Zoek

[gerard]

Concerto for clarinet door W.A. Mozart. Niet zo moeilijk hij heeft er maar één voor clarinet geschreven.

Mooie muziek 
Ik heb een Naxos cd met het clarinet concert(KV 622), waarschijnlijk een mindere kwaliteit maar toch lekker muziek.

[MadVillain]

Vandaag Tangerine Dream ontdekt....


Lekkere muziek. Vooral hun oudere werk, ook hun Flower Power achtige stijl :DMaar wat mij het meeste aanspreekt is toch het electronische spul

[HiFi gek]

Vandaag Tangerine Dream ontdekt....


Lekkere muziek. Vooral hun oudere werk, ook hun Flower Power achtige stijl :DMaar wat mij het meeste aanspreekt is toch het electronische spul

Als je van Tangerine Dream houd , luister dan ook eens naar GANDALF .

Het komt aardig overeen met dit verschil dat ikzelf GANDALF aanzienlijk beter vind

Zoek maar eens op Google naar Gandalf , als je op zijn eigen site bent beland kun je daar stukken beluisteren van al zijn nog leverbare cd's .

Echte aanraders zijn de cd's - Colours of the earth .
                                         The universal play .



Groeten  EDWIN  B

[Marantz 81]

radio Veronica

lekkere relaxte 80/90 jaren uitgaans muziek 

[Maurice]

NU: Stream of Passion - The flame within

Ik luister nu naar het nummer Street Spirit, wat echt een meesterlijke vertolking is van het origineel van Radiohead.
En wat heeft Marcela (de zangeres) een enorm mooie strot zeg 

[Maurice]

Net een album van Anathema beluisterd, maar nu Therion met Gothic Kabbala:

Review   by Thom Jurek

Sweden's Therion have been lauded the world over, just about, for their wildly influential and experimental symphonic heavy metal; it incorporates not only classical ambitions and arrangements, but the integration of European folk and even industrial elementals into their sound. Add to this guitarist, songwriter and conceptualist Christofer Johnsson and (non)performing scholar/lyricist Thomas Karlsson's collective studied knowledge of myths, arcane occult knowledge, and folklore from around the globe (East of the Atlantic anyway) and you have the very beginnings of Therion's reach and command of artful heavy music. Johnsson added an opera singer (and now two) a couple of years back to bring life to his simultaneously pretentious and operatic vision of a quadrology of Nordic myth that began with Secret of the Runes, continued in the simultaneously issued Sirius B and Lemuria, and sees its grand -- and oh is it grand -- finale in Gothic Kaballah, the most righteous vision of excess heavy metal has ever seen.Gothic Kaballah is a double disc -- by an eight-member strong Therion -- with help from friends (one of whom is organist Ken Hensley, formerly of Uriah Heep). It is the epitome of conceptually oriented symphonic metal. It brings together melodies from the West and the East. Its orchestrations are lavish, but the attack is heavier than Odin's wrath -- check "T.O.F. The Trinity" on disc two for a small but punishing bit of evidence of the magical menace found there. Produced by the band and Mats Levén -- who also co-wrote music, played guitar and is featured on lead vocals a great deal of the time -- Gothic Kaballah makes no concessions except one: for the very first time, the band has written and sung in English. But perhaps that's no concession at all considering Americans are the only nationality who hasn't grasped the ragged glory and rugged power of Therion: as a colleague puts it complimentarily, they are the Meat Loaf of metal. The reference is the sheer wide-ranging grandeur in composition, performance, production and execution in their work. They do everything big. This is rock with a big "R." It transcends the metal genre though it is certainly a heavy metal record but it moves territorially into prog rock as well, but a prog rock that's easy to get next to. The tempo and key changes have been part of the Therion compositional mode for a long time, but here the transitions are seamless even as the traditional metal elements remain heavier than the burden of the gods. The album's story is one of intense literary scrutiny, critical investigation, and dramatic pyrotechnics. Richard Wagner would have been proud to write for Therion. Their excesses were his own: dynamics in drama for the sake of moving a story through its paces, revealing secrets, horrors, and promises and revelations of what preceded and proceeds from the Judeo-Christian apocalypse. Therion ascend the staircase of the gods on Gothic Kaballah and tells them to bring it on, while simultaneously acknowledging their ferocity, glory and power.

As the crackling guitar and bass riffs open "Die Mitternachslöwe" on disc one, and keyboards and blastbeats enter with sinister force, a soprano sings "In the end of time, in times of revelation/Lion from the north will appear in a dark nation..." Petter Karlsson and Levén add a chorus to further the tale "...Read the forecast/fear the eagle/See the wonders, trust the lion/Read the prophecy, the savior of midnight..." without a trace of irony; guitars play in counterpoint then a single bass chord carries the menacing tension until the tune ends. The listener has entered the netherworld of Gothic Kaballah, where light shines through punishing guitar forms, a murky smoke and mirror-adorned cave of fact and fiction, elliptical storytelling, pronounced thematics, changing keyboards and introductions and disappearances of characters from gods to animals to mortals and sprites of every stripe. Oh yeah, there are numerous killer dual guitar leads to top it all off. The title track, with its low-tuned guitars and basses playing in sharp counterpoint, ushers in sledgehammer cadences that Metallica could never have imagined, let alone pulled off, and they give way to folk melodies -- that really are melodies -- and booming tom toms that offer the melding of tribal expression, gritty keyboard sounds, and classically oriented harmonics. The way the story is told and the different musical landscapes used to move it along offer the argument that Therion have created the first great rock opera of the 21st century. Not that you have to pay attention to the narrative to appreciate it: this is the metal that disappeared aboveground in the U.S. a decade or more ago.

Gothic Kaballah is the first shot from the Therion canon on the American market in earnest. Aimed squarely for the Yankee heart, it conquers with theater, menace and above all a stellar Nordic stoicism which rebels while it assumes the mantle of control. Currently there is no one on the scene that can come close to Therion's ambition or ability ( the conviction, spiritual devotion, and maniacal pummel in "The Perennial Sophia" or "Son of the Staves of Time" should shut up all but the most cynical metalheads). Therion have the money, the promotion, the chops, and the sheer vision to make this happen without a smirk or a nod to kitsch. This is the right introduction for America (though all their records are available here); those who come to Gothic Kaballah as their first taste of this band would do well to pick up the rest of the quadrology and listen in order. Gothic Kaballah is brilliant, disturbing, grandiose and very listenable -- those who thought metal was for knuckleheads and the ignorant should pay heed and give this baby a spin. It possesses both bone-riffing thud and bell-ringing clarity, orchestral strings and bass throbs that sends the dials spinning into the red. It is destined to be a classic. This is Euro-metal at its zenith; it moves the entire heavy metal universe a giant leap forward. It may be early in 2007, but already Gothic Kaballah is the gold standard to beat.

[Maurice]

Hiervoor dus Anathema met Judgement, die blijkbaar zelfs in de Doom metal kant blijkt te vallen 
Zelfs mijn vriendin vindt dit nog acceptabel, dus dat zegt wel wat.

Review   by Jason Hundey

After the mildly disappointing Alternative 4, Anathema strikes back with Judgement. Upon first listen, the music and message seem a bit mellow for these doomy metal moguls. Second listen is like a magical rediscovery of a lost art form, the art of creating simple, depressing hard rock that is so emotionally expressive that it bends one's own constitution. Quiet and introspective on songs like "One Last Goodbye" and "Anyone, Anywhere," Anathema has the ability to spew forth raw, volcanic pain on cuts like "Judgement" and "Pitiless" -- the last of which contains the most heart-wrenching solo the Cavanagh brothers have ever penned. Drummer John Douglas also surprises, making an amazing contribution to the album, by writing two of the most memorable songs, "Don't Look Too Far" and "Wings of God." The first is a gorgeous Porcupine Tree-like tune with somewhat upbeat female vocals and melodies. "Wings of God," on the other hand, seems to be a literal interpretation of the album cover, which appears to be God's blinding eye looking down upon the cursed world. One will be amazed at how unconventionally heavy this album really is. It even has a tendency to sap one's strength, upon repeated encounters. Judgement is truly a blinding masterpiece, which pierces the senses with its intensity. Hail Anathema's sorrowful return!

Zoals jullie zien ben ik een behoorlijke verkenningsreis door metal land aan het maken. De muziek stond mij altijd tegen, maar sinds een Metal luisterdag ooit bij Marco is het genre mij toch gaan trekken vanwege de enorme muzikaliteit en complexiteit die ook klassieke muziek kent zoals Dvorak, requiems van Mozart en Verdi. Naar mijn mening zijn dit echt de voorlopers van het genre Metal.

[MadVillain]

@Maurice:

Ook al eens Tool geprobeert te beluisteren?

[Maurice]

@Maurice:

Ook al eens Tool geprobeert te beluisteren?

Nope nog niet 
Misschien toch maar een doen

[Totofan]

Ik luister naar Saxon - Wheels of Steel, oude jeugd glorie maar is nog steeds goed

[Totofan]

Ik luister naar Larry Carlton/Steve Lukather - No Substitutions

[Maurice]

Zonet:
Lunatic Soul (solo project van de zanger van Riverside)

Code Selecteer Uitklappen

Artist
Lunatic Soul
Album
Lunatic Soul
Release Date
Oct 13, 2008
Recording Date
Jan 2008-Jul 2008
Label
K Scope
Genre

Styles

    * Pop/Rock



    * Neo-Prog
    * Experimental Rock
    * Ambient Pop

Moods

Themes

    * Yearning
    * Wistful
    * Trippy
    * Sophisticated
    * Searching
    * Reserved
    * Nocturnal
    * Laid-Back/ Mellow
    * Intimate
    * Hypnotic
    * Ethereal
    * Elegant
    * Eerie
    * Dreamy
    * Detached
    * Cerebral
    * Atmospheric



    * The Creative Side
    * Solitude
    * Relaxation
    * Reflection
    * Late Night

[Maurice]

NU: stream of passion - The Flame Within



>>>hier<<< zijn wat fragmenten te beluisteren.

[bramdg]

ook al heel de dag ....Beatles Remastered Stereo 2009   

[Maurice]

Nu:
De LP van Billie Holiday - Lady in Satin!

Voor de HT freaks, deze LP is in Mono, we praten immers over 1958!
En een diepte waar je akelig van wordt 

Review   by Scott Yanow

This is the most controversial of all Billie Holiday records. Lady Day herself said that this session (which finds her accompanied by Ray Ellis' string orchestra) was her personal favorite, and many listeners have found her emotional versions of such songs as "I'm a Fool to Want You," "You Don't Know What Love Is," "Glad to Be Unhappy," and particularly "You've Changed" to be quite touching. But Holiday's voice was essentially gone by 1958, and although not yet 43, she could have passed for 73. Ellis' arrangements do not help, veering close to Muzak; most of this record is very difficult to listen to. Late in life, Holiday expressed the pain of life so effectively that her croaking voice had become almost unbearable to hear. There is certainly a wide range of opinion as to the value of this set. [The 1997 CD reissue adds two alternate takes of "I'm a Fool to Want You," part of which were used for the original released rendition, plus the stereo version of "The End of a Love Affair" (only previously released in mono) and examples of Lady Day rehearsing the latter song, including a long unaccompanied stretch.]