 Artist: Ricardo Arjona: mp3 download Genre(s): Latin Pop Rock Other Folk Discography:  Quien dijo Ayer (cd2) Year: 2007 Tracks: 13  Quien dijo Ayer (cd1) Year: 2007 Tracks: 16  Mis Mejores Lentos Year: 2006 Tracks: 16  Adentro Year: 2006 Tracks: 16  Santo Pecado (with Bonus CD) Year: 2002 Tracks: 14  Vivo Year: 1999 Tracks: 16  Sin Danos a Terceros Year: 1998 Tracks: 14  Si El Norte Fuera El Sur Year: 1996 Tracks: 14  Ineditas Year: 1994 Tracks: 12  Historias Year: 1994 Tracks: 14  Jesus Verbo No sustantivo Year: 1993 Tracks: 10  Galeria Caribe Year: 1993 Tracks: 19  Dejame Decir Que Te Amo Year: 1993 Tracks: 9  Animal Nocturno Year: 1993 Tracks: 12  En Vivo Year: Tracks: 16 Guatemalan singer/songwriter Ricardo Arjona is 1 of the more than respected Latin artists, mostly for his social conscience and his integrity in writing and playing songs. Born in Antigua, he was concerned in music from an early age merely later distinct to go a rural schoolteacher. He besides played basketball for the Guatemalan national squad, just continued to play his guitar and compose songs in his spare m. After realizing that music was his unmatchable truthful passion, he stirred to Mexico City; once thither, he began looking for a record contract and played at many pupil festivals, increasing his status as a protest isaac Merrit Singer. Arjona eventually launch a narrow through PolyGram, merely the label attempted to market him as a Latin-lover type on his debut album, Dejame Decir Que Te Amo (Let Me Say I Love You). Predictably, the record album failed, and Arjona spent the adjacent pentad age didactics and from time to time composition songs recorded by other artists. He touched to Buenos Aires, began playing once again, and soon returned to the transcription sphere with corporeal more suited to his experiences as a protestation singer, viz. "Jesus Christ Verbo No Sustantivo," a controversial strain about his experiences at a Catholic school as a baby. It gained him a abbreviate with Sony, which released many of his nigh popular albums, including Brute Nocturno. Adentro, released in late 2005, was nominative for a 2006 Grammy in the Latin Pop Album category. |
Tuesday, 19 August 2008
Download Ricardo Arjona mp3
Saturday, 9 August 2008
Until June
Artist: Until June
Genre(s):
Indie
Discography:
Until June (Advance)
Year: 2007
Tracks: 10
Until June
Year: 2007
Tracks: 10
The roots to the warm, piano-peppered pop/rock songs of Until June were sown in Phoenix, when brothers Josh and Dan Ballard (vocals/piano and guitar, respectively) began authorship songs together in high school. Taking influence from the likes of Ben Folds and Coldplay -- and only a few eld aside in eld -- their melodic collaboration continued into college at Arizona State University, as versatile bassists and drummers came and went over time. The guys recorded their kickoff EP in 2000 and worked the record intemperate locally and through outside mailings, which eventually earned a call in from a major label. Though cipher finally came of the run across, it bucked up the brothers' religious belief in their songs, and they decided to give everything they had into their medicine. The Ballards thus stirred to Los Angeles, only subsequently a few old age -- and despite all the area gigs, unblushing self-promotion, and long hours working jobs in 'tween -- they still didn't experience much to bear witness for their efforts. It was create or fall apart time. With drummer Daniel Dempsey finally complemental the band in April 2005, they congeal up a personal deadline of either getting signed by that June or that was it (this self-imposed time limit made for a skillful little band make as easily). As fate would get it, but as the deadline was nearing, Until June scored a deal with Tennessee-based Christian tag Flicker Records, which before long subsequently became a subsidiary of Sony/BMG. A three-song EP released unique through iTunes afterward light-emitting diode nicely into the April 2007 visual look of Until June's self-titled debut record album.
Boondox
Tuesday, 1 July 2008
Recoil
Artist: Recoil
Genre(s):
Electronic
Discography:
Subhuman
Year: 2007
Tracks: 7
Strange Hours
Year: 2000
Tracks: 4
Liquid
Year: 2000
Tracks: 10
Jezebel
Year: 2000
Tracks: 4
Unsound Methods
Year: 1997
Tracks: 9
Stalker
Year: 1997
Tracks: 3
Drifting
Year: 1997
Tracks: 6
Faith Healer
Year: 1992
Tracks: 7
Bloodline
Year: 1992
Tracks: 7
Hydrology Plus 1 + 2
Year: 1989
Tracks: 5
After officially rending from Depeche Mode in 1995, longtime member Alan Wilder finally went ahead with his side project Recoil. Wilder started Recoil in 1985, simply efforts were lukewarm due to his responsibilities with DM. But scorn such conflicts of interest, Recoil issued a fructify of early demos entitled 1 + 2, which coincided with the release of DM's 1986 album Smutty Celebration. As the '80s were coming to a close, Wilder and his original bandmates were becoming international superstars with the chart-topping success of 1987's Music for the Masses and 1990's Debaucher. Subsequent Recoil EP releases such as 1988's Hydrology and 1991's Bloodline were naturally lost in the background of events. In 1997 Wilder was impertinently ready for Recoil, next up with the project's first album, Mentally ill Methods. This album, a purgative set up of techno-bombastic slews, brought in a wide reach of artists such as spoken word fresh girlfriend Maggie Estep, Songs of Faith and Devotion session vocalists Douglas McCarthy (Nitzer Ebb) and Hildia Cambell, and Recoil mainstay Siobhan Lynch. Unsound Methods was critically tagged as "difficult" and "dark," merely it didn't cark Wilder. Certainly that was the reaction he was searching for. Three age later, his cunning melodious whodunit continued on Liquid. After a log hiatus, Wilder revived the Recoil name in 2007 with the album Subhuman.
Joseph Michael Levry (Gurunam)
Artist: Joseph Michael Levry (Gurunam)
Genre(s):
New Age
Discography:
Om House
Year: 2002
Tracks: 3
Britney and Maloof in Cahoots for New Album!
In Bruges - 6/24/2008
The Bruges Chamber of Commerce should be delighted with at least part of Martin McDonagh's film In Bruges, as it provides an unprecedented and absolutely ravishing look at the architecture of this gorgeous Belgian town that appears to have been dropped into the 21st century from a pristine, fairy-tale version of the Middle Ages. They should be happy as a good number of people, after seeing the film, will be tempted to hop on the next flight to the little jewel box of a medieval village, all canals and pristinely preserved Gothic architecture. Such town boosters will be less delighted with other aspects of this dark-as-night comedy, in which a pair of hitmen hiding out in the town spend their time arguing over whether or not the town is, in fact, "a shithole." Later on, the guns come out, large quantities of blood are spilled, and a story that had been weaving a fairy-tale ambience up until that point turns into an entirely different kind of fairy tale -- one that doesn't exactly cater to tourists.
Writer/director McDonagh has dabbled in fairy tales before, in his grimly funny and ultraviolent stage plays like the Tarantino-esque The Lieutenant of Inishmore and, particularly, The Pillowman, which knocked Broadway audiences for a loop back in 2005 with its mix of bloody, Grimm-like Germanic storytelling and anonymous, Kafkaesque modernity. With his feature directorial debut (his short film, Six Shooter, won an Oscar in 2006), McDonagh takes his particular theatrical affinity for finding cockeyed laughs in horrendous situations and creates a precisely structured and knock-you-down hilarious comedy of violence with a film that (hopefully) announces a great new cinematic talent.
With In Bruges, McDonagh's ear for profane humor is almost in overdrive from the very start, with his Odd Couple of hitmen on the lam, yammering each other's heads off right from the get-go. Ray (Colin Farrell) and Ken (Brendan Gleeson) have arrived at a charming little bed and breakfast in Bruges (pronounced by all the English speakers in the film as "brooshz"). Ray is all twitches and elbows, supremely uncomfortable in this village that's the definition of "quaint," continually nonplussed by the jaw-dropping architectural beauty on display everywhere he looks. Ken is the more seasoned of the two, a hulking and squash-faced type who is endlessly enthralled by everything he sees, dragging Ray along on tourist outings like they were an old married couple.
The film is content to amble along with these two for quite some time, as they've got nowhere to go -- they've been sent to Bruges to lay low after a job by their boss back in England, Harry, and wait for his call -- so it's fortunate that McDonagh has not only the ravishing town as backdrop (captured with pristine clarity by cinematographer Eigil Bryld, who did similarly fantastic work on The King) but Farrell and Gleeson to carry what there is of a story. It's no surprise that Gleeson proves so adept in this delicate balance of comedy (he's not an actor one is ever disappointed by) but his talents are no less appreciated here. Farrell, however, is something of a revelation. An actor who showed great promise years back but who has been less than smart about his roles, too often submerging his considerable charm in overproduced vehicles like Miami Vice, The Recruit, and (shudder) Alexander. With In Bruges, though, Farrell's daft wit shines through like a spotlight, playing Ray with a winning mix of bloke-like common sense and utterly vulnerable childishness.
There is quite a bit more to In Bruges than these hitmen nattering on about the town and their comic interactions with locals, ranging from charming drug dealers to a dwarf American actor, and it's in Ray's occasional bursts of frightful sadness that it starts to come out. McDonagh starts teasing away the layers to the characters' pasts, the real reasons why they've come to Bruges, and the judgment that awaits once they get that call from Harry. (It is not giving anything away to say that Harry is played by Ralph Fiennes, and when he finally appears it's as though he's swallowed the soul of Ben Kingsley's Don Logan from Sexy Beast and added a dash more psychotic fury.) The whole thing is a masterfully handled act of suspense, and one that the film manages with even more surprise since most viewers are going to be busy enough enjoying the banter between Ray and Ken that they won't even notice the story's pitch-black underpinnings until they've already been enveloped by the entire film. McDonagh may have some distance to go as a filmmaker -- the final confrontation that rages through the postcard streets of Bruges is perhaps over-choreographed and too lengthy -- but In Bruges should be considered a fantastic start to a new career.
Now let's get an ice cream.
See Also
Das Ich
Artist: Das Ich
Genre(s):
Gothic
Electronic
Rock: Pop-Rock
Ethnic
Rock
Metal: Gothic
Industrial
Discography:
Cabaret
Year: 2006
Tracks: 10
Lava (Glut)
Year: 2004
Tracks: 10
Lava (Asche)
Year: 2004
Tracks: 10
Lava
Year: 2004
Tracks: 8
Anti'Christ
Year: 2002
Tracks: 10
Kramm - Coeur
Year: 2001
Tracks: 11
Remixed and Unreleased
Year: 2000
Tracks: 11
Re-Kapitulation 89-99
Year: 2000
Tracks: 12
Kramm - Blasses Kind
Year: 2000
Tracks: 4
Re Laborat CD2 - Re Animat
Year: 1999
Tracks: 11
Re Laborat CD1 - Re Laborat
Year: 1999
Tracks: 13
Morgue
Year: 1998
Tracks: 14
Egodram
Year: 1998
Tracks: 11
Destillat
Year: 1998
Tracks: 4
Das Innere Ich
Year: 1996
Tracks: 8
Die Liebe (with Atrocity)
Year: 1995
Tracks: 9
Staub
Year: 1994
Tracks: 8
Stigma
Year: 1993
Tracks: 4
Die Propheten
Year: 1991
Tracks: 8
Satanische Verse
Year: 1990
Tracks: 7
With the Germanic vocals of Stefan Ackermann set to the electronic sounds of Bruno Kramm and Daniel Galda, Das Ich continues to reach out to an ever-growing audience with a divers range of atmospheric textures. Their record album, Die Propheten, which sold more than xXX g copies when number one released in Germany in 1981, was reissued in the United States in January 1997.
Since the mid-1990s, Das Ich has increasingly focussed on building a following in North America. They toured the United States in 1996 and 1997. The mathematical group switched to a more danceable, up-tempo, style with their spring 1997 album, Egodram. Their music provided the soundtrack of the Hans Helmut Haessler-directed and produced flick, Coney Ewige Light.
Das Ich brings together three musicians with very different roots. While Ackermann was born in Berlin, keyboardist Galda hails from East Germany. Electronics star Kramm, wHO was natural in Munich, formed his first electronic group, Fahrenheit 451 in 1986. In addition to composition the trio's material, Kramm programs the synthesizers and samples and mixes the group's albums.
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