Saturday, November 21, 2020

VA - Now That's What I Call Music! 106 - 2020 ( Free Download )

 VA - Now That's What I Call Music! 106 (2020)

VA - Now That's What I Call Music! 106 - 2020 ( Free Download )

File Information:

Artist: Various Artists
Title: Now That's What I Call Music! 106
Year Of Release: 2020
Label: Sony Music [CDNOW106]
Genre: Pop, R&B, Rock, Electronic
Quality: MP3 320kbps
Total Size: 308 MB

CD 1

01. Jawsh 685 x Jason Derulo / Savage Love (Laxed - Siren Beat)
02. Harry Styles / Watermelon Sugar
03. Dua Lipa / Break My Heart
04. Regard & RAYE / Secrets
05. Nathan Dawe feat. Jaykae / Flowers
06. Topic & A7S / Breaking Me
07. Surf Mesa & Emilee / ily (i love you baby)
08. Powfu & beabadoobee / death bed (coffee for your head)
09. Jonas Blue & MAX / Naked
10. HOSH with 1979 feat. Jalja / Midnight (The Hanging Tree)
11. Joel Corry feat. MNEK / Head & Heart
12. Robbie Doherty & Keees. / Pour The Milk
13. Ellie Goulding / Power
14. The Weeknd / In Your Eyes
15. Sam Smith & Demi Lovato / I'm Ready
16. The 1975 / If You’re Too Shy (Let Me Know)
17. Haim / Don't Wanna
18. Katy Perry / Daisies
19. Kygo & OneRepublic / Lose Somebody
20. JP Saxe feat. Julia Michaels / If The World Was Ending
21. Tom Walker / Wait For You

CD 2

01. AJ Tracey feat. MoStack / Dinner Guest
02. S1mba feat. DTG / Rover
03. 220 KID & GRACEY / Don’t Need Love
04. Lil Mosey / Blueberry Faygo
05. Doja Cat feat. Gucci Mane / Like That
06. StaySolidRocky / Party Girl
07. Tion Wayne feat. Dutchavelli & Stormzy / I Dunno
08. THE SCOTTS, Travis Scott & Kid Cudi / THE SCOTTS
09. Niko B / Who's That What's That
10. KSI feat. Swarmz & Tion Wayne / Houdini
11. Sean Paul & Tove Lo / Calling On Me
12. PS1 feat. Alex Hosking / Fake Friends
13. Disclosure & Eko Roosevelt / Tondo
14. Jessie Ware / Save A Kiss
15. YUNGBLUD / Weird!
16. Ronan Keating / Little Thing Called Love
17. Paul Weller / Village
18. Natalie Taylor / Surrender
19. Rhys Lewis / No Right To Love You
20. Michael Ball, Captain Tom Moore & The NHS Voices of Care Choir / You'll Never Walk Alone



Wednesday, November 18, 2020

Ariana Grande – Positions 2020 ( Free Download )

 Ariana Grande – Positions 2020 ( Free Download )

Ariana Grande – Positions 2020 ( Free Download )

 During the spring of 2019, in the interval between two titanic releases, Ariana Grande posted her brain on Instagram. The image was from a scan, and it showed regions of her mind lit up from the effects of PTSD, the disorder revealed in clear, screenshot-able form. “That’s why her hair’s so big,” she joked, referencing a line from Mean Girls, “it’s full of trauma.” The grace with which Grande has navigated horrors—the ability to name their impact and steer towards healing, to make a top-charting song about a panic attack—has become fundamental to her music. Sweetener dazzled because its joy was defiant. thank u, next caromed through phases of glee and grief, moving from pink Champagne bravado into stark confessions. Positions, her third album in two years, searches for peace. It traces the quiet work of piecing yourself together, the terror of re-learning how to trust. “All them demons help me see shit differently,” she sings 20 seconds into the album, “so don’t be sad for me.” That statement clears the way for some of the record’s goofier moments; it also functions as a kind of thesis.

The giddiness that propels the album also heightens its tension. She’s both in love and scared of it, and the frenzy of new romance animates the contrast. “Just give me them babies!” she yelps on “34+35,” a track constructed around an almost-subtle joke until the final seconds. (“That means I’m trying to 69 with you,” she hums. “No shit.”) A slew of slinky sex jams—the title track, “my hair,” “nasty”—drape her harmonies over hazy synths. On “just like magic,” she ticks off her calendar: meetings, meditations, “read a fucking book,” ardent manifesting. The song is both winking and not, a sequel to sweetener’s “successful” that shimmers from behind volleys of drums. But then she sings about writing “love letters to heaven,” and the instruments dissolve. The song quiets for a moment, and the gravity of what she’s said sinks in.

Grief sneaks up on you, and on Positions, it’s woven into Grande’s attempt to process love. Musically and spiritually, much of the album builds off of “ghostin,” a delicate, pulsing track from thank u, next about navigating a lost love with a new partner. “Though I wish he were here instead/Don’t want that living in your head,” she sang then, before diving into the mantra-like refrain: “We’ll get through this, we’ll get past this.” On the new record, the hopeful conclusion is less immediate. You hear her wrestling for control, asking instead of answering. The stunning Ty Dolla $ign-assisted “safety net” interrogates and negotiates with fear: “Don’t know if I should fight or fly,” she sings, the physiological language set over constant, murky sighs. “Will I ever love the same way again?” she cries on “off the table,” a syrupy ballad with The Weeknd. “Do I just sit this one out and wait for the next life?” The song blooms over wisps of strings and heavy, heady drums, like an artifact from his Trilogy mixtapes. “I’ll wait for you,” he sings, “Even though it feels like I’ll always be number two to someone you can’t hold anymore.” On “six thirty,” Grande’s silky harmonies glide in over and over to ask, “Are you down? What’s up?”, but the lyrics framing it reveal the weight of the question. “I know this shit kinda heavy,” she murmurs, wondering if her lover’s equipped to support her, and if she’s even ready to ask.

Many of these songs stem from hesitancy, from rejecting risks or articulating their costs, and their production is largely sleek and muted. The flourishes live in the transitions between tracks—the Broadway-eque orchestral burst at the end of “shut up,” the burbling synths that close “obvious.” Grande’s voice remains nestled in a breathy sway, occasionally stretching into a rap-adjacent cadence. If these songs lack the sticking power of her stadium power ballads, there’s still dimension to their glazed reveries. (“west side” in particular is an understated, simmering highlight.) In any other year, “motive” might have been written as an internet-breaking banger (Murda Beatz! Doja Cat!), but here it’s twinkling and hushed. Positions suffers a bit from its sanitized precision, the way slippery harmonies wind around trap-drum exoskeletons; you wonder what the title track would sound like if London on da Track’s presence were actually felt, instead of a fun fact for the credits.

File Information:

Ariana Grande – Positions (2020)
Artist: Ariana Grande
Album: Positions
Released: 2020
Style: Pop
Format: MP3 320Kbps
Size: 94 Mb 

01. Shut Up
02. 34+35
03. Motive (Feat. Doja Cat)
04. Just Like Magic
05. Off The Table (Feat. The Weeknd)
06. Six Thirty
07. Safety Net (Feat. Ty Dolla $ign)
08. My Hair
09. Nasty
10. West Side
11. Love Language
12. Positions
13. Obvious
14. Pov


Friday, November 6, 2020

Bring Me The Horizon – Post-Human - Survival Horror 2020 ( Free Download )

Bring Me The Horizon – Post-Human - Survival Horror 2020

 It is 14 years to the day that Bring Me The Horizon released their Count Your Blessings debut album. You can look at the dash between these two dates and get lost in the highs, the successes, the personal traumas and whatever else, but you can almost boil everything down to one irrefutable point: Bring Me The Horizon have never stopped growing. They have also never stopped learning, or taking things in from their surroundings where they’re at right now. Oli Sykes once told this writer that, creatively, there’s more of an attitude of ‘Why not?’ than ‘Why?’.

They also know when to roll out a surprise. Thus, when this EP’s opener Dear Diary kicks off with a riff that could have tumbled out of Suicide Season, something some had thought was behind the band after amo and That’s The Spirit, it’s an almost hilarious gotcha moment. Then Lee Malia peels off a Slayer-esque solo. Ah yes, the other thing Bring Me The Horizon are going at doing is this: whatever the hell they like.

Made largely in lockdown – and with a title that may or may not echo the words of Professor Falken in ‘80s Cold War movie WarGames, that it’s “much more fortunate” to suffer “a millisecond of brilliant light” from a nuclear strike than “wander sightless through the smouldering aftermath”, hence living next to a nuclear target to be “spared the horror of survival” – there are many things here that could point to a feeling of doom. ‘God is a shithead and we’re his rejects’ yells Oli during Dear Diary, while on Teardrops he says that, ‘Everything is so fucked up but I can’t feel a thing’. Parasite Eve, released just as corona really took hold, frustratedly ponders, ‘When we forget the infection, will we remember the lesson?’. About all this or not, it adds to a feeling first of frustration and struggle, but for all such thing, the thrill here is of trying to dance in the rain. Are we fucked? Maybe, so let’s dance.

They’ve got some mates in to help them. You already know Obey, with its giant-robots video and guest spot from YUNGBLUD, but there’s also Kingslayer, in which BABYMETAL turn up for a futuristic metal assault, the nu-metally 1x1 with Nova Twins, and, perhaps most surprising, Evanescence’s Amy Lee on the snappily-named One Day The Only Butterflies Left Will Be In Your Chest As You March Towards Your Death. All are their own thing, all are perfectly in-tune with their guests, but mostly, all sound naturally BMTH 2020.

After amo, the most obvious surprise here is how heavy Post Human: Survival Horror is. But that’s just one thing here. BMTH have long known how to play what cards when, and just when we need something cathartic, something heavy, something with an element of the familiar in amongst the creativity, they deliver richly here. Fourteen years on from their debut, much has changed, but in some other ways some things are exactly the same.
File Information:
Artist: Bring Me The Horizon
Album: Post-Human Survival Horror
Released: 2020
Style: Metalcore
Format: MP3 320Kbps
Size: 73 Mb


Sam Smith – Love Goes 2020 ( Free Download )

 Sam Smith – Love Goes 2020

Sam Smith – Love Goes 2020 ( Free Donwload )
Sam Smith – Love Goes 2020 ( Free Donwload )

In the music video for their surprisingly vibrant single “How Do You Sleep?” Sam Smith, usually the purveyor of masochistic melodrama and sexless shmaltz, blossoms into someone new. Surrounded by half-naked dancers, the British superstar writhes, snarls, and moves their body with coquettish sensuality. It culminates in a hypnotizing choreography sequence where Smith and their dancers mime sleep while, staring deep into the camera, they slowly rock their hips. It’s uncanny, playful, and sexy. Moments later, Smith lets a smile loose, running their hands over their head in what looks like utter ecstasy.

“How Do You Sleep?” was a revelatory moment for a pop star who, save for their breakout song, had relied on a stale combination of mopey piano, campy gospel choir, and self-flagellating heartbreak; it’s a formula that made them famous, but the songs increasingly blended together. The video gave hope that Smith, who came out as nonbinary and changed their pronouns a few months after the single’s release, was proud to embrace their queerness and was finally moving past their typical, buttoned-up schlock.

Love Goes, Smith’s third album, unfortunately fails to deliver on the promise of “How Do You Sleep?” The album is clumsily split in two, with no regard to sequencing; it begins with a collection of bubbling, at times electric songs spanning melodic funk, pulsing deep-house, and mid-tempo pop, before abruptly veering to five messy ballads that would be better delivered via Hallmark card. As bonus tracks, if the album wasn’t unbalanced enough, Love Goes tacks on six promotional singles after the ballads, like the hugely successful, Normani-assisted “Dancing with a Stranger,” the theatrical Demi Lovato team-up “I’m Ready,” and the Calvin Harris-produced club hit “Promises.” Replacing these songs, which would have fit well on Love Goes, with boilerplate Smith ballads with titles like “For the Lover That I Lost” and “Breaking Hearts” feels like a calculated, and ultimately ineffectual, attempt to keep the fans of Smith’s earlier records engaged despite Smith’s attempts at exploring new sounds. The result is an unbalanced and frustrating album, one that is at times freer, queerer, and more enlivening than anything Smith’s done before, and yet too cautious to make what could’ve been a career-defining leap.

The Smith we meet on Love Goes’s first half is, thankfully, missing much of the self-pity that made In the Lonely Hour and The Thrill of It All so difficult to empathize with (perhaps because Love Goes was based on the disintegration of Smith’s first real relationship, instead of on the heartbreak of unrequited love; their songwriting has improved as a result). Single “Diamonds” is an absolute smash—melodic and morose, but pulsing with resistance and joy, it’s a dancefloor-filling breakup anthem that is actually believable. It’s remarkable how much better Smith sounds over quality pop production; their voice, with its ridiculously elastic range, is an instant gut-punch, a wrecking ball of emotional devastation that conveys feeling all on its own. On “Another One,” a deliciously petty yet disarming message to an ex who moved on, Smith reunites with Disclosure’s Guy Lawrence over pulsing 808 drums and twinkling synths that echo Robyn. The best, cheekiest writing comes on the infectious “So Serious,” which finds Smith acknowledging their addiction to emotional theatrics. “The second that I’m happy and I’m fine,” they sigh, “Suddenly there’s violins and movie scenes and/Crying rivers in the streets and/God I don’t know why, I get so serious sometimes.”

“Dance (’Til You Love Someone Else),” also produced by Lawrence, is Smith’s attempt at a ’90s house song. Lawrence and co-producer Two Inch Punch nail the reverberating melodrama of classic heartbreak-on-the-dancefloor epics, while Smith, sidestepping mere imitation, uses the force of the instrumental to howl, wounded and brazen and determined. It’s no “Show Me Love,” but the track nonetheless captures the intangible experience of losing yourself on a sweaty dancefloor at a gay club, where dancing, for a moment, is enough to get over an ex.

“Dance” is the final highlight; Love Goes sputters right after. The next four songs all begin with somber piano, as if Smith, and their label, suddenly remembered the commercial tidal wave that was “Stay With Me.” Thankfully, Smith and their collaborators have rid themselves of their uncomfortable reliance on the sound of Black choirs, but the result is just as cringeworthy. Two songs after laughing at their own predisposition for melodrama, Smith laments how “while you were busy breaking hearts/I was busy breaking,” on the nearly unlistenable “Breaking Hearts.” Any hope of artistic evolution implodes on “Love Goes,” an overstuffed collaboration with the British singer/producer Labrinth that is one part Sam Smith karaoke and two parts amateur GarageBand clusterfuck, with competing instrumental layers fighting it out for supreme, headache-inducing dominance. It builds without consequence until a sudden explosion of timpani drums and horns; the BPM accelerates and a faux-hip-hop beat drops, as if Flume drank two bottles of Chenin blanc and tried to produce the rest.

 File Information:

 Artist: Sam Smith
Album: Love Goes
Released: 2020
Style: Pop
Format: MP3 320Kbps
Size: 137 Mb

03.Another One
04.My Oasis (feat. Burna Boy)
05.So Serious
06.Dance (‘Til You Love Someone Else)
07.For The Lover That I Lost
08.Breaking Hearts
09.Forgive Myself
10.Love Goes (feat. Labrinth)
11.Kids Again
12.Dancing With A Stranger (feat. Normani)
13.How Do You Sleep
14.To Die For
15.I’m Ready (feat. Demi Lovato)
16.Fire On Fire
17.Promises (feat. Sam Smith)



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Sunday, November 1, 2020

Pet Shop Boys – Hotspot 2020 ( Free Download )

 For more than 35 years, Pet Shop Boys singer-keyboardist Neil Tennant has returned to a question of world-historic import: Do I stay in or do I go out? “Turn on the news, drink some tea/Maybe if you’re with me we’ll do some shopping” goes one couplet in 1988’s “Left to My Own Devices.” Observing a teen on “I Don’t Wanna,” a song from Pet Shop Boys’ 14th studio album Hotspot, Tennant sings with his usual starchy plaintiveness, “Feels so shy/He’d rather sit alone and cry/But no one understands this guy.”

Pet Shop Boys do. No other act has so richly documented the cautious development of lonely queer boys whose ambitions—sexual and economic—are as huge as the beats they heard at the club last Saturday night. On the dancefloor, these boys rehearse how to deal with other boys checking them out or abandoning them for hunkier alternatives. Giorgio Moroder’s sequencer lines are lodestars for Tennant and keyboardist Chris Lowe, like Beatles guitar licks were for other acts. On Hotspot, the best-selling duo in UK pop dampen the euphoria; the result is a tuneful, wan album: a mid-tier effort.

Hotspot observes Pet Shop Boys’ pattern of following up a pair of bangers (2015’s Super and 2013’s Electric) with a bagful of autumn leaves. The mid-tempo tunes keep their top buttons buttoned, muted and wary like the sixtysomethings Tennant and Lowe have become. No dictate requires late middle-age to be as fraught as adolescence, but Hotspot puts Lowe’s orchestral synth chords and house keyboard patterns in the service of rote tales of resignation, whose resonance may be dependent on the affection of their listening base. Dismiss “You Are the One” as a sappy little thing if you like; listen generously and you may appreciate the lyric’s affirmations and the mournful way in which Tennant caresses the chorus hook. The object of desire may be “the one,” but Neil’s none too pleased about it. Three decades after he gleefully shacked up with a bloke who may not love him on the catty “Why Don’t We Live Together,” now he weighs the costs.

Hotspot stumbles when Tennant and Lowe convince themselves they need a good time. The interplay between strings, bass synth, and call-and-response female vocal on “Monkey Business” sounds fabulous until Tennant sings, “We’re gonna have a pah-rty!” like he’s a human resources vice president at the Hyatt bar; he’s often played these guys, but now the joke’s not funny. And there’s no reason for “Dreamland,” a duet with Olly Alexander, who as the frontman of synth-pop band Years & Years makes a natural heir to Tennant. So many of Alexander’s songs detail the kind of danger implicit in Pet Shop Boys’ 1993 “Young Offender”: older man getting mixed up with a far younger male lover. Why then is this song such an inoffensive racket?

Perhaps the inoffensiveness is the point. In a post-Obergefell environment where gay youth can imagine a life untrammeled by disease but experience anxiety about kissing in public, tracks like “Wedding in Berlin” (“We’re getting married because we love each other/We’re getting married today”) signify as goal and fantasy. Tennant-Lowe’s incorporation of Mendelssohn’s ubiquitous “Wedding March” registers as a shrewd gesture of queering an original text—not an unexpected move at this point in Pet Shop Boys’ career, but nonetheless a discomfiting one, as inoffensiveness can be too. “Only the Dark,” a shimmering ballad in which Tennant pledges fidelity so long as the lights are out, is better. It’s not the first time he and Lowe have preferred the erotic possibilities of the unseen—a longstanding fascination which speaks to how profoundly Pet Shop Boys revel in paradox as a first principle. So much uncertainty requires consistency.


File Information:

Artist: Pet Shop Boys
Album: Hotspot
Released: 2020
Style: Pop
Format: MP3 320Kbps
Size: 96 Mb

01. Will-O-The-Wisp
02. You Are the One
03. Happy People
04. Dreamland
05. Hoping for a Miracle
06. I Don’t Wanna
07. Monkey Business
08. Only the Dark
09. Burning the Heather
10. Wedding in Berlin
11. Will-O-The-Wisp (Instrumental)
12. You Are the One (Instrumental)
13. Happy People (Instrumental)
14. Dreamland (Instrumental)
15. Hoping for a Miracle (Instrumental)
16. I Don’t Wanna (Instrumental)
17. Monkey Business (Instrumental)
18. Only the Dark (Instrumental)
19. Burning the Heather (Instrumental)
20. Wedding in Berlin (Instrumental)


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Friday, April 3, 2020

Stone Temple Pilots – Perdida 2020 ( Free Download )

Stone Temple Pilots – Perdida 2020
 Although it would have seemed unimaginable in the Nineties, the decade when Stone Temple Pilots rode the grunge wave to the top of the charts with Big Riffs and Scott Weiland’s Bigger Voice, the band seems to have entered an awkward “Jethro Tull phase” on their eighth album, Perdida. Yes, there’s flute. Yes, there’s acoustic guitar and string accompaniments. What’s missing from the formula, though, is witty, cutting lyrics and well, some excitement.

Perdida is the Spanish word for “lost,” and it’s hard not to see the title as some sad irony as the group plays a set of overly sincere acoustic tracks. New frontman Jeff Gutt, a former X Factor contestant, has a good voice, and you can hear him try and curl his melody lines in a Weiland-esque way, especially the “can this be loo-oo-oove” line in lead single “Fare Thee Well,” a jaunty soft rocker about the end of a relationship. But it’s also those moments where he’s sounding like he’s performatively doing a Weiland impression, and it jars you out of what might otherwise be an interesting song. When the late Linkin Park singer Chester Bennington stepped up to the mic with STP, fronting the band between Weiland and Gutt, he still sounded like Chester Bennington; unfortunately Gutt doesn’t have enough of an identity beyond his work on the band’s 2018 self-titled LP to make him stand out.

File Information:
Artist: Stone Temple Pilots
Album: Perdida
Released: 2020
Style: Alt Rock
Format: MP3 320Kbps
Size: 127 Mb
Total Track : 13 Songs
01.Fare Thee Well
02.Three Wishes
04.I Didn’t Know The Time
06.She’s My Queen
07.Miles Away
08.You Found Yourself While Losing Your Heart
09.I Once Sat At Your Table
11.Big Empty (Acoustic Live 2018)
12.Interstate Love Song (Acoustic Live 2018)
13.Pretty Penny (Acoustic Live 2018)