publicado por maniaco às 2013-06-19 23:26:25
firstname.lastname@example.orgSeguir Perfil »
A musica é o oceano, a tristeza e a felicidade são os ventos, os pensamentos são as pontas das montanhas, que se erguem como ilhas... Este blog visa a divulgação das minhas músicas mais simbólicas... Não hesites, desvenda-as já!
Coimbra - Portugal
publicado por maniaco às 2013-06-19 23:26:25
publicado por maniaco às 2013-06-17 14:17:29
Música: Alternative Rap/Underground Rap/Hip Hop
Of all the boundary-pushing underground hip-hop acts who emerged in the late '90s, Company Flow was easily among the hardest and least compromising, spinning highly technical rhymes over buzzing, lo-fi beats with virtually no concessions to melody or polish. It comes as no surprise that onetime Company Flow leader El-P's solo debut, Fantastic Damage, takes a similar approach -- yet it's a logical and distinct progression from the sound that made Company Flow such seminal figures in underground rap. Fantastic Damage is even more aggressive and confrontational in its approach, and this time out, El-P himself is solely responsible for the sonic backdrop, producing the entire record by himself. If the production sounds a little fuller than Company Flow's essential Funcrusher Plus, it's likely because in many places, El-P has fleshed out his scuzzy, banging, stop-start percussion tracks with abrasive, distorted noise, which sounds like nothing so much as the furies unleashed. There are also plenty of tinny, blooping vintage synths that lend the music a cold, inhuman air -- and that's no doubt intentional, because Fantastic Damage paints a chilling portrait of contemporary society that's so bleak it often crosses into the apocalyptic. The music makes El-P's paranoid totalitarian nightmares totally convincing, not just because of its sheer wallop, but also in the subtler details that emerge with repeated listens -- the bizarre sound snippets and ghostly washes that seem to teeter on the edge of madness. Throughout the record, El-P proves he's one of the most technically gifted MCs of his time, spitting out near-impossible phrases and rhythmic variations that simply leave the listener's head spinning. Accessible it isn't, but Fantastic Damage constitutes some of the most challenging, lyrically dense hip-hop around, assembled by one of the genre's true independent mavericks.
publicado por maniaco às 2013-06-17 14:05:13
Música: Hardcore Rap/Midwest Rap
Named after his successful mixtape series, Big Sean’s official debut skillfully balances his underground promise with his big money dreams and winds up an approachable winner with long-lasting appeal. His hook-filled anthem “I Do It” is an instant floor-filler thanks a No I.D./Legendary Traxster co-production, but the reason to return is supreme smart-aleck Sean, who at one point raps in Family Guy-speak, referencing cad character Quagmire and boasting “My cash flow, I giggity-gig it.” On “Dance (A$$),” he’s mixing a MC Hammer sample with a booty beat while quoting Pootie Tang, while “High” finds the crafty prankster trading weed jokes with Wiz Khalifa and Chiddy Bang for a track that runs a clever 4:20. If you’re looking for something more sane and Drake, “Marvin & Chardonnay” makes the bed squeak with some help from executive producer/label owner Kanye West, while the cool, John Legend feature “Memories (Part II)” gives Khalifa, Currensy, Cudi, and the rest of the successful stoner school something to shoot for with its opening couplet “Sometimes I dream bigger than I live/Sometimes I think better when I’m lit.” “So Much More” does what it says, adding brilliant lines like “I swear I’ve been through everything in life but the coffin/You say the sky’s the limit, hi bitch, I’m moonwalkin’” to the usually hackneyed format of the autobiographical track. At 12 cuts long, the album is right between right-sized and “leave them wanting more,” and when it comes to being well-rounded, these different-flavored tracks offer variety without wildly stepping out of Big Sean’s comfort zone. Fun, inventive, swaggering, and smart, Finally Famous is an exciting debut.
publicado por maniaco às 2013-06-17 13:56:17
Música: British Rap/Urban Rap/Grime/Hip Hop
A credible contender to take the urban poet crown following Mike Skinner's recent abdication, aptly named MC Ghostpoet's debut album, Peanut Butter Blues and Melancholy Jam's tales of contemporary British suburban life has much in common with the Streets' influential debut, whether it's the lo-fi bedsit-style production, the everyday lyrical observations, or Obaro Ejimiwe's lazy, conversational delivery. But while Original Pirate Material often laced its social commentary with a "getting ready for the weekend" fusion of two-step garage, ska, and hip-hop, the self-described "lad with a lisp with some stories to tell" appears more concerned with providing a soundtrack for the early morning after the night before. Full of ambient electronica, woozy rhythms, and languid half-asleep vocals, its ten self-produced tracks effortlessly evoke that 4 A.M. feeling, whether it's the cleverly titled "Cash and Carry Me Home," a pulsing slice of dubstep which deals with an out-of-control drinking session, the menacing, improvised jazz of "Finished I Ain't," or the glacial beats, ominous strings, and sci-fi synths of "Us Against Whatever Ever," while the claustrophobic and twitchy garage of "Longing for the Night (Yeah Pause)" actually addresses the torment of a restless night's sleep. While these drowsy atmospherics remain he album's default setting, Ejimiwe occasionally provides some welcome daylight to the prevalent shade, as on the ethereal soul of "Survive It," which combines subtle jazzy piano chords and gentle skittering percussion with a delightfully upbeat female vocal and an uncharacteristically breezy pop chorus, the techno-tinged "I Just Don't Know, and the album's closer, "Liiines," an unexpected but convincing foray into new wave indie pop territory, which surprisingly blends in with the dominant doom-laden urban vibes. Peanut Butter Blues and Melancholy Jam might be just a little too left-field to capture the zeitgeist in the same way that Skinner did a decade previously, but it's a hypnotic and ultimately rewarding debut which, along with recent efforts from James Blake and Jamie Woon, proves that the words chill-out and challenging don't have to be mutually exclusive.
publicado por maniaco às 2013-06-17 13:46:15
Música: French Rap/Underground Rap/Political Rap
Always one of the most thought-provoking, intelligent, and controversial rappers on the thriving French urban scene, 32-year-old MC Youssoupha Mabiki's last album became just as prominent in the courts as it did in the charts, thanks to a contentious track which many felt appeared to issue a death threat against political journalist Eric Zemmour. Judging by his third studio album, Noir Desir, the French-Congolese star, who subsequently lost the lawsuit filed by the writer, hasn't let the furor dampen his free-wheeling spirit. Indeed, the follow-up to 2009's Sur Les Chemins du Retour is arguably even more defiant, tackling the aforementioned trial head on with "Menace de Mort," a clattering percussive number based on a neo-classical loop more suited to a period drama, while also offering his own unique perspectives on everything from the state of modern rap to social injustice. In lesser hands, the constant diatribes could become the only focal point, but Youssoupha's ear for melody and inventive genre-hopping production are just as strong as his outspoken beliefs. The acoustic flamenco of "L'Amour," the gospel-tinged "Viens," and the Bollywood-inspired "J'ai Change" set the eclectic tone immediately, and while there are the odd nods to U.S. contemporaries such as the Kanye West-esque dramatics of "Irreversible" and a Bruno Mars-style collaboration with German-Rwandan vocalist Corneilles on "Histoires Vraies," it's a record which largely refuses to pander to international audiences. The breezy rumba of "Les Disques de Mon Pere" and the Afrobeat folk of the title track pay respect to his heritage on collaborations with father Tabu Ley Rochereau and Congolese street band Staff Benda Bilili respectively, while the likes of the aggressive dubstep of "La Vie Est Belle" and the claustrophobic Gallic hip-hop of "B.A.O." prove he hasn't abandoned his street roots either. If he can avoid any legal ructions this time 'round, Noir Desir might be best remembered as the most impressive French hip-hop record of the year.
publicado por maniaco às 2013-06-15 14:58:53
publicado por maniaco às 2013-06-12 00:31:52
Música: British Folk/Folk Rock/Psychedelic
Sweet Child, released in 1968, at the peak of Pentangle's career, is probably the most representative of their work. A sprawling two-record set, half recorded in the studio and half live at the Royal Festival Hall, showcases just how versatile Pentangle was in their unique brand of English folk, jazz, Celtic, blues, and pop styles. Some of the live covers are easily their finest performances. Furry Lewis' "Turn Your Money Green," sung by the delightful Jacqui McShee, swings sweetly, buttressed of course by John Renbourn and Bert Jansch's guitar tapestry. Charlie Mingus' "Haitian Flight Song" features a great solo by bassist Danny Thompson, who was easily one of the finest musicians to grace the instrument. The studio tracks are uniformly excellent as well, especially "The Time Has Come," which turns waltz time inside out. McShee, Renbourn, and Jansch all turn in career performances on this track. But these examples merely scratch the surface of Pentangle's peak. In all, Sweet Child is an awesome and delightful collection, and probably their finest hour.
publicado por maniaco às 2013-06-12 00:25:56
Música: Alternative Pop Rock/Indie Pop/College Rock
The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group was indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during The Smiths' heyday and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, and making no secret of his disgust for most of his peers. While it eventually led to The Smiths' early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.
publicado por maniaco às 2013-06-12 00:08:41
Música: Brazilian Rock/Punk Pop/Comedy Rock
publicado por maniaco às 2013-06-12 00:00:56
Música: Heavy Metal/Death Metal
Recorded in Japan during the band's tour in support of Rise of the Tyrant, Arch Enemy unleash a death metal assault on the double live album Tyrants of the Rising Sun. Released as a companion to the DVD of the same name, the album features the Swedish band putting on a show that makes a pretty strong case for its status as one of the foremost names in melodic death metal. With an ecstatic crowd singing along at every opportunity and a great sound quality, the album is everything fans could want in a live album, making Tyrants of the Rising Sun an album that Arch Enemy devotees will definitely want to add to their collections.
publicado por maniaco às 2013-06-08 20:24:48
Música: Soundtracks/Show Tunes/Musical/Original Score
Disney's 1997 reissue of the Mary Poppins soundtrack augmented the classic original release with a handful of demos and interviews, which is enough bonus material to attract collectors, but not enough to overshadow the wonderful qualities of the music. Mary Poppins contained some of the best-known (and best-loved) songs from any Disney film, including "Chim-Chimeree," "Supercalifragilisticexpialidocious," "A Spoonful of Sugar" and "Let's Go Fly a Kite." The music has lost none of its charm over the years, and it stands as some of the finest music from a movie musical in the last half of the 20th century.
publicado por maniaco às 2013-06-08 20:16:07
The soundtrack for Tim Burton's film of Stephen Sondheim's musical thriller Sweeney Todd: The Demon Barber of Fleet Street is reasonably close in content and spirit to the original musical, which was released in 1979 on RCA. Starring Johnny Depp as the vengeful Sweeney and Helena Bonham Carter as pie-maker Mrs. Lovett, this adaptation could boast no finer leads, for they inhabit their roles with remarkable sympathy and pathos, and their singing is subtly expressive, rhythmically accurate, and usually on pitch, too. However, in comparison with the original stars, Depp's snide growls are less convincingly gut-wrenching than Len Cariou's howls, and Bonham Carter's portrayal is somewhat gentler and milder than Angela Lansbury's sharp characterization. The rest of the cast presents some entertaining highpoints, notably those by Sacha Baron Cohen as the bombastic Pirelli, and the versatile Alan Rickman as the odious Judge Turpin. But highest honors go to treble Edward Sanders as Tobias, who delivers "Pirelli's Miracle Elixir" and "Not While I'm Around" with scene-stealing aplomb and sings with superb technique and a beautiful tone. Fans of the show will miss the chorus "The Ballad of Sweeney Todd," as well as the Judge's obsessive "Johanna," and Beadle Bamford's "Parlor Songs," but the rest of the songs are accounted for, and the orchestrations by Jonathan Tunick are faithfully conducted by Paul Gemignani, who leads a skilled studio orchestra. Nonesuch's sound is rich and atmospheric, though a little subdued in some tracks, requiring a few careful volume adjustments.
publicado por maniaco às 2013-06-08 20:06:33
Música: Soundtracks/Original Score/Classical
As with everything associated with HBO’s adaptation of George R.R. Martin’s A Song of Fire and Ice book series, Ramin Djawadi's Game of Thrones score brings the characters, countries, and moods of Martin’s world to life with aplomb. Massive string sections give the music necessary majesty, particularly on “Main Title,” but Djawadi adds heavy percussion and more exotic touches, such as prickly dulcimer and autoharp to give a more tribal and warlike feel befitting the show’s scheming and incipient battles. Tracks such as “North of the Wall,” which boasts an icy atmosphere and enough shocks to do a horror movie score proud, and “Love in the Eyes,” which captures the wilder feel of the Dothraki people with smoky flutes and rolling percussion that evoke Peter Gabriel's landmark Passion score, convey Westeros’ geography as well as its feelings. Djawadi telegraphs those emotions ably, however, particularly with “Goodbye Brother"’s slow, Celtic-tinged melody and “When the Sun Rises in the West”’s mournfully droning flutes. In between are vivid mood pieces like the medieval pomp of “The King’s Arrival” and the palpable danger of “Small Pack of Wolves,” which could be Westeros’ equivalent of heavy metal. Most powerful of all, however, might be “Fire and Blood,” which grows from wisps of strings and flutes into towering drum tattoos. In all, Game of Thrones is a triumphant score that reflects the care involved in the entire adaptation.
publicado por maniaco às 2013-06-08 19:58:53
Música: Soundtracks/Film Score
A truly cooperative affair, 2012's mesmerizing new age/fantasy/science fiction/drama Cloud Atlas utilized not only three directors (Tom Tykwer and Lana and Andy Wachowski), but three composers (Tykwer, Johnny Klimek, and Reinhold Heil) as well. The trio, who penned scores for Tykwer's other films including Run Lola Run, The Princess and the Warrior, Perfume: The Story of a Murderer, and The International under the moniker Pale 3, do a remarkable job in unifying (musically) the multi-layered film, which spans 500 years and six different stories, by ignoring its density and concentrating on a handful melodies as a catalyst. One of the film's most important threads is that of the "Cloud Atlas Sextet," which travels through the narrative like a boomerang, affecting characters across centuries. The piece itself is lovely, deftly balancing sorrow and sentimentality without ever becoming cloying, occasionally subverting the melancholy with impish, wicked whimsy. The other thread, "The Atlas March," is more subtle, offering up a simpler melody that retains its other half's drama, yet carries with it the weight and wistfulness of age. Tykwer, Klimek and Heil could have tried to take on Cloud Atlas' immensity head on, utilizing the kind of explosive, heavy artillery that has become the norm for big spectacle films (which is what many composers would have done after feasting their eyes on the film's epic, sumptuous visuals), but by choosing a more nuanced discipline, they’ve not only helped to illuminate the film's emotional core, they've gone and unearthed it.