Burial - Archangel

Burial is the stage name of William Bevan, an electronic musician from London. His music contains elements of dubstep2-step garageambient and house music. His eponymous debut album was released in 2006 to critical acclaim. The Wire magazine named it their album of the year,along with achieving fifth place in the Mixmag 2006 Album of the Year list, and eighteenth in the best of the year list of The Observer Music Monthlysupplement. Burial's second album, Untrue, was also released to critical acclaim and was the second-highest rated album of 2007, according to the review-collating website,Metacritic.

Although both albums have been met with much widespread acclaim, Burial remained anonymous until August 2008, and said in an early interview that "only five people know I make tunes". In February 2008, The Independent reported that Burial was an alumnus of south London's Elliott School named William Bevan (another alumnus, Hot Chip's Joe Goddard, said in 2006 that Bevan was in the year above him). The school's alumni also include Kieran Hebden (a.k.a. Four Tet), with whom Bevan has collaborated.
On 22 July 2008, The Guardian reported that Burial was a nominee for the 2008 Mercury Music PrizeNME reported on 31 July 2008 that Burial was the favourite for the award. After much Mercury Prize-related coverage in tabloid newspapers in the UK, including speculation that Burial was either Richard D. James (Aphex Twin) or Norman Cook,Burial confirmed The Independent's information and posted a picture of himself on his MySpace page on 5 August 2008. A blog entry stated, "I'm a lowkey person and I just want to make some tunes, nothing else", as well as announcing a forthcoming four-track 12″, and thanking his fans for their support up to this point. On 9 September 2008, Elbow won the award in question.
Bevan claims to compose nearly all his music in SoundForge, a digital audio editor, and to eschew the use of trackers and sequencers. Journalist Derek Walmsley stated in The Wire:
Inspired by the darkside drum'n'bass of the Metalheadz label, Burial decided at the outset to avoid at all costs the rigid, mechanistic path that eventually brought drum 'n' bass to a standstill. To this end, his percussion patterns are intuitively arranged on the screen rather than rigidly quantized, creating minute hesitations and slippages in the rhythm. His snares and hi-hats are covered in fuzz and phaser, like cobwebs on forgotten instruments, and the mix is rough and ready rather than endlessly polished. Perhaps most importantly, his basslines sound like nothing else on Earth. Distorted and heavy, yet also warm and earthy, they resemble the balmy gust of air that precedes an underground train.

Jarboli - Opsada

Sa novog albuma "Zabava"

Nancy Sinatra and Lee Hazlewood - Summer Wine

"Summer Wine" is a song written by Lee Hazlewood. It was originally sung by Suzi Jane Hokom and Lee Hazlewood in 1966, but it was made famous by Nancy Sinatra and Lee Hazlewood in 1967. This version was originally released as the B-side of "Sugar Town" the previous year, before featuring on the Nancy & Lee LP in 1968. It was the first of Sinatra and Hazlewood's string of popular duets.
Lyrically, "Summer Wine" describes a man, voiced by Hazlewood, who meets a woman, Sinatra, who notices his silver spurs and invites him to have wine with her. After heavy drinking, the man awakens hungover to find his spurs and money have been stolen by the mysterious woman; the subtext of which being they experienced intercourse and as repayment she misappropriated them (them being his "silver spurs a dollar and a dime").

Monty Norman - James Bond Theme

The "James Bond Theme" is the main signature theme of the James Bond films and has featured in every Eon Productions Bond film since Dr. No. The piece has been used as an accompanying fanfare to the gun barrel sequence in almost every James Bond film.
The "James Bond Theme" has accompanied the opening titles twice, as part of the medley that opens Dr. No and then again in the opening credits of From Russia with Love. It has been used as music over the end credits for Dr. NoThunderballOn Her Majesty's Secret ServiceThe World Is Not EnoughCasino Royale, and Quantum of Solace.
The song uses a surf rock style guitar riff. At the time of the first film's release, surf rock was a recent craze.
Monty Norman has been credited with writing the "James Bond Theme", and has received royalties since 1962. For Dr. No, the tune wasarranged[1] by John Barry who would later go on to compose the soundtracks for eleven James Bond films. Courts have ruled twice that the theme was written by Monty Norman despite claims and testimony by Barry that he had actually written the theme. Norman has consequently won two libel actions against publishers for claiming that Barry wrote the theme, most recently against The Sunday Times in 2001. It is generally acknowledged that Barry came up with the arrangement used in Dr. No.
Norman describes the distinctive rhythm of the guitar in the first few bars of the "James Bond Theme" as "Dum di-di dum dum". He claims that it was inspired by the song "Good Sign Bad Sign" sung by Indian characters in A House for Mr Biswas, a musical he composed based on a novel by V.S. Naipaul set in the Indian community in Trinidad. Norman showed his manuscript music from A House for Mr Biswas in a filmed interview and sang its lyrics. In 2005, Norman released an album called Completing the Circle that features "Good Sign Bad Sign", the "James Bond Theme," and a similar sounding song titled "Dum Di-Di Dum Dum." For these songs Norman added lyrics that explain the origin and history of the "James Bond Theme".
Though the "James Bond Theme" is identified with John Barry's jazz arrangement, parts of it are heard throughout Monty Norman's score for Dr. No in non-jazzy guises. Barry's arrangement is repeated ("tracked") in various scenes of the first Bond film. This is consistent with the account given by Barry and some of the film makers themselves, contained in supplementary material on the DVD release of Dr. No: Barry was called in to make an arrangement of Norman's motif after Norman had completed the score. There is no information about the distinctive ostinati, countermelodies, and bridges introduced by Barry that are juxtaposed with Norman's motif in order to flesh out the arrangement. These added musical figures have become as recognizable to listeners as Norman's motif itself, which is probably responsible for the controversy over the authorship of the "James Bond Theme" as listeners have come to know it.
The "James Bond Theme" was recorded on 21 June 1962,[1] using five saxophones, nine brass, a solo guitar and a rhythm section.[2]The guitar riff heard in the original recording of the theme was played by Vic Flick on a ParagonDeluxe guitar plugged into a Vox AC15 amp. (Flick would later play guitar on the original recording of Ron Grainer's theme music from the 1967 television series The Prisoner.) He was paid a one-off fee of £6 for recording the famous James Bond Theme riff. John Scott played the saxophone.[1]

Gotye - Don't Worry, We'll Be Watching You

Directed and animated by Greg Sharp and Ivan Dixon at Rubber House

Additional animation: Jake Winkler

Music credits:
Produced by Wally De Backer
Mixed by Francois Tetaz, assisted by Wally at
Moose Mastering, Richmond, VIC

Gotye - State Of The Art

Wouter "Wally" De Backer (born 21 May 1980), known by his stage name Gotye (pronounced /ˈɡɔərtijeɪ/ gore-ti-yeah), is a Belgian Australian multi-instrumental musician and singer-songwriter. He has released three studio albums independently and one remix album featuring remixes of tracks from his first two albums. De Backer is also one-third of Melbourne indie-pop band The Basics, who have independently released three studio albums and numerous other titles since 2002. He has won an ARIA Award. He is also nominee to 2011 MTV Europe Music Awards as the Best Asia and Pacific Act.

Born in Belgium in 1980, De Backer moved to Australia with his family when he was 2 years old. His parents chose to use the English variation of his name, Walter, when enrolling him in school. From early on, De Backer displayed a passion for music, learning various instruments, piano and drums most notably. In his teens, De Backer formed the band Downstares with three of his high school friends, including Lucas Taranto who still plays in his Gotye live shows today] Downstares played shows mainly in the North-Eastern suburbs of Melbourne and were noted for their song-writing maturity and assured live performances. De Backer was the creative force behind the group, and their music reflected his diverse musical tastes, with Depeche Mode and Kate Bush among his favourite artists. De Backer graduated from Parade College in 1998 and was accepted to study Arts/Law at Melbourne University, and a Diploma in Modern Languages (Japanese). He would later discontinue the Law degree and Japanese studies, and complete a Bachelor of Arts, studying mainly cultural studies.

Patrick Wolf - Time Of My Life

Ultimate encouragement hymn!
Official Lyric video for Patrick Wolf's single 'Time Of My Life'.
Made by William Pollock + Patrick Wolf

Gotye - Somebody That I Used To Know (feat. Kimbra)


Jarboli - Glavu gore

Album: "Buđanje proleća" / 2006

Everything But The Girl - Missing (Coven Dubstep Remix)

Finally, this three from one post series ends with newly found Missing remix which does sound like much of dubstep stuff - but again it works and manages to bring new layer to the song. Great work! An also the final beats of the remix are awesome.

Everything But The Girl - Missing (Chris & James Full On Club Mix)

By far the best remix of this song that is out there - and it has been remixed a lot. This fan made video has scenes from the movie "In The mood For Love" (2000) by Wong Kar Wai, starring Tony Leung and Maggie Cheung.

Everything But The Girl - Five Fathoms

After "Walking Wounded" came the "Temperamental" album. Being such a fan of "Walking Wounded" laid back drum n bass style I was a bit disappointed with house style that Ben Watt was pushing then. Anyway the album had few gem including this one.

Radiohead - Bloom (Jamiexx Rework Part 3)

Radiohead have released three new King of Limbs remixes that apparently did not make it onto their freshly released TKOL RMX 1234567 remix album. One of the new remixes is “Part 3″ of Jamie xx’sreworking of The King of Limbs opening track, “Bloom”. 

It is maybe not what you would expect from Jamie XX, a deep house track, but it is so slick and nicely polished - that I would like to hear more sounds like that from him.

Family Of The Year - Psyche Or Like Scope

The official video for Family of The Year's "Psyche Or Like Scope," from the album, Songbook. Video directed by Mareesa Stertz.

New Look - Nap On The Bow

Recorded over the past three years, across the creative trinity of Berlin, Brooklyn and the sleepy hollow town of Hamilton, near Niagara Falls in Ontario, Canada, New Look’s self-titled debut album is a feverishly anticipated affair. The Canadian future pop duo and real life couple, Sarah Ruba and Adam Pavao have an undeniable creative synergy, combining the stunning, synth-playing chanteuse and former model, 25-year-old Ruba (previously shot by the likes of cult fashion provocateur Bruce Weber) and multi-instrumentalist, 31-year-old producer Pavao. 

There is a confidence and wit to their songwriting, coupled with cosmic tweaks and soft synths underpinning their future pop aesthetic. It’s controlled yet wistful pop perfectionism. “We try not to keep anything superfluous in our songs. We’re always conscious of the negative space in our music and that’s a constant theme,” explains Pavao, their trademark sparse 80s snap dynamically lifting Ruba’s synth driven melodies.

New Look’s accomplished debut chronicles almost five years of music from Ruba and Pavao. Theirs is a truly immersive full album experience, led by the inspired combination of siren-esque vocals and abstract storytelling, a soft focus and quietly stylish, yet confidently hyper-coloured aura that envelopes the band, the album and their listeners.

Opening with “Nap on the Bow”, New Look slowly caress an introductory world of warm 80s analogue pads and distanced echoes, the track building up around Ruba’s ethereal dreams, bubbling basslines breaking through tropical drums and effervescent synths. Striding along with “Numbers” and “A Light”, New Look showcase their talent for creating a multi-synth-orchestra vibe, two self-referential tracks that channel the duo’s creative energy via last year’s move from New York to Berlin and Berlin to Toronto, respectively. The band’s obsession with analogue equipment rises through the MIDI gaps, with the gear’s white noise and tape hiss being musically manipulated around gorgeous, crystal clear vocals. 

New Look’s anthemic single “The Ballad” is the record’s futuristic pop centrepiece, juxtaposed by the stripped-back, harder hitting electro of “Teen Need” where Ruba’s vocals are twisted with a late night, 5am throwback party vibe, coincidentally written earlier this year with the band’s triumphant return to New York City. With a pitched down Sarah Ruba contributing androgynous guest vocals on “You & I”, the album’s morning-after-the-night-before turnaround, the latter half of the album returns to New Look’s soaring, amorous electronic pop roots. 

“Music was the catalyst of our relationship,” explains Pavao, reminiscing about the band and the record’s romantic undertones. “It made us realise the connection we had. Writing our first song together was life changing, literally, because it made us realise not only the artistic potential we had individually, but more so as a couple, and just the basic human connection we had.”

“So Real” and “Everything” first appeared on the acclaimed, 2008 self-released EP “How’s My Hair?”, both tracks sounding as fresh and vital today (“Everything” was actually the first track the couple had ever written back in New York) - pitch perfect, experimental pop with harmonious, unexpected breakdowns and a freestyle attitude and creative naivety that showcases Sarah Ruba and Adam Pavao’s ambitious, inimitable and fully-realised, future pop manifesto.

Little Boots - Shake

Little Boots is back in more classic house style! Nice.

Adele - Rolling In The Deep

From her second studio album, 21. The song was written by Adele and and has been described by Adele as a "dark blues-y gospel disco tune"

Ye Mighty - Fuse

Ye Mighty has dropped a new single, covering Hudson Mohawke’s “Fuse.” Stunning horns, some heavyweight drums and some great flute. This badbwoy is released via First Word Records and available over on their bandcamp (where you can also purchase the 7″) Press play and enjoy.

DJ Shadow - Sad and Lonely

I heard this song last on last night's Gilles Peterson. It sounds much like Max Richter rendition of Ella Fitzgerald's tune that was featured in Shutter Island (in fact it is a copied recipe). But it is nicely done.

Poolside - Harvest Moon

Poolside - Harvest Moon

Los Angeles based musician - producer - DJ - friends: crafting music in their pool house turned recording studio that captures the sound of a perfect afternoon. Honing their many musical passions down to a few simple concepts, communicated as "daytime disco."

Mandalay - Flowers Bloom

Adam F - Circles

Goldie - Inner City Life

Metronomy - The Look

'The Look' taken from the new album - The English Riviera
Directed by Lorenzo Fonda

Aloe Blacc - I Need A Dollar
Official video for Aloe Blacc's "I Need A Dollar" from the album Good Things (Stones Throw)

Director: Kahlil Joseph
Photography: Matthew J.Lloyd
Video Produced by WHat Matters Most and Funk Factory Films

This video also contains a short section with a new track called "So Hard" from the album Good Things

Lana Del Rey - Video Games (Club Clique For The Bad Girls Remix)

Oasis - Wonderwall

"Maybe you're gonna be the one that saves me..."

Emika - Drop The Other

Emika was born in the UK, of Czech heritage. As a young woman she studied classical piano and composition, She waitressed to save up for her first Apple Mac and copy of Logic.  She was living in Bristol as the city transitioned from d&b to dubstep and she went to the first parties organised by Pinch. “I continue to be a part of this culture which has spread worldwide now.” She now lives in Berlin, where she works as a sound designer for Native Instruments. “I am focused on the world of sound and the power of the human voice, the instant connections it makes with listeners, in music. In general I feel there is a lack of vocabulary in the field of electronic music.” In Berlin she discovered the legendary Berghain nightclub: “It is intense, dark, boundaryless and safe. Berghain is whatever you want it to be.”  In 2010 she began making field recordings in the Berghain. “From the recordings I made a sample library which I gave to all the resident producer/DJs to make music from. The resulting compilation of music became the club's label, Ostgut Ton's anniversary release, called 'Fünf'.  All her songs are based on narratives: “I start with an idea, a story, and then I seek to find the sound world that best dramatizes my story, making it into a song. I try very hard to stay faithful to my narratives and not fall into the trap of genre conventions which is why I’m shy of genre references." Emika will release her debut album for Ninja Tune in the near future.

James Blake @ Later With Jools Holland


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