Download Sadistik Exekution mp3

Artist: Sadistik Exekution: mp3 download    Genre(s):  Metal: Death,Black     Discography:      Fukk II    Year: 2004    Tracks: 10 Legitimate contenders to the title of "world's virtually mad extreme alloy band," Australia's Sadistik Exekution formed in the mid-'80s and remained steadfastly attached to acting the quickest, most violently over-the-top euphony they could end-to-end their life history. In some slipway old school and in others intimately caravan, their trend mixed in concert aspects of black, lick, death, and doom metallic element, very much played at unbelievably firm speeds, patch at others rendered at a well-nigh dirge-like fawn. The group was founded in 1986 by singer Rok and bassist Dave Slave, although it took respective changes before the lie of the lineup settled in seat. During the late '80s, Rok and Slave moving to Melbourne and back, as well as stressful a span of lineups with members (or ex-members) of another Aussie extreme metal band, Slaughterlord, but zip stuck. By 1988, however, the band did supervise to square off on a quartet circuit board -- rounded out by guitar player Rev. Kriss Hades and drummer Sloth -- long enough to record the real for their low gear base LP. Still, it took deuce more years for the record, finally entitled The Magus, to get released (the label was Vampire Records). Around this time, in 1991, Sadistik Exekution played their get-go alive show, to a big crowd in their hometown of Sydney. Work on their sec outlet, eventually to be entitled We Are Death - Fukk You, lastly began in 1993, this time with yet some other new member on plank, the Machanik (in place of drummer Sloth). This album was last finished and released in 1994 on the French-based Osmose Productions label. In support of We Are Death, Sadistik Exekution embarked on their first European hitch, with labelmates Absu and Impaled Nazarene likewise on hand; yet, since the Machanik had fallen victim to genial unstableness issues, a new drummer over again had to be set up, this time in the form of Skitz (from the Aussie hardcore ring Damaged). Upon reversive, the ring sic around recording their following album,K.A.O.S., released in 1997 on Shock and later re-released in 2000 on Osmose. More instability followed, along with rumors that the band had finally broken up, merely true to pattern, they came back from the dead so far once again to sack some other album. Simply entitled Fukk, it came out in 2002, erstwhile over again on Osmose, and showed that the banding had no intentions of rental up or taming their pretend anytime before long.

Mp3 music: Grupo Niche

Artist: Grupo Niche: mp3 download    Genre(s):  Latin: Dance     Grupo Niche's discography:      Salsa    Year:     Tracks: 31      Cha Cha Cha    Year:     Tracks: 1 Colombian Grupo Niche was formed by Jairo Varela, joined by piano thespian Nicolas Cristanelo, bassist Francisco García, adolphe Sax thespian Alí Garcés, trombonist Alexis Lozano, percussionist Luis Pacheco, singers Jorge Bassam, and Héctor Viveros, qualification their debut with the acquittance of Al Pasito in 1980. After decent one of the major tropical acts of the Apostles of the Apostles in their aboriginal country, the mathematical group had the opportunity to participate in a salsa festival at New York's Madison Square Garden in 1986. Grupo Niche's unexampled batting purchase order debuted in 1987 with Tapando El Hueco, touring Europe for the low time in 1989. A year later, Puerto Rican singer Tito Gómez distinct to leave the band, being replaced by Colombian Carlos Alberto Cardona. During the '90s, Grupo Niche turned to amatory lyrics, going away in arrears their traditional songs based on social issues.

Tammy Cochran | Download mp3

FBI says artworks in NYC collection were stolen

NEW YORK �

When eccentric socialite and artistic production dealer William M.V. Kingsland died two years agone, he left an extensive collection of Pablo Picasso paintings and other works crammed into his one-bedroom apartment - but no will.

Kingsland apparently had no heirs to claim the floor-to-ceiling heaps of sketches, sculptures and paintings, so city officials hired

Genetic Drugs

   
Artist: Genetic Drugs

   Genre(s): 
Other
   Electronic
   

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Discography:


   
 Karma Pharma

   Year: 1998   
Tracks: 14


   
 Karma Club

   Year: 1998   
Tracks: 11

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Glastonbury Organisers Quash Richard Ashcroft 'Keane Claim'

Glastonbury organiser Emily Eavis has responded to Richard Ashcroft's claim that her father, Michael, was against The Verve headlining the festival.



Towards the end of the band's set on Sunday evening, Ashcroft said he hoped the band had proved Mr Eavis wrong, adding: “I think he was a bit worried we wouldn't be as good as Keane or something."



Speaking to the BBC, Emily Eavis said that Ashcroft's comments were “not true at all" and were “not a big deal.”



"We've liked The Verve for ages and we were really pleased to have them on," she added.



The Verve ended their set on Sunday with new song, 'Love Is Noise', which is to be the first single from their forthcoming album, 'Forth'.



The band, who reunited in 2007, last released an full studio project in 1997.



For full Glastonbury highlights, click the following links...



Glastonbury in photos: Day One - CLICK HERE.

Glastonbury in photos: Day Two - CLICK HERE.

Glastonbury in photos: Day Three - CLICK HERE.



You can see highlights from The Verve's Glastonbury performance below...

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Joseph Ferraro and Lewis Howard

   
Artist: Joseph Ferraro and Lewis Howard

   Genre(s): 
New Age
   

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Discography:


   
 Himalayan Nights

   Year: 1997   
Tracks: 1

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Obituary: Jimmy Slyde

Jimmy Slyde, who has died aged 80, was a consummate master of the "sliding" interpretation of rhythm tap dancing. That he embarked on professional tap dancing shortly before a sharp decline in its popularity might seem to indicate a dubious sense of timing, but Slyde's exemplary commitment ensured he was around to catch the art form's revival.

Born James Godbolt in Atlanta, Georgia, he moved at the age of two with his family to Boston, Massachusetts. Although he enjoyed his mother's prescribed violin lessons at the New England conservatory, the draw of tap dancing at the Stanley Brown dance studio opposite proved stronger. It all came together there. He got to observe and know tap greats such as Bill "Bojangles" Robinson and John W Bubbles while they rehearsed and taught, and met his future dance partner, Jimmy "Sir Slyde" Mitchell. Having learned what became his characteristic "slide" technique from another teacher at the school, Slyde teamed up with Mitchell to form the Slyde Brothers. It was, confusingly, slightly later that he took the name Jimmy Slyde, but invariably insisted on being called just Slyde.

Devising an eight-minute tap act, the Slyde Brothers played the Boston area and then toured with the best of the remaining big bands, including Count Basie and Duke Ellington. Times were not easy in the 1950s, and they had to dance in all manner of places. "You have to have something to say to be in front of an audience," he once recalled. "I've played saloons, cabaret, and even burlesque theatres which by then were the closest thing to vaudeville where they'd shout, 'bring on the girls', while you're dancing. You have to have an answer, like making the sound of an approaching chorus line, and with high heels on!" As work grew scarce and the act dissolved, he even choreographed for the Crosby Brothers harmony group in the early 1960s.

In 1969 Slyde turned up shortly after Letitia Jay founded the Hoofers. Emulating Harlem's legendary Hoofers Club of the interwar years, it also featured some of its regulars. New Yorker jazz critic Whitney Balliett dismissed Slyde in 1969 as having no individual style, but by 1979 Dance magazine was describing his addition of "elegance to his syncopation" as a contribution to the spectacular impact of the Original Hoofers at the Lincoln Center's 1,000 Years of Jazz. Tours of South America and Europe followed.

Dance historian Sally Sommer points to Slyde's lightning quickness, dexterity and the way that, creating sound patterns, he played "at the edge of balance". Having apparently almost fallen, he would flash an astonished look, and then a sly grin at his audience, having made his recovery.

Paris called in 1973. He visited at a time when his most notable pupil, Sarah Petronio, was developing a vibrant tap culture in the French capital that London could only envy. He returned to the city in 1985 for the original Black and Blue, which celebrated the interwar Parisian culture of dance and music. The veteran dancer Bunny Briggs recalled that Slyde's performance "made you reach down into your bag" - in other words, to dance better. Black and Blue hit Broadway in 1989, with Slyde receiving a Tony nomination, and in 1993 it became a Robert Altman-directed TV film.

Slyde made three movie appearances in the 1980s. He was Jimmy Slide in Francis Ford Coppola's The Cotton Club (1984), and in 1986 he appeared in Bertrand Tavernier's Round Midnight. Three years later came Tap, which turned a new generation on to "laying down iron". Tap greats, led by Sammy Davis Jr, responded to a tap challenge from a troubled but promising newcomer played by Gregory Hines.

Slyde often worked for pianist Barry Harris's jazz gatherings. Nurturing newcomers meant everything to him, especially Dianne Walker, dance captain in Black and Blue and dancer in Tap. In the 1980s and 90s, working with Lon Chaney, he mentored the Wednesday tapjams at La Cave on Manhattan's lower east side. There, old and new dancers tapped in succession and were encouraged to perform. At an international tap day concert in New York in 1992, Slyde's duet with drummer Panama Francis sounded pre-planned, despite being improvised. He opened the 1996 Jacob's Pillow Festival, in Becket, Massachusetts, which had formerly shunned tap dancing, and danced at the White House for President Clinton in 1998.

In 1999 he was awarded a national heritage fellowship award, and three years later came a doctorate from Oklahoma City University, followed by a Guggenheim fellowship in 2003.

After Honi Coles' death in 1992, Slyde was pre-eminent in his field but insisted he had not invented tap, and neither had the people he had learned from, reeling off innumerable names of illustrious predecessors. That generosity of spirit will be a hard act to follow.

He is survived by his wife Donna and son Daryl.

· Jimmy Slyde (James Titus Godbolt), dancer, born October 27 1927; died May 16 2008


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