by James Murphy, would be hailed as genius--and rightfully, too.--Louis Pattison



1. Ooh Yeah 5:18
2. I Love To Move In Here 4:43
3. 257.zero 3:37
4. Everyday It's 1989 3:40
5. Live For Tomorrow 4:02
6. Alice 4:26
7. Hyenas 3:35
8. I'm In Love 3:42
9. Disco Lies 3:22
10. The Stars 4:20
11. Degenerates 3:58

D.L. >> http://www.mediafire.com/?dvvymbnzvj2

portishead

Third

April 29, 2008

Portishead's Third has been a long time coming, the result of a lengthy creative torpor following 1997's dark, distinctly underrated album Portishead. Importantly, though, they've shaken it. While the core trio of Beth Gibbons, Geoff Barrow, and Adrian Utley remains, this is quite a different band to Portishead's 90s incarnation: gone is the slo-mo turntable scratching and smoky jazz feel, replaced by heavy, brooding rhythms, vintage-sounding electronics, and spindly guitar. Still present, though, is that sense of emotional fracture and deep gloom. "Silence" opens with a dense drum loop which suddenly falls away to reveal Gibbons' voice, cold but magnificent: "Wounded and afraid, inside my head/Falling through changes". "Nylon Smile", meanwhile, is a fine example of Third's occasional folksy edge, an acoustic song reminiscent of Leonard Cohen that, around its midpoint, lifts off on a propulsive electronic rhythm, Gibbons holding one clear, hard note as synthesisers bubble beneath. At times, it's a harsh and foreboding listen: the electronic drums of "Machine Gun" might put off the listener hoping for smooth dinner party fare. But Third is a brave and forward-thinking return, and one great enough to justify its lengthy gestation. --Louis Pattison


1. Silence 4:59
2. Hunter 3:57
3. Nylon Smile 3:16
4. The Rip 4:31
5. Plastic 3:27
6. We Carry On 6:28
7. Deep Water 1:31
8. Machine Gun 4:43
9. Small 6:46
10. Magic Doors 3:32
11. Threads

D.L. >>http://www.mediafire.com/?xojzudyd6tk

Sigur Ros

Med Sud I Eyrum Vid Spilum Endalaust

June 24, 2008


Sigur Rós--the sound of snow-capped peaks. Or winged things flocking over vast plains. Or salmon making that final courageous, muscular leap upstream, homeward bound. Ever since the BBC so aptly enlisted the help of the band’s "Hoppipolla" single to theme the groundbreaking natural history series Planet Earth, the ever-ethereal Icelandic band have become somewhat typecast, finding themselves conducting awe across the backdrops of nearly every other programme in that broad genre. And with that came the danger that all which followed would automatically become an instant cliché. And though their last album Takk saw a slowing of their evolution in favour of solidifying the established sound in accessible earfuls, Med Sud I Eyrum Vid Spilum Endalaust (which translates as "with a buzz in our ears we play endlessly") sees enough of a stylistic twist to keep things moving, without undercutting this new approachability. Where previously they sounded untouched by human hands, all alien post-rock abstractions, they now sound much more organic, sometimes literally like men playing instruments in a room. Albeit pensively, and extraordinarily. It is a perky record, attentive and exquisite, familiar but not derivative. The rhythmically adventurous "Gobbledigook" reminds of Brooklyn experimentalists Battles, unplugged, the xylophone heavy "Inní Mér Syngur Vitleysingur" is this album’s "Hoppipolla" and "Ara Batur" is trembling, lonely and eventually triumphant. "Festival", the album’s centrepiece, melds the old and new Sigur Rós dramatically over nine majestic minutes and must number amongst the best moments of their career. -- James Berry

1. Gobbledigook 3:04
2. Inní mér syngur vitleysingur 4:05
3. Gódan daginn 5:15
4. Vid spilum endalaust 3:33
5. Festival 9:23
6. Med sud í eyrum 4:56
7. Ára bátur 8:56
8. Íllgresi 4:13
9. Fljótavík 3:49
10. Straumnes 2:01
11. All Alright

D.L.>>http://www.mediafire.com/?onnygmry1y9

Tricky

Pre millennium tension


November 19, 1996

Pre-Millennium Tension picks up where the first album Maxinquaye left off, but this CD fulfills the promise of Tricky's unbounded spontaneity and fondness for sonic digression. Abandoning the accessible pop of Maxinquaye, Pre-Millennium Tension serves up a beguiling array of sound effects, electro distortion and fragmented lyrics that amount to a rich--if bizarre-musical montage. As suggested by its title, this disc zeros in on a kind of end-of-the-millennium disruption of classifiable sound. With its cross-pollination of hip-hop, cabaret balladry, background textures, and disjointed arrangements, Pre-Millennium Tension takes a peek at the future of pop music and declares it will be nothing like we expect. --Nick Heil


1. Vent
2. Christiansands
3. Tricky Kid
4. Bad Dream
5. Makes Me Wanna Die
6. Ghetto Youth
7. Sex Drive
8. Bad Things
9. Lyrics Of Fury
10. My Evil Is Strong
11. Piano

D.L. >> http://www.mediafire.com/?1yyzvz9oggt

Tricky

Angels with dirty faces


June 2, 1998


What's really tricky is following up a debut as innovative and exquisite as 1995's Maxinquaye. Third time out (fourth if you count 1996's perplexing duets project Nearly God) and the artist formerly known as Adrian Thaws is still struggling to find the right balance of ambition and ability on Angels with Dirty Faces. The album has its moments: including a stirring collaboration with Polly Harvey on the bluesy "Broken Homes" and singer Martina Topley-Bird's eerie rendering of Billie Holiday's "God Bless the Child" on "Carriage for Two." If you liked the claustrophobic mire of last year's Pre-Millennium Tension, Angels won't disappoint. Otherwise, you may find it a downer. --Aidin Vaziri


1. Mellow
2. Singing The Blues
3. Broken Homes
4. 6 Minutes
5. Analyze Me
6. The Moment I Feared
7. Talk To Me (Angels With Dirty Faces)
8. Carriage For Two
9. Demise
10. Tear Out My Eyes
11. Money Greedy
12. Record Companies

D.L. >> http://www.mediafire.com/?yundntuze2y

Sex and the City

May 27, 2008

Soundtrack

1. Labels or Love (Fergie)
2. All Dressed In Love (Jennifer Hudson)
3. The Look Of Love -Madison Park vs Lenny B Remix (Nina Simone)
4. New York Girls (Morningwood)
5. All This Beauty (The Weepies)
6. I Like The Way (Kaskade)
7. It's Amazing (Jem)
8. How Deep Is Your Love (The Bird & The Bee)
9. The Heart Of The Matter (India.Arie)
10. Auld Lang Syne (Mairi Campbell & Dave Francis)
11. Kissing (Bliss)
12. . How Can You Mend A Broken Heart (Al Green featuring Joss Stone)
13. Walk This Way (Run-D.M.C. featuring Steve Tyler and Joe Perry of Aerosmith)
14. Sex and the City Movie Theme (The Pfeifer Broz. Orchestra)


DL >>http://www.mediafire.com/?bsx4twmb4nn

Coldplay

Viva la Vida

June 17, 2008

To say there has been a lot of anticipation for Coldplay’s fourth album, Viva La Vida, is an understatement. Having enlisted legendary leftfield producer Brian Eno, borrowed their album title from a painting by renowned Mexican artist Frida Kahlo and made tantalising remarks about sonic reinvention, the world has been curious (to say the least) to hear what the ‘new’ Coldplay might sound like. Viva La Vida definitely makes some departures from the band’s usual formula, which happens to be one of the most commercially successful rock-pop blueprints of recent years. The plangent chords, emotive melodies, stadium-rock rhythms and universal lyrical concerns remain, but Martin and co. have gone out on several limbs here, incorporating instrumental tracks ("Life In Technicolour"), using subtle North African and Latin elements ("Yes", "Strawberry Swing"), and overhauling previously strict verse-chorus-verse structures in favour of slightly more avant arrangements. The old Coldplay still shine through (see tracks like "Violet Hill" and the title song) but even their classic sound feels more muscular and confident. The band’s new flourishes, cosmetic and self-conscious as they may be, are enough to make Viva La Vida a welcome break from the old routine--Danny McKenna

1. Life In Technicolor 2:29
2. Cemeteries Of London 3:21
3. Lost! 3:55
4. 42 3:57
5. Lovers In Japan 6:51
6. Yes 7:06
7. Viva La Vida 4:01
8. Violet Hill (Album Version) 3:42
9. Strawberry Swing 4:09
10. Death And All His Friends 6:23

DL >>http://www.mediafire.com/?xglvngymdkd