Es luft gerade .......

Big Country - Look Away

 

Cornelius - 2010

Nein, keine Werbung für "Planet der Affen" und auch nicht für eine Agenda a la Gerhard S. .

Cornelius = Beck goes japanese and plays 60's Bach.

http://www.monitorpop.com/cornelius_old/welcome.html

 

"Nature Boy" von Claudia Acuna
... die meint MICH

 

Nach dem ich gestern auf dem Motörhead-Konzert war, mussten heute die alten Motörhead LPs/CDs wieder mal herhalten (man muss ja das Piepsen in den Ohren aufrecht erhalten)

 

Pull Me Under

Dream Theater

 

Gani, du Vater dieses Threads, schau doch mal hier rein!
:wink:
Vielleicht magst du 's?

 

Bin schon eifrig damit beschäftigt!

 

Der Kaffee.

 

der Stream von hekarl

 

Three Berry Icecream - K-L-M Line

ww

 

Julian meine Kehle runter.

Julian?

"Sie haben sich für einen harmonischen, fruchtigen Landwein für alle Tage entschieden", so teilt mir die Flaschengebrauchsanweisung mit.

Für alle Tage?
Auf jeden Fall wohl nicht für den heutigen.

Vin de Pays de L'Herault, 2002, 12 Umdrehungen (immerhin, wenigstens etwas), ökologisch (für's Gewissen).

Zu alkoholisch.
Zu leicht.
Zu blass.

Soll ich die Flasche nun leeren?
Guter Essig wird daraus wohl auch nicht?
In den Ausguss?

Urteil:
Für die Party - ja (am späteren Abend - merkt ja eh keiner)
Für den Gaumen - uaaahh ;(
Kehle weg von diesem Zeugs!

Uuuups, noch ein Glas und die Flasche ist leer....

 

André Rieux ...im Fernsehen ;(

 

Woodentops - Stop this Car

 

Coldplay - the scientist

 

Talvin Singh - Traveller

Talvin Singh - Creator of an innovative fusion of Indian bhangra music and drum'n'bass electronica, Talvin Singh was classically trained on the tabla but rejected most of his learning when he founded the Anokha club-night at East London's Blue Note. Singh grew up in Leytonstone, and though he began playing tabla at the age of five, he also liked to breakdance to electro and listen to punk rock. He was transplanted to India at the age of 16 to pursue a classical education, but later returned to Britain in the late '80s and began picking up work as a musician, with a diverse cast of artists -- Sun Ra, Björk, Future Sound of London, Siouxsie & the Banshees and the Indigo Girls, among others.

By late 1995, Singh founded Anokha, the club night where drum'n'bass DJs and Asian punk bands went head to head with the amped-up sounds of his tabla and percussion. Guest spots by LTJ Bukem and others made Anokha a Monday-night hotspot in London, and Singh signed to Island for an Anokha compilation including several of his own productions. He also worked as a remixer before issuing his proper solo debut, OK. in late 1998.

Talvin Singh first rose to notoriety running a popular Monday night London club, Anokha. That experience led to the release of the album Anokha: Soundz of the Asian Underground, a highly regarded sampling of Asian-esque sounds from artists who performed at Anokha. O.K. is Singh's debut release, and it was nine months in the making. The title was chosen because of the universality of the word O.K., which can be understood almost anywhere. It is mostly a reinterpretation of hypnotic Indian classical music with plenty of flute, sitar and of course tabla. There's also Nusrat Fateh Ali Khan-like devotional qawwali and traditional Okinawan dance music mixed in to make O.K. truly pan-Asian. Singh's subtle craftsmanship in fitting the old with the modern make this album seductive and one of the best efforts yet as blending Asian sounds with techno. "Light," a truly wondrous fusion of Indian flute and rich atmospherics, encapsulates what Talvin Singh is all about and should convince even the most skeptical.

Similar Artists: Bedouin Ascent Fun^Da^Mental Asian Dub Foundation Transglobal Underground Cornershop Ananda Shankar Ansuman Biswas Dhafer Youssef Gigi Dum Dum Project Ravin

 

unfinished symphatie

 

Frou Frou - Let go

A collaboration between musician/vocalist Imogen Heap and producer/arranger/songwriter/musician Guy Sigsworth, Frou Frou manufactured an impressive brand of vocal-driven, electronic pop formerly the exclusive territory of Björk. The British duo had been collaborating for years without a record deal, and after what must have been countless hours matching Sigsworth's studio finesse and trickery with Heap's breathy yodel, the group's debut, Details, was completed for American release on MCA Records in 2002. Heap and Sigsworth first worked together on "Getting Scared" from Heap's 1998 solo record iMEGAPHONE. After completing the promotion for that splendid debut, Heap was ready to begin work on a new project and the two hooked up again as Sigsworth had privately been compiling music specifically for Heap while producing other projects. The first track conceived by the new, more formal (but as yet unnamed) pairing eventually turned into "Flicks" from Details, perhaps Frou Frou's most Björk-reminiscent number. Sigsworth -- who had in fact worked with Björk (Homogenic, Vespertine) and Madonna ("What It Feels Like for a Girl") among many other significant '90s pop and electronic artists -- grew up listening to eclectic female artists like Kate Bush, and along with Heap, developed an appreciation for classical music. Far from being the kind of campy moniker one might expect from a more sugary pop outfit, the name Frou Frou was decided upon when Francophile Sigsworth noticed the phrase in a Baudelaire poem. Apparently, when uttered in French, the phrase is meant to approximate the swishing of skirts as they swirl about the legs of comely dancing women, as in a burlesque performance. Born composers, multi-instrumentalist Heap and studio/sound/ producer/musician Sigsworth are credited with many side appearances in support of other artists, especially Sigsworth, who was often used as a bit of a song-fixer. While those aren't bad jobs to have, artists of Frou Frou's caliber need to step out on their own, and while Heap worked as a solo artist for a majority of her career, Sigsworth had never been so strongly identified with any previous project. Instead of relegating the male producer/writer to a barely credited back seat, as often happens with a female-fronted team effort (for example, Glen Ballard's participation on Alanis Morissette's Jagged Little Pill), Frou Frou was conceived and honestly portrayed as a true collaboration, making it significant for its marketing truthfulness if nothing else. Details has some relatively conventional pop moments like "It's Good to Be in Love," but more experimental cuts like "Only Got One" display a more definitive quality. The true accomplishment of Frou Frou -- which is in evidence on just about every track the "band" created -- is their uncanny ability to infuse highly manipulated, digitally crafted music with a warmth quite rare in pop and almost unheard of in music so technologically progressive. In the studio, Frou Frou achieved unique sounding beds for Heap's luscious voice via more-than-would-be-expected acoustic and natural instruments. These actual instrumental performances were recorded first, then heavily manipulated in an editing stage, giving the duo their own process and thus, their own sound. This approach made their music lush, dynamic, and more earthy when compared to typical electronic/dance and canned pop.

Album: Details (2002)

ritics of electronica often complain that much of it has a cold, impersonal quality -- that warmth and humanity are missing from what can be a very producer-driven medium. But there is no law stating that electronica has to be cold; it all comes down to how the participants decide to use technology. And technology is used in a very human way on Details, a collaboration between producer Guy Sigsworth and singer/songwriter Imogen Heap. Together, Sigsworth and Heap comprise the British duo Frou Frou, which has the sort of name that listeners might expect from one of Europop's more bubblegum acts. Hearing the name Frou Frou, one might expect something along the lines of ABBA, Fun Fun, Jemma & Elise, Bananarama, or Aqua. But there is nothing bubblegum about Details -- quite the contrary. Tracks like "The Dumbing Down of Love" and the single "Breathe In" have an atmospheric, dreamy, ethereal outlook. Björk (who Sigsworth has worked with extensively) is a strong influence, and other valid comparisons range from Kate Bush to Dido. Although Sigsworth's high-tech production is attractive, this 2002 release isn't about production gloss for the sake of production gloss -- it's also about solid songwriting and expressive vocals. Had Sigsworth and Heap been forced to record an acoustic project, Details still would have had a lot going for it. Sigsworth uses technology to his creative advantage, but he doesn't hide behind it -- for Frou Frou, technology is not an attempt to compensate for weak singing or weak material. Ultimately, quality singing and composing are the things that make Details a cut above much of the electronic Europop that came out in 2002.

Similar Artists: Zero 7 Björk Röyksopp Goldfrapp Portishead

Tolle Stimme, leckeres Mädel, easy POP.

 

emotional content

 

Enterprise auf SAT1!!!!!!!!!!

 

laibach: across the universe