calm stuff

The Animals - Don't Let Me Be Misunderstood

Sounds of Nature

Hljómsveitin Kókos 1998
Söngur: Tommi
Bassi: Árni
Gítar: Matti 
Trommur: Ingvi

Don't let me be misunderstood

Movie Night – The Greatest Film Themes

Richter: On the Nature of Daylight

A collection of Max's recent filmscore work, together with some tracks from the albums which have recently been featured in various feature films.

WALTZ WITH BASHIR / Ari Folman - I Swam Out To Sea   Return

WALTZ WITH BASHIR / Ari Folman - Andante   Reflection (End Title)

HOW TO DIE IN OREGON / Peter Richardson - Endings

FRIENDLY FIRES "Hurting" (Tensnake Remix)

Bigpun remix

Marco Barrios-Mata for ABOE Studios.

This song was available to download but ended up reaching the 100-mark which is the maximum amount of downloads SoundCloud provides on a free account so thank you, everyone!

Breathe (Marco Barric Edit) - Télépopmusik

MEDLEY SUPREME NTM 

(la fievre/tout n'est pas si facile/pose ton gun/ma benz/laisse pas trainer ton fils/that's my people/c'est arrivé pres de chez toi/on est encore la (part 1)/seine saint denis style (live 98).

SUPREME NTM - Medley -

Cendres

DJ MEHDI "Lucky Boy" (Outlines Remix)

"SIDECHAINING MY NOISY THOUGHTS TO A SILENT HEART BEAT"

Brief set made mixing some deep and tech tunes I like, old and new. 
Quite quiet and with a lot of voices for my standards.

• Downloadable for free and shareable if liked! •

Mr. Jane

16/7/2012

SIDECHAINING MY NOISY THOUGHTS TO A SILENT HEART BEAT • Mr.Jane (16/7/12)

More audio demos from Funk Soul Brother. These clips were recorded in 2009.

Move On Up - Curtis Mayfield

https://jeffcarrico1.bandcamp.com/
Know it sounds funny but I just can't stand the pain
Girl, I'm leaving you tomorrow
Seems to me girl you know I've done all I can
You see I begged, stole and I borrowed ... yeah ooh

Ooh, that's why I'm easy
I'm easy like sunday morning
That's why I'm easy
I'm easy like sunday mooooooooorning

Why in the world would anybody put chains on me?
I've paid my dues to make it
Everybody wants me to be what they want me to be
And Im not happy when I try to fake it yeah

I wanna be high so high
I wanna be free to know the things I do are right
I wanna be free just me oh baby 

Easy (The Commodores) cover

thx n <3 to lil dragon n dem
did this back in may but it's never gonna get released sooo fuck it

www.facebook.com/pages/Shlohmo/21…843565?ref=br_tf
www.twitter.com/shlohmo

@wedidit-collective

Little Dragon - Sunshine (Shlohmo Remix)

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


calm stuff

adolarius