ras Posted April 24, 2008 Report Share Posted April 24, 2008 Portishead "Third" ..sad samo cekam kako ce proci i ovo kod ljubitelja i antiljubitelja Ah, bila je već diskusija, par stranica napred. Quote Link to comment Share on other sites More sharing options...
paja959 Posted April 24, 2008 Report Share Posted April 24, 2008 Ah, bila je već diskusija, par stranica napred. sad sam nasao (krecana radi) ..a ja kao fin pa necu da pisem o tome Produktinformation Audio CD (25. April 2008) Ma proce i to u ovoj suvonjavoj danasnjoj ponudi,ko i taj zadnji Van.. Quote Link to comment Share on other sites More sharing options...
zbrujic Posted April 24, 2008 Report Share Posted April 24, 2008 Portishead "Third" ..sad samo cekam kako ce proci i ovo kod ljubitelja i antiljubitelja ras je, poput chuck norrisa, preslusao ovu plocu pre nego sto je snimljena Quote Link to comment Share on other sites More sharing options...
ras Posted April 24, 2008 Report Share Posted April 24, 2008 Zašto Čak Noris neće doživeti infarkt? Zato što se njegovo srce plaši da ga napadne. Quote Link to comment Share on other sites More sharing options...
paja959 Posted April 24, 2008 Report Share Posted April 24, 2008 Iron Butterfly "Metamorphosis" Quote Link to comment Share on other sites More sharing options...
MRMOT Posted April 24, 2008 Report Share Posted April 24, 2008 The Tiger Lillies.... Quote Link to comment Share on other sites More sharing options...
zbrujic Posted April 24, 2008 Report Share Posted April 24, 2008 Poštujem pravo na izbor. A ovde ne priznajem nikakvu diskusiju - briljantno bez zadrške: Johnny Dowd - A drunkard's masterpiece, Munich rec., 2008. Ipak cu da diskutujem. Kratko. SJAJNO! Iz naslova albuma treba izbaciti deo "A drunkad's". Ko je zenski vokal? Sally Timms? Ko je to? Ajde da neko pronadje ko je ekipa na ploci (ja ne uspevam). Quote Link to comment Share on other sites More sharing options...
ozzy Posted April 24, 2008 Report Share Posted April 24, 2008 The Tiger Lillies.... Nikad prevaziđeni! Quote Link to comment Share on other sites More sharing options...
ras Posted April 24, 2008 Report Share Posted April 24, 2008 Ipak cu da diskutujem. Kratko. SJAJNO! Iz naslova albuma treba izbaciti deo "A drunkad's". Ko je zenski vokal? Sally Timms? Ko je to? Ajde da neko pronadje ko je ekipa na ploci (ja ne uspevam). Å ta ti rekoh! ÄŒovek je izvrÅ¡io fuziju nekoliko klasiÄnih žanrova i izgradio jedinstven (osoben) stil i uz to uspeva da sve vreme bude zabavan (duhovit). Nije Cowboy Sally, već Kim Sherwood-Caso. Google pretraga sa njenim imenom daje odrednice uglavnom ka albumima/pesmama Johnny Dowda. Quote Link to comment Share on other sites More sharing options...
oakley Posted April 27, 2008 Report Share Posted April 27, 2008 VeÄeras opet, Patricia Barber i njezin Nightclub. Osebujna jazz umetnica! Quote Link to comment Share on other sites More sharing options...
zbrujic Posted April 28, 2008 Report Share Posted April 28, 2008 Portishead "Third" ..sad samo cekam kako ce proci i ovo kod ljubitelja i antiljubitelja Auu, kakva recenzija (AMG). Moracu na popravni. Portishead Has a Gorgeous, Unsettling Third Act Mystery burns at the heart of Portishead, lurking deep within their music and their very image. From the outset they seemed like an apparition, as if their elegant debut Dummy simply materialized out of the ether in 1994, as their stately blend of looped rhythms, ’60s soundtrack samples and doomed chanteuse vocals had only a tenuous connection to such Bristol compatriots as Massive Attack and Tricky. Soon enough, Portishead’s unique sound was exploited by others, heard in swank clubs and high-end dinner parties on both sides of the Atlantic, a development that the trio of Geoff Barrow, Beth Gibbons and Adrian Utley bristled at instinctively, recoiling into the darker corners of their sound on their eponymous 1997 sophomore album before fading back into the ether leaving no indication when they were coming back, if ever. Eleven years later they returned, seemingly suddenly, with Third, supporting the album with candid interviews that lifted the veil from their personality, yet the mystery remained deeper than ever within their gorgeous, unsettling music. That strain of uneasiness is a new wrinkle within Portishead, as in the ’90s they favored a warm, enveloping melancholy, a rich sound that could be co-opted and turned into simple fashion, as it was by band after band in the heyday of the swinging ’90s. So many groups grabbed ahold of Portishead’s coattails that it’s easy to forget that in 1994 there was no other band that sounded quite like Portishead – not even Massive Attack and Tricky, who shared many surface sounds but not a sensibility – and that is just as true in 2008, years after trip-hop has turned into history. Their cold, stark uniqueness isn’t due to a continuing reliance on the cinematic textures of Dummy, although there are echoes of that here on the slow crawling album openers “Silence†and “Hunter,†songs just familiar enough to act as reminders of how Portishead is special, yet just different enough to serve notice that the trio is engaged with the present, even if they’ve happily turned into isolated recluses, working at a pace utterly divorced from the clattering nonsense of the digital world. Third is resolutely not an album to be sampled in thirty-second bites or to be heard on shuffle; a quick scan through the tracks will not give a sense of what it’s all about. It demands attention, requiring effort on the part of the listener, as this defies any conventions on what constitutes art-pop apart from one key tenant, one that is often it attempted yet rarely achieved: it offers music that is genuinely, startlingly original. Surprises are inextricably intertwined throughout Portishead. There are jarring juxtapositions and transitions, as how the barbershop doo-wop of “Deep Water†sits between those twin towers of tension of “We Carry On†and “Machine Gun,†the former riding an unbearably relentless two-chord drone and while the latter collapses on the backs of warring drum machines. Echoes of Kraut-rock and electronica can be heard on these two tracks but that very description suggests that Third is conventionally experimental, spitting out the same hipster references that have been recycled since 1994, if not longer. Surely, these influences are present but they’re deployed unexpectedly, as are such Portishead signatures as tremulous string samples and Utley’s trembling guitar. Out of these familiar fragments from the past, Portishead has created authentically new music that defies almost every convention in its writing and arrangement. As thrilling as it is to hear the past and present collide when “The Plastic†is torn asunder by cascading waves of noise, Third doesn’t linger in these clattering corners, as such cacophony is countered by the crawling jazz of “The Hunter†and the sad, delicate folk of “The Rip,†but a marvelous thing about the album is that there’s no balance. There is a flow, but Portishead purposely keeps things unsettled, to the extent that its tonal shifts still surprise after several listens. Such messiness is crucial to Portishead, as there’s nothing tidy about the group or their music. Experimental rock is often derided as being cerebral – and this is surely enjoyable on that level, for as many times as Third can be heard it offers no answers, only questions, questions that grow more fascinating each time they’re asked — but what sets Portishead apart is that they make thrillingly human music. That’s not solely due to Gibbons haunting voice, which may offer an entryway into this gloom but not its only glimpse of soul, as the perfectionism of Barrow and Utley have resulted in an album where nothing sounds canned or processed, the opposite of any modern record where every sounds is tweaked so it sounds unnatural. Third feels more modern than any of those computer-corrected tracks as the group’s very sensibility mirrors the 21st Century, where the past is always present. Then, of course, there’s that rich, fathomless darkness that Third offers, something that mirrors the troubled days of the new century but also is true to that shimmering, seductive melancholy of Dummy. Here, the sad sounds aren’t quite so soothing, but that human element of Portishead gives them a sense of comfort, just as it intensifies their sense of mystery for it is the flaws – often quite intentional – that gives this an unknowable soul and makes Third utterly riveting and endlessly absorbing. Quote Link to comment Share on other sites More sharing options...
oakley Posted April 28, 2008 Report Share Posted April 28, 2008 Danas od jutra, Cristy Baron - Steppin'. Malo elektronskog jazza u njenom stilu. Quote Link to comment Share on other sites More sharing options...
oakley Posted April 28, 2008 Report Share Posted April 28, 2008 Možda će neki da kažu da Sheryl Crow - Wildflower nije audiofilski Ma, nema veze. Ja volim njen glas, ritam, stil...sve ... Quote Link to comment Share on other sites More sharing options...
Pirate Posted April 28, 2008 Report Share Posted April 28, 2008 Karta u steku, i albumi za potpaljivanje Jos 11 dana i Quote Link to comment Share on other sites More sharing options...
paja959 Posted April 28, 2008 Report Share Posted April 28, 2008 Eric Dolphy "Out to lunch" pa Archie Shepp "On this night" Quote Link to comment Share on other sites More sharing options...
Ljuba Posted April 28, 2008 Report Share Posted April 28, 2008 Auu, kakva recenzija (AMG). Moracu na popravni. Recenzija u sledecem Hi-Filesu Quote Link to comment Share on other sites More sharing options...
oakley Posted April 28, 2008 Report Share Posted April 28, 2008 Nekako sa dobio asocijaciju da u player ubacim Sade - King of sorrow FantastiÄna!!! Quote Link to comment Share on other sites More sharing options...
coolmih Posted April 28, 2008 Report Share Posted April 28, 2008 Onako opusteno u stilu .... Quote Link to comment Share on other sites More sharing options...
zbrujic Posted April 29, 2008 Report Share Posted April 29, 2008 Karta u steku, i albumi za potpaljivanje Jos 11 dana i Ajde (ti si se vec pokazao u ovom sportu), pronadji nam sta cemo slusati na koncertu. Quote Link to comment Share on other sites More sharing options...
first Posted April 29, 2008 Report Share Posted April 29, 2008 Danas od jutra, Cristy Baron - Steppin'. Malo elektronskog jazza u njenom stilu. Sve je to lepo, ali nemoj da se ponavljamo evo pogledaj Quote Link to comment Share on other sites More sharing options...
zbrujic Posted April 29, 2008 Report Share Posted April 29, 2008 Swing Out Sister - It's Better To Travel (1987, Mercury) Vokalno orijentisani (Corinne Drewery) jazzy pop iz bezbriznih osamdesetih. IMO, vrlo dobra ploca. U svoje vreme nije se uspela izdvojiti iz mora slicnih. Quote Link to comment Share on other sites More sharing options...
oakley Posted April 29, 2008 Report Share Posted April 29, 2008 Sve je to lepo, ali nemoj da se ponavljamo evo pogledaj Quote Link to comment Share on other sites More sharing options...
Pirate Posted April 29, 2008 Report Share Posted April 29, 2008 Ajde (ti si se vec pokazao u ovom sportu), pronadji nam sta cemo slusati na koncertu. sorry, ovaj put bih to ipak hteo da saznam uzivo Quote Link to comment Share on other sites More sharing options...
ninja Posted April 29, 2008 Report Share Posted April 29, 2008 ras, da li mozes da napises sa cime se bavis (mislim da je nesto u vezi muzike pa zato i pitam)? Zadivljujuce ja da imas toliko informacija o, meni vecinom, nepoznatoj, muzici i jos da imas vremena da tolko razlicitih albuma poslusas, ocjenis i jos nesto napises! Meni treba puno vise vremena da ocjenim jedan album a pogotovo da ocjenim da li je vrijedan na duze staze. A u vrh glave bi mogao da ozbiljno poslusam jedan novi album sedmicno. Quote Link to comment Share on other sites More sharing options...
oakley Posted April 29, 2008 Report Share Posted April 29, 2008 U ovaj Äas, neka nota me drži budnim... ...da, ona . Quote Link to comment Share on other sites More sharing options...
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