If you love sometimes in down-mood,look my page everday!.You will get the clues from me.I mean the song names.Today down song is from ”personal effects soundtrack”.When i hear, i enter google and search the lyrics and found it.Thats the method i always did.Maybe the song is a little bit empty without the frames.But i love it,it is simple.And the lyrics are good enough to hit :
It goes on forever along the shoreline,It never will end on the shores of my mind..I travel along‘til the sleep takes me in Where have I ended, where do I begin? Sand blankets are littered with stones whipped across,Dead things in the water, forgotten or lost.The branches have surfaced and now they are lean.The trees have washed up here.Stripped bare, and washed clean.The waves kiss and gently caress on the shore,Kissing and winking, and calling for more.The waves like wagging tongues do adore,And whisper there softly to the sand on the shore.You would be nothing without me ( i dont know if you would but i know i would) ,I could be nothing,Said the waves to the sand, I could be nothing without you !
ps: words i wrote in parentheses are not the lyrics of the song.just a little bit info.
Motorcitysoul - Technique: Frankfurt veterans and deep house pioneers Matthias Vogt and Christian Rindermann aka Motorcitysoul will release their second studio album ‘Technique’ on Simple Records on October 13, 2008. Finally, after 4 years, following two very successful releases (‘Kazan’ and Space Katzle’) on Will Saul’s Aus Music last year, the guys started putting together an album and Will saw his Simple label as the perfect avenue to release it. After more than six months of intense work and experimentation in the studio ‘Technique’ is now ready and it´s their first album fully written and produced together as a duo (the first album was written by Matthias, and C-Rock helped produce it). A feast of lush melodies and harmonies, lovingly crafted beats and percussion, ambient excellence and smart vocal numbers. On the album’s title C-Rock explains: “It’s an elegant word that refers to the way we work and hopefully how our music sounds. We’re very technically focused yet we aim for our music to have genuine soul and warmth. We also do everything in the studio so technique is the key to that.”
Lee Jones - Electronic Frank:As one third of My My, Lee Jones is responsible for one of the few great techno albums to have emerged in recent years: 2006’s sonorous, sky-scraping Songs For The Gentle. Since then, My My have been dormouse-quiet, and Jones has turned his attentions to solo work for Will Saul’s Aus and Simple labels – the culmination of which is Electronic Frank.We begin appropriately enough, with ‘Beginn’ – a typically bijoux, micro-edited house track coloured with Middle Eastern string and vocal textures. It’s a strong start, and you find yourself wondering whether the British-born, Berlin-based producer can pull off a whole album of the stuff. Thankfully, our man is on form: ‘Honey & Ginger’ is the perfect marriage of sugar and spice, ‘Roadwork’ has all the swing and elastic energy of primetime Mike Shannon or Alex Under, while the clipped orchestral flourishes of ‘Theme For Frank’ are absolutely delightful. Neo-trance-fest ‘MDMAzing’ is just about ecstatic enough to justify the godawful pun.
Bruno Pronsato - Why Can’t We Be Like Us?:Bruno Pronsato’s new album ‘Why Can’t We Be Like Us’ promises to bring drums, drums and an honest-to-god story arc to the techno album format.Once a drummer, always a drummer, it seems. With singles on minimal labels such as Perlon, Orac and Hello? Repeat, it comes as a shock to find out that Pronsato spent a good portion of his early adulthood playing drums in punk and metal bands. But as his new album Why Can’t We Be Like Us proves, put a computer in front of a drummer and what you get is, well, more drums.Billed as a true longplayer and not just a collection of dance tracks, Why Can’t… promises percussion, grooves and, er, lots of things being hit in between darkly organic melodies and a home listening-friendly concept: “I grew up listening to Roxy Music and My Bloody Valentine and even Led Zeppelin,” Bruno told RA recently. “These bands orchestrated the idea in my mind of what an album is - the beginning, the story and sort of the electricity of it.
Minilogue - Animals:Minilogue’s Marcus Henriksson and Sebastian Mullaert from Malmö, Sweden, seem particularly interested in revisiting, and revising, history. Nowadays they’re essentially minimal producers, but their early progressive trance days never seem far away, no matter how absurd the connection. (This may prove minimal’s most lasting legacy: its influence upon other styles has indeed proved dramatic. Few from the ceaseless deluge of lackluster, identikit minimal releases churned out each week are likely to be remembered – although their volume may – but now we can listen to music as ridiculous as trance and enjoy it.) Tracks such as ‘Girl from Botany Bay’ and ‘Space’ for Wir and Traum rein in these early blustery excesses in line with contemporary reductionist codes, and the results are staggering. Animals, their debut LP for Cocoon, performs a similar feat but on a much grander scale, viewing the wider history of house and techno through minimal goggles, and after 80 largely successful minutes of that there’s another 80 minutes devoted to ambient.
Animals is firmly progressive in form and length, recalling both drum n’ bass at its most overblown and seventies progressive rock. Yet their revisionism is subtle, keeping to a strict, linear rhythmic template with frequently wonky analogue melodic flourishes, familiar from ‘Elephant’s Parade’. If earlier tracks hinted at a trademark sound, here it becomes firmly established, almost to the point of cliché. Luomo- Convivial:Sasu Ripatti is the producer and head writer behind Luomo, his musical outfit that has redrawn the boundaries of what house music can achieve. Always a shy man, Ripatti returns into view to introduce to the world Convivial; his latest, and fourth, album as Luomo. But this time he doesn’t have to arrive alone. In addition to long-time collaborator Johanna Iivanainen (from Helsinki, Finland), he lands with a semi-underground star cast; Cassy (Panorama Bar), Sascha Ring (Apparat), Jake Shears (Scissor Sisters), Robert Owens, Sue-C and an anonymous singer masquerading as Chubbs. The album is not so much of an assembly as a series of commentaries, interspersed with contemporaneous studio stylings and entries from travel diaries he kept while working on the album. For the first time there’s a real collaboration between him and the singers; where he didn’t write all the lyrics himself but left plenty of room for his collaborators to bring in the lyrics and musical ideas. The title refers to the rather convivial vibe and social atmosphere that surrounded the making-of the album; something new in Luomo’s production history. The main hub to record and create the album was again Berlin, as is in so many cases today, but since then he decided to relocate to his home country of Finland, where he finished the album and is currently living.
Delon & Dalcan-Tanz :Greg Delon DJ’s at Barlive since 2003, well known after in Montpellier, as well as in the most famous clubs in France or Europe. André Dalcan (label manager of Scandium Records) has been playing his hard hitting and dancefloor-oriented live-act across the world since 1995. They have often performed during the same events since their first encounter in 2000, but the Delon & Dalcan project as such was set up in 2003 after a gig in Crete island. The point was to mix the electro-house influences of Greg with the dancefloor side of the André’s live-act.In 2004 they released their first EP : DUNUFUS, on the Cologne based label Boxer. Since 2004, the duo made more than 20 reference released and remixs on great labels as Boxer, Great Stuff Recordings, Karaté Music, Nordwest.
They remixs famous artists as Maxime Dangles, Patrick Zygon, Oscar and get honnor to be remixed by Gui Borratto, Tekel, Martin Eyerer. They are now part of the international musical scene, and they never forget the dancefloor, with a lot of dj’s sets and live act around Europe and famous clubs or events like Benicassim in Spain (2007). From House music to Techno via electro, their live act and mixes are as exciting as their productions.
Robert Owens-Night time stories:In the Eighties it seemed as if all dance music was vocally rooted in R&B or various flavors of soul. By the time the 90s hit us, you’d think this would have changed, but in fact, when it came to house music, especially Chicago’s brand of the stuff, the vocal influence remained the same. Now that we’re past the tipping point of the Two-thousands, you simply have to accept that R&B/Soul vocals are always going to be the backbone of dance music.The outcome of all this diversity and Robert’s inevitable musical maturity can really be appreciated in a song like “Now I Know“. Produced by well known UK talent Atjazz, this song has a slower tempo than most of the dance-oriented tracks on the album, but really displays an amazing depth. It’s followed by another great slow jam called “Never Give Up” that was produced by Charles Webster. In my opinion, it’s what you hear and feel in between each beat that really makes the connection. I guess that’s why dance music seldom draws me in; there’s no time to feel what’s in between the beat.
Bersarin Quartett-Bersarin Quartett:Contrary to its namesake, Quartett is merely a one man show — a “Thomas” — who at this point in time remains mysterious and would rather let the music speak for itself.Albums of this caliber, you will find, have no specific mood requirement. While many ambient artists are shackled to a singular theme or mood that permeates through an audio recording and guides the listener through the experience, a select few are able to transcend this limitation and create more universal music which is independent of time, space, and body, merely existing and satisfying all whom happen to connect with it in any way, shape, or form. It’s one of the best you’re likely to hear all year..
Aeroplane fly high with a set of disco pop in this week’s RA podcast.
If Aeroplane didn’t exist, it might’ve been necessary to invent them. Over the course of three singles for the Eskimo label, the duo has produced a spate of disco pop epics that sounds so perfectly formed that they almost have to be ripping off somebody. It’s as if they’re music already existed and Stephen Fasano and Vito De Luca simply picked it off a tree, shined it a little, and presented it to the world.
Aeroplane’s DJing sounds much the same way. Effortless, we mean. As they prove on their RA podcast, there’s plenty of low-hanging fruit of the nu-disco, nu-balearic, nu-pop variety around these days. And, instead of quick mixing trickology, the duo often lets these tunes play out almost in their entirety before moving on to the next one, offering you the opportunity to take a listen to some of their newest remixes (The Shortwave Set, David Rubato), as well as some other choice upfront music…[read more]
Tracklist
01. Fleet Foxes - White Winter Hymnal [Bella Union]
02. Quixote Feat. Lisa Li-Lund - Before I Started to Dance (Prins Thomas Diskomiks) [Versatile]
03. They Came From The Stars I Saw Them - Moon Song (Holy Ghost! Remix) [This Is Not An Exit]
04. The Shortwave Set - Now Til 69 (Aeroplane Remix) [Wall Of Sound]
05. Dolle Jolle - Balearic Incarnation (Todd Terje Mix) [Permanent Vacation]
06. Eine Klein Nacht Muzik - La Serenissima [Modular Recordings]
07. David Rubato - Circuit (Aeroplane Remix) [Institubes]
08. Eddy Meets Yannah - Solid Ground (Crazy P Remix) [Solid Ground]
09. Toby Tobias - The Feeling (John Daly Remix) [Rekids]
10. Mugwump - Yajna [Disco 45/Kompakt]
11. Bostro Pesopeo - Communquis [Permanent Vacation]
12. Maelstrom - Enter The Cosmo (Sankt Goran & Erik Sidung Remix)[Solar Disco]
5 Golden Years In The Wilderness EP 2 Genre: Electronic
Label: Buzzin’ Fly
Lovebirds - “The Beat Goes Great”
Barbq - “Music From The Great Plains” Unity - “I Love You”
I know that i couldnt write for a long time.Sorry for it but i will catch it up anyway.This song is very soft and sweet.Just listen and give yourself away… I’m too sad to write a sad song.And the black soft night lasts too long.Lay down next to you.You whisper sleepin words to me so bright and true…Tears come to my eyes but i don’t cry, i need to tell you.
Forget disco for a second. The most significant thing about the debut album from New York’s Hercules and Love Affair has less to do with revival than arrival– that of a compelling new voice in American dance music. Not Antony Hegarty’s, of Antony and the Johnsons, even though his pipes are an integral part of Hercules’ aesthetic, but Andrew Butler, a twentysomething resident of New York who has made one of 2008’s great albums, and one of the best longplayers from DFA. (DFA’s Tim Goldsworthy surely deserves some of the credit as well, as the album’s co-producer and the programmer behind most of the record’s beats.) Butler got his start writing music for art projects in college– “like a remake of Gino Soccio’s ‘Runaway’ done in the style of Kraftwerk,” he told Fact magazine– but Hercules and Love Affair’s music doesn’t require Fischerspooner-type theatrics. This debut album is a self-contained, self-assured, 10-song set that runs vintage styles through a restless compositional imagination to create something joyfully, startlingly unique.While more than half of the album’s tracks would easily work on forward-thinking dance floors– “Hercules’ Theme”, “You Belong”, “Athene”, “Blind”, “This Is My Love”, “Raise Me Up”, and “True False, Fake Real” all cruise comfortably between 110 and 120 bpm– what really shines is the songwriting. The album brims with hooks, choruses, bridges, strange twists, and turns.
