mixtapes for weathers and moods / music for good days and bad days

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2017. október 15., vasárnap

15-10-2017 9:13 # 44 alter tracks in PRSNT_PRFCT_MiX: 3h 03m (from last few years)

15-10-2017 9:13# 44 alter tracks in PRSNT_PRFCT_MiX: 3h 03m (from last few years) Jessica Hernandez & the Deltas, Juiceboxxx, The Drones, FKA Twigs, Diamond Rugs, Jack Ladder & The Dreamlanders, King Mud / Freddy J IV, Ani Cordero, Angelo Badalamenti, Elephant Stone, Gang of Four, Modest Mouse, Frank Ocean, Run the Jewels, Twin Peaks, Chromatics, Johnny Jewel, Trouble, Rebekah del Rio, The Veils


pres_perf_mix # The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 


Jessica Hernandez is the frontwoman and chief songwriter for Jessica Hernandez & the Deltas, a wide-ranging, high-energy rock & roll band from Detroit. Their mercurial, often gritty sound reflects all of the Motor City's musical traditions as well as some outside its geographical and multicultural boundaries. In the band's thoroughly modern, driving mix are traces of Motown, tough vintage R&B, Latin grooves, raucous surf, neo-psych, roots rock, cinema jazz, and retro '60s girl group pop.
Jessica Hernandez & the Deltas
Gritty, high-energy Detroit rock & roll band whose sound embodies everything from Motown to early surf, psych, carnival, and girl group pop. 
Bombay 3:53
Telephone 4:40
Fire and Ice 3:26
from Telephone 2017
Telephone is the Anglo half of Jessica Hernandez & the Deltas' sophomore long-player. Its counterpart, Teléfono, offers the same songs recorded in Spanish, sounds remarkably different, and is available separately. The doubling isn't a gimmick. Hernandez -- who grew up on Detroit's Southwest side, which has a large Latino population -- and the Deltas spent a great deal of time touring their 2014 debut, Secret Evil, across the American Southwest, encountering a large number of Latin fans. Simply put, Hernandez wanted to create an album that served both sides of her fan base...

Midwest producer and performer with roots in rap, pop, punk, garage, and classic rock; described by Public Enemy's Chuck D as "the Buddy Holly of Hip Hop." 
Freaking Out 2:39
Go to the Club Alone 2:30
Freaked Out American Loser 2:47
from Freaked Out American Loser 2017
A nervy, garage-punk-blasted amalgam of Beastie Boys, Beck, and Pissed Jeans -- with a little bit of Wu-Tang Clan tossed in for good measure, the Dangerbird-issued Freaked Out American Loser is the sophomore studio long-player from the idiosyncratic, Milwaukee-bred, Brooklyn-based artist, producer, vlogger, and energy drink-slinging entrepreneur...

Hard-hitting Aussie indie/garage rock outfit. / Perth, Australia, has a reputation as being one of the
most isolated major cities in the world, with most of a continent separating it from Australia's other big population centers and the vastness of the Indian Ocean facing it on the other side. Little wonder perhaps that the Drones initially formed on the basis of two people getting out of town in 2000.
Private Execution 7:10
Then They Came for Me 4:18
Tailwind 5:32
The mercurial Aussie rockers open their seventh studio long player with a thick blast of heavily treated guitar terror that suggests Muse by way of King Crimson, setting the stage for what is their weirdest and most visceral outing to date. Feelin Kinda Free doubles down on the darker aspects of 2013's critically acclaimed I See Seaweed, but where the former more or less adhered to the bluesy, alt-rock malevolence of album's past, the latter eschews traditional pop architecture in favor of something far more feral and unpredictable...

Evoking trip-hop as well as the xx's spare electronic pop, FKA twigs' songs are haunting and vulnerable. / Crafting ethereal electronic R&B that evokes the heyday of Tricky and Massive Attack and the spare 2010s aesthetic of the xx, London's FKA twigs is the project of Twigs, aka Tahliah Barnett, a half-Jamaican native of Gloucestershire. 
FKA twigs
Figure 8 3:03
InTime 4:32
from M3LL155X 2015
Glitchier, way more abstract and unpredictable.This new setting of tracks are bounded to each other in a way that makes this songs standout in her career this far.Twigs knows how to sound powerful in mostly whispered vocals and the effects of low and high pitching sound as if her calculated character is in constant malfunction due to her feelings and how overwhelming they are, feelings ranging from self exhibition to demanding respect and commitment in abusive relationships of almost terrifying nature, everything about this album is much more digitally incisive and angular...

John McCauley has a reputation for enjoying a good collaboration with other artists between projects with his band Deer Tick -- some time off from the band led to the album Middle Brother, featuring McCauley, Taylor Goldsmith, and Matthew Vasquez -- and Diamond Rugs is a group that came together when McCauley happened to meet one of his favorite musicians. McCauley saw a performance by Los Lobos in his adopted hometown of Nashville, and after the show he met Steve Berlin, who plays sax, keyboards, and percussion with the veteran Los Angeles group.
Diamond Rugs
Voodoo Doll 3:10
Motel Room 4:28
from Cosmetics 2015
...Like its predecessor, Cosmetics has the sort of boozy, off-the-cuff swagger that quality musicians can give to this kind of part-time project. But, with a little history now between them, the chemistry here is more apparent and the sound a bit beefier...

Genre-shifting Sydney-based singer/songwriter known for his wry, shadowy style and deep baritone delivery. / Jack Ladder is the professional alias of Australian singer/songwriter Tim Rogers.
Jack Ladder & The Dreamlanders
Come on Back This Way feat: Sharon Van Etten 5:52
Model Worlds 4:34
Let Me Love You 4:39
from Playmates 2015
On his fourth album and second outing with backing band the Dreamlanders, Australian singer/songwriter Jack Ladder transforms himself once again, this time from shadowy goth crooner to lush synth pop romantic... Fortunately for Ladder, the material on Playmates might just be some of his strongest yet, and if he's framed these songs in an Avalon-era Bryan Ferry setting, it's a style that suits them and will perhaps draw some attention to how much he really does sing like Nick Cave whether he intends to or not...

Hard and heavy blues rock featuring Freddy J IV of Left Lane Cruiser and Van Campbell of Black Diamond Heavies. / Laying out a high-decibel fusion of hard rock and urban blues that's dirty, distorted, and full of swagger
King Mud / Freddy J IV
Rat Time 5:13
Back It Up 2:53
Suzy's Cookies 6:41
from Victory Motel Sessions 2016
... While King Mud aren't any more obsessed with marijuana than the average band of 21st century blues-rock howlers, the album's stripped-down approach, focusing on plenty of guitar fireworks and muscular percussion grooves, should certainly go over well with interested members of the stoner rock community. King Mud is a duo featuring guitarist and vocalist Freddy J IV from the band Left Lane Cruiser and drummer Van Campbell of the Black Diamond Heavies, and the two musicians have managed to combine the down-and-dirty virtues of their respective groups on these sessions while avoiding some of the attitudinal overkill that occasionally marred their work (though Freddy still sounds like he spent a lot of time practicing his rootsy growl in a room with a good echo). King Mud's two-man attack helps the band sound focused and tight on Victory Motel Sessions, and they have the good sense to know when to add some extra flavors to the mix (especially Parker Griggs of Radio Moscow, who plays guitar on two cuts, and Alex J. Galvan, whose Hammond organ licks give the material a suitably late-'60s/early-'70s touch)...

New York-based Puerto Rican-American singer, songwriter, and multi-instrumentalist known for her work with the bands Cordero and Pistolera. / A frequent collaborator, she has appeared and recorded with numerous acts including Calexico, Giant Sand, and Man or Astro-man?, and she even toured as the drummer for Latin psych legends Os Mutantes.
Ani Cordero
Corrupción 3:37
Me Tumba 3:19
Dominas Mis Sueños 2:35
from Querido Mundo 2017
Querido Mundo, Ani Cordero's second release as a solo artist, falls musically somewhere between the vintage Latin stylings of 2014's Recordar and the more rock-oriented output of her longtime bands Cordero and Pistolera. Like the critically lauded Recordar, which saw the New York singer/songwriter reinterpreting classic songs of the nueva canción movement, Querido Mundo is a sort of conceptual album, or at least one that revolves around a few central themes. This time around, Cordero has composed a set of her own protest and love songs, confronting political and social issues in both the Latin and global community. A child of Puerto Rican immigrants, her devotion to representing her Latin American heritage has been a defining element throughout her career, and her growth as both a songwriter and performer are well represented on this vibrant set...

Best known for his hauntingly atmospheric work with filmmaker David Lynch, composer Angelo Badalamenti was born in Brooklyn, New York, in 1938; a classically trained performer, he spent the early years of his career playing the Catskills resort area, later writing and arranging for singers including Shirley Bassey and country star Mel Tillis.
Angelo Badalamenti
Twin Peaks Theme (Angelo Badalamenti) 5:04
Laura Palmer's Theme (Love Theme from Twin Peaks) (Angelo Badalamenti) 4:49
Deer Meadow Shuffle (Angelo Badalamenti) 4:33
from Twin Peaks: Limited Event Series Soundtrack 2017
...All it is is a feeling, a strange conviction – that reality is no more linear, straightforward or logical than dreams are, that dreams themselves are just a brain valiantly trying to sort and file the input it gets from an incomprehensible universe around it, only seeming to be impressionistic and non-linear because their real-world sources are exactly the same. Dreams feel real as anything while we're in them, after all, and if our brains can trick themselves into believing this random collage of images is the real deal, who am I, a sack of meat and synapses and bones, to disagree?

Melodic neo-psychedelia from songwriter/multi-instrumentalist Rishi Dhir, formerly of the High Dials. /  Its music incorporates the influence of British Invasion bands like the Kinks and the Beatles, as well as Indian classical music, which Dhir was paying particular attention to when he formed the band in Montreal in 2008. 
Elephant Stone
Manipulator (Rishi Dhir) 3:25
Cast the First Stone (Rishi Dhir) 3:46
The Devil's Shelter (Rishi Dhir) 4:44
from Ship of Fools 2016
For their fourth LP, Elephant Stone could have stuck to a recipe that's worked well for founder and main songwriter Rishi Dhir. It's one that lays breezy melodies over a pop blueprint, adding luscious psychedelic accompaniment that welcomes experimentation and often features Dhir's sitar -- still a rare timbre in Western rock 50 years after George Harrison made it go mainstream. Instead, Ships of Fools sees the band branch out to a degree, keeping glittering guitars as a marshmallowy center but playing with other flavors...

Influential, politically-conscious U.K. post-punk band formed in the late '70s, known for its pounding drums, wryly defiant vocals, and stuttering guitars. 
Gang of Four
Where the Nightingale Sings (Andy Gill) 4:01
Isle of Dogs (Gaoler / Andy Gill) 3:47
England's in My Bones feat: Alison Mosshart (Andy Gill) 3:10
from What Happens Next 2015
More than one wag has referred to 2015's What Happens Next as the work of "Gang of One," since guitarist Andy Gill is the only member of the original Gang of Four lineup who was still on board for these sessions, following the departure of vocalist Jon King in the wake of 2010's Content. Much of What Happens Next sounds like a careful effort to balance the thick but limber "neo-Marxist funk" of the band's first era with a more streamlined and contemporary electronic attack, and the result sounds a good bit less like Gang of Four than a 21st century solo set from Andy Gill, especially given the presence of several guest vocalists (including Alison Mosshart, Herbert Grönemeyer, and Robbie Furze) and a production that's less funky and muscular than the group's best and best-known work...

Jagged, often melodic, lo-fi post-rock, the indie rockers slowly burbled from cult sensations to unlikely alt-pop stars. 
Modest Mouse
Strangers To Ourselves (Isaac Brock) 3:24
Shit In Your Cut (Isaac Brock) 4:44
Sugar Boats (Isaac Brock) 4:03
from Strangers to Ourselves 2015
...This booster shot wore off quickly and Brock receded from the spotlight, sitting out the better part of a decade before re-emerging with Strangers to Ourselves in the spring of 2015. In the interim, he shed longterm collaborator Eric Judy -- he left sometime around 2012, replaced by Russell Higbee -- added guitarist Jim Fairchild and auxiliary player Lisa Molinaro, attempted to record an album with Big Boi, toyed with bringing Krist Novoselic aboard, then finally decided to get back to where he once belonged. Brock's return to roots is naturally a roundabout of detours, a record that bounces between stylized eccentricity and streamlined strangeness, stopping occasionally to soak in a scenic, dreamy view...

Frank Ocean has been one of the more fascinating artists of the 2010s. A singer and songwriter whose output has defied rigid classification as R&B, he has nonetheless pushed that genre forward with seemingly offhanded yet imaginatively detailed narratives in which he has alternated between yearning romantic and easygoing braggart.
Frank Ocean
Nikes (Christopher Breaux / Om'Mas Keith / Carl Palmer / Harry Palmer / Jeff Palmer) 5:14
Pink + White (Christopher Breaux / Om'Mas Keith / Tyler Okonma / Pharrell Williams) 3:04
Seigfried (Christopher Breaux / George Harrison / Om'Mas Keith / John Lennon / Paul McCartney / Elliott Smith / Richard Starkey) 5:34
from Blonde 2016
...On its surface, Blonde seems tremendously insular. Whereas Channel Orange showed off an expansive eclecticism, this album contracts at nearly every turn. Its spareness suggests a person in a small apartment with only a keyboard and a guitar and thoughts for company. But it isn’t just anyone emoting from the abyss, it’s Frank Ocean. In his hands, such intimacy attracts the ear, bubbles the brain, raises the flesh. These songs are not for marching, but they still serve a purpose. They’re about everyday lives, about the feat of just existing, which is a statement in its own right. Trayvon Martin would be 21 today, and Blonde is filled with feelings and ideas—deep love, heady philosophy, despondent loss—that he may have never had a chance to experience for himself. The stories Frank tells here find solace in sorrow. They’re fucked up and lonely, but not indulgent. They offer views into unseen places and overlooked souls. They console. They bleed. And yes, they cry...

Rappers El-P and Killer Mike are the members of this side project that evolved into a group. / R.A.P. Music A one-off project that quickly evolved into a hip-hop superduo, Run the Jewels feature rappers El-P and Killer Mike. Formed after El-P produced Killer Mike's 2012 album, R.A.P. Music, the duo released Run the Jewels in 2013, an album credited to Killer Mike and El-P and released on Fool's Gold. 
Run the Jewels
Down (El-P / Killer Mike) 3:29
Legend Has It (El-P / Killer Mike) 3:25
Thieves! (Screamed the Ghost) feat: Tunde Adebimpe (Boots / El-P / Killer Mike) 4:02
from Run the Jewels 3 2017
Titanic rap duo Run the Jewels returned with their third self-titled effort on Christmas Eve 2016. Bestowing the gift of Run the Jewels 3 weeks earlier than expected, El-P and Killer Mike managed to deliver a collection even more satisfying than 2015's sophomore installment. Whereas RTJ2 was the sound of multiple slugs to the chest, RTJ3 is as streamlined and focused as a laser blast between the eyes. Furious and hungry -- with endlessly quotable lyrical zingers to spare -- RTJ3's potency isn't as immediate as RTJ2. However, once it digs its claws in, RTJ3 reveals itself as their best work to date. The interplay between Mike and El remains the main draw, their chemistry elevating them above most contemporaries as they bounce back and forth on agile verses packed with enough outrageous boasts to fill a how-to guide on making more prudish listeners blush...

Chromatics - Shadow (Johnny Jewel) 3:44
Trouble - Snake Eyes (Alex Zhang Hungtai / Dean Hurley / Riley Lynch) 3:52
Rebekah del Rio - No Stars 7:20
The Veils - Axolotl [Roadhouse Mix] 3:03
from Twin Peaks: Music From The Limited Event Series 2017
Sound plays an undeniably crucial role in David Lynch’s Twin Peaks: The Return. It’s kind of his thing. Going back as far as 1977, which saw the release of Lynch’s first feature, Eraserhead, you can see the careful way he used what would become his signature creeping atmospheric hum, sizzle, and hiss to build a mood that would be terrifying regardless of what’s going on in the shot. For Lynch’s earlier works, including the original two seasons of Twin Peaks (1990 – 1991), he focused primarily on instrumental numbers by long-time collaborator Angelo Badalamenti, with the occasional lyrical song thrown in by artists like Julee Cruise, Lynch himself, or a licensed favorite from the ’50s and ’60s.

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