Wednesday, January 8, 2020

Status Quo - Backbone 2019 ( Free Download )


Status Quo - Backbone 2019
 The fact that this is the first Quo album since the sad passing of Rick Parfitt meant that Backbone had to be good, better than good even. And it is better than good, it’s a great album. Naysayers have been suggesting that without Rick, it shouldn’t really be called Status Quo; bollocks, of course it’s Status Quo. But since Francis Rossi doesn’t have enough middle fingers to respond to them all, he’s let the music do the talking, and the end result is the strongest Quo album in some years now. Perhaps some people need to be reminded of certain Quo misfires over the decades? Albums such as Ain’t Complaining, Perfect Remedy and Thirsty Work perhaps?

Listen to the heads-down boogie of “Cut Me Some Slack” and the chugging guitars on “Falling Off The World”, both of which display all the “classic” Quo traits. Same with the soft shuffle of opening track “Waiting For A Woman”, which is similar to the Quo nugget “In My Chair”, less of a blues influence, but similar in pacing. Something a bit more uptempo for the weekend sir? Then try on “Liberty Lane” for size, or try resisting bobbing one’s head to “I Wanna Run Away With You”, nope can’t be done. Backbone has some great tunes on it, some which you might not expect on a Status Quo album. “Better Take Care”, for instance, drinks from the same well as Skynyrd’s “Sweet Home Alabama”, the same laid-back, simple approach that works surprisingly well.

Backbone (Quo’s 33rd studio album, no less!) is very much a band effort. Drummer Leon Cave wrote “Falling Off The World”, Richie Malone (who also has the thankless task of standing in Parfitt’s spot each night) came up with the modernised “Get Out Of My Head”, long-time bassist Rhino Edwards has a handful of co-writing credits, as does Quo mainstay Andrew Bown. This line-up already have 130 shows together under their belts, a solid unit it would seem, propelled forward by the youthful energy of Cave and Malone.

File Information
 Artist: Status Quo
Album: Backbone
Released: 2019
Style: Rock
Format: MP3 320Kbps
Size: 109 Mb
Total Track: 13 Track

01.Waiting For A Woman
02.Cut Me Some Slack
03.Liberty Lane
04.I See You’re In Some Trouble
05.Backing Off
06.I Wanna Run Away With You
07.Backbone
08.Better Take Care
09.Falling Off The World
10.Get Out Of My Head
11.Running Out Of Time
12.Crazy Crazy (Bonus Track)
13.Face The Music (Bonus Track)



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Sunday, October 13, 2019

Post Malone - Hollywood's Bleeding 2019 ( Free Download )

Post Malone - Hollywood's Bleeding 2019
 Nothing about Post Malone suggests “career pop musician” but that is exactly what he has become. Speaking purely in numbers, he’s just about the most ubiquitous pop musician alive: His songs multiply in the culture right now like kudzu or prairie dogs. He takes Jimmy Fallon to the Olive Garden and Medieval Times; he sells his own limited-edition Crocs. He emerges from Rolls Royce crashes unscathed and touches cursed objects on episodes of Ghost Adventures. Pop music is a little bit like Post Malone’s very own Hanna-Barbera cartoon right now, and he is somehow both Shaggy and Scooby.

There are plenty of valid reasons to bemoan his dominance. He is kind of a sentient keg stand; he has a pretty lazy and unexamined relationship with hip-hop; there is strong evidence that he might not exactly be the sort of person who thinks through his actions. But if you can wriggle free from all that for just a moment, there is a lot to appreciate in his music. There could be, and have been, far worse pop hegemonies, and in a few years, when his cherubic-face-tatted mug has receded somewhat, the virtues of his music will become more apparent.

Yes, the lyrics can be infuriatingly lazy, particularly when he’s tracing over hip-hop tropes about the Mille on his wrist or the 50 carats on his fist. But Post Malone’s choruses are just stupefyingly good. Each one sounds like it could furnish a down payment on a personal helipad. Hollywood’s Bleeding has about 10 titanium-grade hooks on it, choruses so immediate they erect stadiums in your head while they play—“I’m Gonna Be,” “Staring At the Sun,” “Allergic,” Enemies,” “Myself,” “Wow.” He seems to almost belch these out: “Got so many hits, can’t remember ’em all/While I’m taking a shit, look at the plaques on the wall,” he yawns charmingly on “On the Road.” “Sunflower,” his Swae Lee duet that hit No. 1 at the beginning of this year, shows up again outside of last year’s Spider-Man: Into the Spider-Verse soundtrack, and its presence here among all these other soon-to-be Top 10 hits feels almost like arm-twisting. We get it.

He is also a sneakily agile singer, switching from red-faced howling to smoky crooning to something warbly and strange in between these two poles. He uses all three of those voices plus a surprisingly lithe falsetto on “Allergic,” which features a chorus that feels like a down-the-middle split between 2003 Fall Out Boy, 2002 Weezer, and 1983 Billy Joel. It is an immaculate pop construction, and the words—“You’re friends with all my demons/The only one that sees them/Too bad for you”—are just delivery systems for the thrill.

Post’s music comes from that zone of confusion where hip-hop and alternative rock overlap. Artists keep wandering out of this spot, which widens every year, but it’s hard to imagine the vortex producing someone as ready for algorithmic dominion than Post. Depending on how hard you squint, his music sounds alternately and suspiciously like Stone Temple Pilots or Sugar Ray or Everlast or Rae Sremmurd or Def Leppard or Tame Impala. The team behind this sound—a chewed-up ball of the last 25 years of rap and rock radio—consists of Louis Bell, Frank Dukes, and Post. Together, they made most of the brightest and most memorable tracks on last year’s Beerbongs & Bentleys, and having established their winning formula, they work it relentlessly on Hollywood. There is no streaming playlist he could not plausibly land on.

There are two kinds of Post Malone songs: Useful and Not Useful. Post Malone’s best and dumbest songs (usually one and the same) are intriguing for the appealing note of panic in them: He might have been singing “She got beautiful boobies” but the way he sang it, it sounded like secret code for Please, the combination to the safe, they have my family. This is Useful Posty, and there is a lot of UP ROI on Hollywood’s Bleeding. “I’m Gonna Be” is a standard inspirational “be yourself” anthem on paper, but Post bellows the hook with a conviction that suggests a trap production of the musical Cats. He sings the hook to “Internet” with the same lunatic gusto—the message is “the internet sucks lol” but he and co-writer Kanye make it sound like a luxury ocean liner going down.

Moody Posty, by contrast, is not Useful Posty. On the title track, he moans about his demons and wonders who will be at his funeral; nobody needs melancholy despair from the guy who headlined a Bud Light Dive Bar tour. There are too many brooding fashion-plate numbers in general (“Die For Me,” “On The Road”) and they bog the album down. The aforementioned “Circles” is kind of pretty, kind of smooth, kind of sad. It is not a vehicle for Useful Posty: It sounds like a demo that someone meant to hand directly to Sheryl Crow and accidentally sent to Bobcat Goldthwait. His hair sounds combed. Washed, even.

When he’s not wasting time trying to glower, he proves himself surprisingly versatile. “Myself” is a co-write with Father John Misty, of all goddamn people, a wry song about not being about to slow down to appreciate the spoils of success—or, to hear Post tell it, “We slammed butts and Bud Lights to write a cool, top-down, summer cruising song about doing all this shit, being everywhere, but not having the time to fully enjoy it.” Post’s silly-putty voice twists once more until, voila, somehow he’s dirtbag Randy Newman, cruising through the perverse California night. His voice is both malleable and unruly—just as Led Zeppelin attempting reggae somehow managed to sound just like Led Zeppelin, Posty sounds Post-y no matter where you put him.

There are a lot of guests on Hollywood’s Bleeding, and all of them sound engaged; when you are this famous, artists tend to give you their first verse, not their fifth or tenth. Rising star DaBaby crushes his turn on “Enemies”; Halsey, on the otherwise drab “Die For Me," breaks into her boyfriend’s phone, finds all the girls in his DMs, and takes them all home. And then there is the power ballad “Take What You Want,” featuring Travis Scott and Ozzy Osbourne. Osbourne sounds pristine and ageless as always; his towering vocals seem teleported directly from the same studio session as “Mama, I’m Coming Home.” Post takes over the hook from Osbourne the second time around, and he holds his own against the cyclone of his vocal take—remarkable, considering that by the time the song is over, you have forgotten Travis Scott existed at all. And then: a guitar solo. Not any guitar solo, but one so ludicrous it needs a rider stating it can only be played while straddling twin burning Camaros. It is screamingly wretched and undeniably mind-blowing and the most fascinating musical decision I have heard on a pop song all year.

File Information:
 Artist: Post Malone
Album: Hollywood’s Bleeding
Released: 2019
Style: Hip Hop
Format: MP3 320Kbps
Size: 123 Mb
TOtal Track : 17 Track
01.Hollywood’s Bleeding
02.Saint-Tropez
03.Enemies
04.Allergic
05.A Thousand Bad Times
06.Circles
07.Die For Me
08.On The Road
09.Take What You Want
10.I’m Gonna Be
11.Staring At The Sun
12.Sunflower
13.Internet
14.Goodbyes
15.Myself
16.I Know
17.Wow.
 
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Melanie Martinez – K-12 2019 ( Free Download )

Melanie Martinez – K-12 2019
 Melanie Martinez had some big expectations to fill off the release of her 2015 debut, Cry Baby. The alt-pop songstress constructed a whole world around the titular character—a version of herself reimagined. While Cry Baby focuses on the internal struggle of family life and troubling romance, K-12 kicks the front door down to show there’s a whole outside, one that’s equally as fucked up.

Setting the scene the only way you can with a school-centric theme, Martinez loads listeners up with opener “Wheels On The Bus.” Much like Cry Baby track “Pity Party” borrowing from Lesley Gore’s “It’s My Party,” the first taste hints at the familiar. Mixing in the child-like innocence of the nursery rhyme of the same name, Martinez contrasts it with tales of a pervy driver and a passing joint.

Once arriving in the literal hell that is school, Martinez begins tackling the real-life problems students face in her own pastel-pop way. Ridding herself of jealous lovers and bullies in one fell punch (“Class Fight”) before moving on to an unfair power shift (“The Principal,” “Teacher’s Pet”), the tracks certainly have their place in the overarching storyline. However, Martinez doesn’t really get into the nitty-gritty of K-12 until arriving at “Show & Tell.”

It’s here that the vocalist first introduces one of the major problems many students grapple with, which is feeling like you’re constantly on display and open to criticism (“Why is it so hard to see/If I cut myself I would bleed/I’m just like you, you’re like me/Imperfect and human we are”).

That theme of body acceptance is explored throughout the album, next on “Strawberry Shortcake” where the intent is clear in the first lines: “Feeling unsure of my naked body/Stand by watch it taking shape/Wondering why I don’t look like Barbie/They say boys like girls with a tiny waist.” One of Martinez’s most open tracks on the record, “Orange Juice,” captures the perspective of an eating disorder (a snapshot also mentioned on Cry Baby track “Sippy Cup”). In it, Martinez sings of a bulimic, assuring that despite insecurities, “Your body is imperfectly perfect/Everyone wants what the other one’s working.”

File Information:
Artist: Melanie Martinez
Album: K-12
Released: 2019
Style: Art Pop
Format: MP3 320Kbps
Size: 112 Mb
Total Track: 11 Track


01.Wheels On The Bus
02.Class Fight
03.The Principal
04.Show & Tell
05.Nurse’s Office
06.Drama Club
07.Strawberry Shortcake
08.Lunchbox Friend
09.Orange Juice
10.Detention
11.Teacher’s Pet
12.High School Sweethearts
13.Recess
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Kaiser Chiefs – Duck 2019 ( Free Download )

Kaiser Chiefs – Duck 2019
Frequently while listening to Duck, you remember: this man judges a TV singing competition. It’s not that Ricky Wilson was indie’s greatest singer, but he knew what to do with his voice, a bawdy, beery thing that could definitely talk you into another pint. But now he’s a shiny-floor entertainer, parochial indie culture is dead, and Wilson sounds adrift. He won’t find an identity in the painfully strained Golden Oldies, a shouty song in sharp contrast to its broody sentiment. Nor in Don’t Just Stand There, Do Something, an unnervingly edgy vaudevillian number, Wilson bellowing about a girl locked in the bathroom while the sounds of knives being sharpened slice through the mix.

He’s more convincing as a ruffian George Ezra type: high on his band’s Motown merriment, he celebrates boyhood, “so innocent and joyful”, on People Know How to Love One Another, a song that bassist Simon Rix has unironically described as “a really important song and a great message for Brexit Britain”. Northern Holiday absolutely accepts Ezra’s invitation to ride shotgun underneath the hot sun, finding Wilson boasting of his ability to “order sandwiches in funny languages”, even though “they don’t make them like you do at home”. It’s shameless, but endearing, and echoes the quirky mundanity that powered the band’s rise 15 years ago (back when their now-departed drummer wrote the hits).

Wilson is most himself on the two strangest songs. Record Collection sounds like a bootlegged bootleg of Lady Gaga’s Bad Romance, and uses a cosily analogue metaphor to illuminate the creepiness of letting the internet remember everything we’ve ever done. Similarly oddball yet effective is the 1975-ish Target Market. Wilson’s lovelorn narrator tries to woo a girl through PowerPoint presentations, but can’t work out why she won’t bite: “You’re my target market / The only one I wanted to impress / My demographic in a vintage party dress.” It’s funny as a vignette, and a subtle ribbing of contemporary culture’s pandering. Kaiser Chiefs are guilty of that, too, but they still have enough hooks and appealingly weird quirks to keep getting away with it.

File Information:
Artist: Kaiser Chiefs
Album: Duck
Released: 2019
Style: Indie Rock
Format: MP3 320Kbps
Size: 99 Mb
Total Track : 11 Songs
01.People Know How To Love One Another
02.Golden Oldies
03.Wait
04.Target Market
05.Don’t Just Stand There, Do Something
06.Record Collection
07.The Only Ones
08.Lucky Shirt
09.Electric Heart
10.Northern Holiday
11.Kurt vs Frasier (The Battle For Seattle)
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Tuesday, October 8, 2019

Ed Sheeran - No.6 Collaborations Project 2019 ( Free Download )

Ed Sheeran - No.6 Collaborations Project 2019
The rumors are confirmed: Ed Sheeran finally married his longtime girlfriend, Cherry Seaborn. In an interview with radio host Charlamagne tha God—really, an hour of small talk recorded at the studio of Sheeran’s countryside home in Suffolk and released alongside the album in lieu of any major press—Sheeran fills us in with blissful references to their life together. He’s ditched the good-natured, drunken shenanigans that once led to a scar on his cheek from the sword of an actual British royal in favor of nesting with the person he calls “his lady.” Please congratulate Ed Sheeran on his graduation to matrimony, to becoming an absolute wife guy.

Therein lies the conceptual premise of the bulk of the guest-laden No. 6 Collaborations Project. There’s “I Don’t Care,” an early single featuring Justin Bieber and maybe the best effort on No.6, a vector of the dancehall-lite rhythms sounds Sheeran debuted on 2017’s “Shape of You.” Bieber, a fellow newlywed, shares in Sheeran’s swelling melodies and loving truisms: “I don't care when I'm with my baby, yeah/All the bad things disappear.” Then there’s “Cross Me,” featuring Chance the Rapper and a hook fashioned out of a sample of PnB Rock’s 2017 XXL Freshman cypher, a well-meaning if slightly paternalistic ode to their respective partners.

But the change in Sheeran’s marital status has not inspired a shift away from the chip on his shoulder: I’m not a cool guy, I’m a regular guy, is the subtext of his career thus far. No.6 opens with a heavy-handed, Khalid-assisted reminder that he is not one of the “beautiful people,” a catchy calculation appropriate for the sad-pop dominating the charts. “Antisocial,” featuring Travis Scott and his signature skittering drums, begins with a bizarre instruction: “All you cool people, you better leave now.”

In an album defined mostly by banality, “South of the Border,” featuring Camila Cabello and Cardi B, is an actual bizarre moment. It’s a Latin-pop fantasy—Sheeran sings of someone’s “caramel thighs” and “curly hair”—punctuated by Cardi’s suggestion that “Ed got a little jungle fever.” Huh? Maybe unintentionally, the raceplay points directly to the elephant in the room: Though he built his fame on confessional, earnest acoustic guitar songs, Ed Sheeran loves black music, and he wants you to know it.

Unfortunately, on No.6, that appreciation largely manifests as the belief that he is a competent rapper. On one song, “Take Me Back to London” featuring Stormzy, his flow bears a suspicious resemblance to “Bitch Better Have My Money”-era Rihanna. (Sheeran has settled plagiarism lawsuits on at least three occasions and will go to trial on a fourth this September.) There, and elsewhere, his raps are cringey and simplistic, with all of the subtlety of a plot-driven song written by Lin Manuel Miranda: “It's that time/Big Mike and Teddy are on grime/I wanna try new things, they just want me to sing/Because nobody thinks I write rhymes.”

Being a fan of rap doesn’t mean you can rap. I would never delude myself into thinking I could run a kitchen just because I’ve spent years watching “Chopped.” Alongside 50 Cent and Eminem, both way past their prime as rappers, Sheeran sounds even more out of his depth on “Remember the Name”: “Yeah, I was born a misfit, grew up 10 miles from the town of Ipswich/Wanted to make it big, I wished it to existence/I never was a sick kid, always dismissed quick/‘Stick to singing, stop rappin’,’ like it's Christmas.” Those unnamed haters were right and No.6 confirms that Sheeran is better off sticking within his skillset. “Feels,” which ingeniously unites Young Thug and J Hus, and “Put It All On Me,” which offers Ella Mai a warm piano to shine over, are legitimately irresistible.

In a 2014 Vibe cover story, in which a reporter witnessed him freestyle over beats including YG’s “My Nigga,” Sheeran was described as having a “hip-hop soul.” A couple years later, Stormzy, with whom Sheeran has something of a friendship, took it further. “Even with his rapping he can execute it well,” he told GQ. It didn’t quite come out of nowhere. In the early days, he’d experimented with what a collaborator describes as “singing rap.” And in 2011, after independently releasing a handful of EPs in the style of alt-folk-rock singer-songwriter forbearers like Jason Mraz, he convinced grime greats like Wiley and Jme to participate in his No.5 Collaborations Project album, after which No.6 is modeled. Over the years, he’s performed multiple Nina Simone covers, recorded a song in the Ghanaian language of Twi, and told Billboard that Justin Timberlake, unparalleled in the cultural phenomenon of “blue-eyed soul,” was “pretty close to a direct inspiration.”

Nearly 8 years, 150 million albums sold, and dozens of arena-headlining tour dates after No.5, he’s employed a similar ethos but with the expanded budget and superstar access of his status as one of the world’s best-selling artists. Like the original compilation project, much of No 6. is as bad in theory as it is in practice. Pop music has drawn from black cultural expression since the dawn of its existence, becoming increasingly absorbent in recent years. As hip-hop and diasporic genres like Afropop, dancehall, and dembow have framed the dominant modalities of contemporary radio, inspiration and appropriation have become business moves as much as artistic choices. But few releases have been as baldly transparent and destined for ubiquity as No.6, which has all the conspicuous mining of a Drake album, but very little of the finesse or cultural fluency.

File Information:
 Artist: Ed Sheeran
Album: No.6 Collaborations Project
Released: 2019
Style: Pop
Format: MP3 320Kbps
Size: 122 Mb
 01.Beautiful People (feat. Khalid)
02.South of the Border (feat. Camila Cabello & Cardi B)
03.Cross Me (feat. Chance the Rapper & PnB Rock)
04.Take Me Back to London (feat. Stormzy)
05.Best Part of Me (feat. YEBBA)
06.I Don’t Care
07.Antisocial
08.Remember The Name (feat. Eminem & 50 Cent)
09.Feels (feat. Young Thug & J Hus)
10.Put It All on Me (feat. Ella Mai)
11.Nothing On You (feat. Paulo Londra & Dave)
12.I Don’t Want Your Money (feat. H.E.R.)
13.1000 Nights (feat. Meek Mill & A Boogie Wit da Hoodie)
14.Way To Break My Heart (feat. Skrillex)
15.BLOW
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Motionless In White - Disguise 2019 ( Free Download )

Black Star Riders - Another State Of Grace 2019
Goodwill goes a long way in rock’n’roll. It certainly helped get Black Star Riders off the ground after ex-Thin Lizzy guitarist Scott Gorham discovered he could use his old band’s hallowed name only for purposes of nostalgia and not as a vehicle for a second shot at the big(ish) time. Not that there was a whole lot of difference between the two bands to start with.

Enlisting Celtic soul brother Ricky Warwick as singer helped – the Almighty frontman grew up devouring those old Lizzy records as a kid, and nailed The Blessed Phil Lynott’s voice and phrasing in a turn that would have gone down a storm on Stars In Their Eyes (the late singer’s pirate charm was another, altogether more inimitable matter). And as for those guitars, well, what sort of miserable arsebucket is going to shoot down Scott Gorham for sounding like Scott Gorham?

But goodwill curdles, and Black Star Riders have spent the last few years carving out an identity of their own. Granted, it’s not a million miles away from Lizzy’s own identity, but their fourth album puts enough clear water between the two to keep things interesting.

Not that you’d know from the first few songs. The title of opener Tonight The Moonlight Let Me Down sounds like it’s the result of a half-cut afternoon playing Thin Lizzy Word Bingo, although the song itself crackles with an electric charge that stops it from completely eating itself.

Even more blatant are the title track, a determinedly hokey slab of Celtic rock’n’roll that piles up the bagpipe-style guitars, and Ain’t The End Of The World, whose freewheeling guitars wouldn’t have sounded out of place in ’78. But both come pre-loaded with brain-battering choruses that even the original Lizzy could never quite pull off.

But Another State Of Grace is strong enough to stand on its own two feet. Soldier In The Ghetto lays on some funky electric piano that skews it closer to Come Taste The Band-era Purple than to Gorham’s old crew, while Why Do You Love Your Guns is an unvarnished old-school power ballad, albeit one that’s more interested in peace and harmony than seducing strippers into the sack, a lyrical tack that doesn’t quite make it as far the next track, the whiskey-guzzling anthem Standing In The Line Of Fire.

File Information:
Artist: Black Star Riders
Album: Another State Of Grace
Released: 2019
Style: Hard Rock
Format: MP3 320Kbps
Size: 88 Mb

01.Tonight the Moonlight Let Me Down
02.Another State Of Grace
03.Ain’t The End Of The World
04.Underneath the Afterglow
05.Soldier in the Ghetto
06.Why Do You Love Your Guns
07.Standing in the Line of Fire
08.What Will It Take
09.In the Shadow of the War Machine
10.Poisoned Heart


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