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)


Sunday, March 29, 2020

Opeth - In Cauda Venenum 2019 ( Free Download )

Opeth - In Cauda Venenum 2019
 Hang up the bunting, blow out the candles and bust open the party pack of Skol lager: 2019 is the year that Opeth turn 30. You couldn’t blame Mikael Åkerfeldt for stopping, looking back and thinking, “What the hell happened there?” No one could have predicted the journey the callow death metal band he co-founded as a 16 year old with original vocalist David Isberg would take, not least Åkerfeldt himself. From pimple-faced Bathory knock-offs to grand high regents of retro-modern progressive metal is some makeover.

In reality, the evolution of Opeth has been a series of small revolutions rather than one explosive overhaul. Even their greatest leap forward – the arrival of 2011’s fully prog-facing Heritage – wasn’t completely out of the blue for all the perplexed (and perplexing) furore it caused. It’s not as if Mikael Åkerfeldt hasn’t been wearing his 70s influences on the sleeve of his brown velvet jacket since forever.

The albums the Swedes have released since that mildly stubborn statement of intent, 2014’s Pale Communion and 2016’s Sorceress, have rowed back slightly, tweaking dials rather than giving them a spin just to see where they end up. Consquently, there are fewer bands held in consistently higher regard in the overlapping spheres of modern metal and latterday prog.

In Cauda Venenum won’t damage that reputation any. The stringently high standards to which Åkerfeldt holds himself and his band remain intact. From the vintage art-house horror movie electronic pulse of opening instrumental Garden Of Earthly Delights to the billowing, crashing crescendo that comes 60 minutes later with closing track All Things Will Pass, it exudes classiness and classic-ness.

There’s a twist this time around: Åkerfeldt recorded his vocals for the album in Swedish – a language which isn’t necessarily a natural fit for balls-out rock’n’roll but whose gentle gutturalness suits the complexity of Opeth’s music. Fortunately for non-Scandinavians he’s backed it up with an English language version.

While you don’t necessarily come to an Opeth album for the lyrics, the translation is welcome. Åkerfeldt, who pegs himself as a liberal-leaning social democrat, has talked this up as his most pointedly political album. Some of it is subtle: the sample of assassinated left-wing Swedish Prime Minister on Dignity (Svekets Prins on the Swedish version). Some of it is less so: the lyrical references to ‘fascist lies’ and ‘the selfish wish to control a nation’ that come hand-in-hand with the sound of admiring crowds at a political rally on The Garroter. Fittingly, the latter is In Cauda Venenum’s most unsettling track, mutating from baroque acoustic guitar into an ominous mash-up of jazzy piano chords and hypnotic woodwind.

Storming the barricades or not, what’s evident early on is just how heavy this album is – not old-school Opeth heavy, but heavy as in dense, involved and occasionally challenging. Heart In Hand judders with a riff that sounds like a mechanical earth-mover and a relentless barrage of drums. Of course, Opeth being Opeth, it also features a bucolic acoustic section, a range of strange electronic noises during the song’s mid-section, and a chorus that can reasonably be described as epic. The shapeshifting Next Of Kin – featuring a return guest appearance from Canterbury scene keyboard boffin Dave Stewart – possesses a coiled-spring tension that climaxes with a dense, complex spiral of sound.

It’s not all tense-nervous-headaches set to music. Universal Truth finds the band in a 60s mood, mixing acoustic guitar and swelling orchestration to mildly psychedelic effect (at least before a jagged riff kicks in and harshes the mellow). And the album’s standout song is also its most direct: the slow-burning Lovelorn Crime begins with a plaintive piano melody that shifts gears into a monster of a chorus and one of the finest solos guitarist Frederik Åkesson has ever laid down. It’s only after a couple of listens that you realise Opeth have gone and written an honest-to-god power ballad, and In Cauda Venenum is all the better for it.

File Informtion:
Artist: Opeth
Album: In Cauda Venenum
Released: 2019
Style: Progressive Rock
Format: MP3 320Kbps
Size: 309 Mb
Total Track: 20 Track

01.Livets Tradgard
02.Svekets Prins
03.Hjartat Vet Vad Handen Gor
04.De Narmast Sorjande
05.Minnets Yta
07.Ingen Sanning Ar Allas
09.Kontinuerlig Drift
10.Allting Tar Slut
11.Garden of Earthly Delights
13.Heart in Hand
14.Next of Kin
15.Lovelorn Crime
17.Universal Truth
18.The Garroter
20.All Things Will Pass


Sum 41 - Order In Decline [Deluxe Edition] 2019 ( Free Download )

Sum 41 - Order In Decline [Deluxe Edition]
 Sum 41’s musical evolution has been an intriguing one to watch. They originally emerged as the clown prince heirs to blink-182’s pop-punk throne but, as the years have gone by, they’ve morphed into something a little bit darker, a little bit edgier and a surprising amount heavier. In 2019, 23 years since they formed (albeit as a covers band working under the name Kaspir), they’re not entirely unrecognisable from the band that brought us the sunny fun of mega-hits like In Too Deep and Fat Lip, but they’ve grown up a hell of a lot in the intervening decades. 2011’s Screaming Bloody Murder was the band’s sharpest turn away from their pop-punk starting blocks, setting them up to do pretty much anything they wanted. A line-up collapse and frontman Deryck Whibley’s hospitalisation for alcohol-related organ failure threatened to derail the whole thing but, heroically, the band rallied, regrouped and came back stronger with 13 Voices in 2016. Again, it branched out into the realms of heaviness, ballads and whatever else they fancied.

Order In Decline picks up exactly where that album left off, taking a similar approach with dynamic, punk-tinged rock and metal forming the base. This time out, though, everything has been ratcheted up a notch. The punkier passages are tighter and faster, while the more metal-edged riffs hit like a hammer. Taken as a whole, it’s the hardest and heaviest album they’ve ever made, and across its 10 tracks, it’s also Sum 41 at their most creative and willing to explore their frontiers.

A sombre piano starts things off before Turning Away kicks in proper with a high-tensile stuttering riff. Add a blazing solo straight from the band’s heavy metal alter-egos Pain For Pleasure, and things are off to a flying start. Out For Blood keeps the energy up with a crashing skate-punk edge and some downtuned riffing, before The New Sensation throws the album’s first real curveball. The pulsing groove and phrasing come across distinctly Muse-esque, although Deryck’s voice doesn’t attempt to emulate Matt Bellamy’s vocal acrobatics, instead doing his own thing which adds a rough-edged balance to the song’s vast sheen.

On the subject of Brit-rock references, Heads Will Roll comes in on a gigantic riff similar to the stomp of Royal Blood’s Figure It Out, before the boisterous chorus heads off in its own direction. Eat You Alive features some seriously weighty metallic riffs, while 45 (A Matter Of Time) takes Donald Trump – the 45th president of the United States – to task via a rolling punk charge that also features a surprising hint of something close to Deftones.

Despite the Trump-baiting, Deryck insists that this isn’t a political album as such. There’s an underlying sense of tension and paranoia, however, and even the album title suggests a world sliding towards chaos. The frontman and chief songwriter has, by his own admission, been influenced by the global state of play, but it’s represented in a more human manner than a political one. In fact, two of the stand-out moments are both the most personal and most musically restrained on here: the emotional Never There addresses Deryck’s relationship with his absent father, while Catching Fire is a multilayered ballad that aches with themes of loss and love.

File Infomation:
Artist: Sum 41
Album: Order In Decline [Deluxe Edition]
Released: 2019
Style: Punk Rock
Format: MP3 320Kbps
Size: 95 Mb
Total Track: 12 Track
 01.Turning Away
02.Out For Blood
03.The New Sensation
04.A Death In the Family
05.Heads Will Roll
06.45 (A Matter of Time)
07.Never There
08.Eat You Alive
09.The People Vs…
10.Catching Fire
11.Heads Will Roll (Acoustic)
12.Catching Fire (Acoustic)


Korn - The Nothing 2019 ( Free Download )

Korn - The Nothing 2019
Let’s get this out of the way early: The Nothing is a dark record. In fact, Jonathan Davis himself has claimed it to be his band’s most emotionally heavy record ever. He should know, having steered the good ship Korn for a mind-boggling 13 albums. It’s also a lightlessness that comes from a very fresh, tragic place that we encounter here. Last August the frontman’s wife Deven tragically died from an accidental drug overdose, leaving Jonathan and his sons searching for answers and resolution. The result of this introspection and exploration is an album that pulls no punches, oozing with the thick, pitch-black emotion that JD pulled out from himself and on to the page, as he screams about loss and helplessness.

But this isn’t a sad record. Yes, you can almost hear the shards of heartbreak ricocheting around the studio, but The Nothing is a journey of redemption and determination, a perennial urge to carry on through the worst pain imaginable. So, working his way through his grief and emotional turmoil, Jonathan gets angry.

Korn’s 2016 album The Serenity Of Suffering was heralded as the band returning to their roots and their iconic sound, but on The Nothing they’ve also rediscovered that sense of venom. While the Bakersfield five have always had a penchant for writing about all of life’s downsides, often with broad brushstrokes, here they are laser-focused, unleashing a cataclysm of chainsaw guitars, barbed wire vocals and heavy artillery bass with a sense of pure catharsis.

Opening on the bagpipe-led The End Begins (in itself, classic Korn), their signature brooding sound rumbles into full effect, as Jonathan is heard screaming ‘Why?!’ in the background before openly sobbing into the microphone. It’s just a taster of the anguished journey ahead, bolstered by a razor-sharp rhythm section, fixated on delivering sledgehammer blows to the senses.

The swaggering Cold doles out the rapid-fire vocals and industrialised, stabbing guitars, before switching to an enormous chorus that’s simply built for arenas. It sounds almost uplifting in the context of the surrounding quagmire of sorrow. In fact, even with all of the darkness, the first half of The Nothing is crammed with catchy-as-hell choruses, boasting an almost cocky attitude, showing off just how great Korn can be when they’re in the right gear and really getting something out of themselves.

However, after the first interlude, The Nothing’s hit rate declines a little. The stripped back Finally Free fails to hold the attention and penultimate track This Loss struggles to gain momentum, although it does give us a poignant insight into Jonathan’s world, as he sings the words, ‘I am just a shadow of a man I once used to be / Everything I ever loved is always taken back from me’.

Despite these dips, however, Korn are firing on every available cylinder for most of The Nothing’s duration. Throughout, they unleash serious bouts of heaviness, from the crushing breakdown on the ironically jovial The Ringmaster, to the aura of despair circling around [email protected], and the skull-scraping guitar of Gravity Of Discomfort. The tidal atmospherics of Can You Hear Me also show Korn to be more than just a five-man wrecking machine: it’s a bewitching, haunted anthem of loss that hits right in the gut.

The Nothing, then, isn’t simply an upsetting trawl through a harrowingly hard chapter in Jonathan Davis’ life. It is more of a showcase of Korn’s strengths when hard times do come along; harnessing their ability to inspire and energise even in the darkest and most difficult of circumstances.

File Information:
Artist: Korn
Album: The Nothing
Released: 2019
Style: Alt Metal
Format: MP3 320Kbps
Size: 111 Mb
Total Track : 12 Track
01.The End Begins
03.You’ll Never Find Me
04.The Darkness Is Revealing
06.The Seduction Of Indulgence
07.Finally Free
08.Can You Hear Me
09.The Ringmaster
10.Gravity Of Discomfort
[email protected]
12.This Loss
13.Surrender To Failure


Monday, March 9, 2020

NOW That’s What I Call Music! 104 2019 ( Free Download )

NOW That’s What I Call Music! 104
File Information:
Artist: Various
Title: NOW That’s What I Call Music! 104
Year: 2019
Genre: Pop,Dance
Total Tracks: 47
Total Size: 369 MB  
Quality: Mp3 320 kbps
01. Tones and I - Dance Monkey
02. Kygo - Higher Love
03. Regard - Ride It
04. Ed Sheeran - Take Me Back to London (feat. Stormzy)
05. Joel Corry - Sorry
06. Post Malone - Circles
07. AJ Tracey - Ladbroke Grove
08. Jessica Mauboy - We Got Love
09. Jorja Smith - Be Honest
10. Sam Feldt - Post Malone (feat. RANI)
11. Ariana Grande - boyfriend
12. Billie Eilish - all the good girls go to hell
13. Lil Tecca - Ransom
14. Lil Nas X - Panini
15. Tiësto - God Is A Dancer
16. Jax Jones - Harder
17. Riton - Turn Me On
18. Becky Hill - I Could Get Used To This
19. Tiësto - Ritual
20. Stormzy - Crown
21. Lizzo - Good As Hell
22. Mist - So High (feat. Fredo)
23. Young T & Bugsey - Strike a Pose
24. Y2K - Lalala
25. Aitch - Taste (Make It Shake)
26. Lewis Capaldi - Bruises
27. Dermot Kennedy - Outnumbered
28. Sam Smith - How Do You Sleep?
29. Tom Walker - Better Half of Me
30. Dan + Shay - 10,000 Hours
31. Camila Cabello - Liar
32. Normani - Motivation
33. Diplo - Lonely
34. Lana Del Rey - Doin' Time
35. Miley Cyrus - Slide Away
36. Sam Fender - Will We Talk_
37. Maroon 5 - Memories
38. Haim - Summer Girl
39. Dj Spoony - Moving Too Fast
40. Westlife - Dynamite
41. Céline Dion - Lying Down
42. Colin Thackery - The Wind Beneath My Wings
43. The Human League - Together In Electric Dreams
44. The Style Council - Shout To The Top
45. UB40 - If It Happens Again
46. Level 42 - Hot Water
47. Rockwell - Somebody's Watching Me


Thursday, February 27, 2020

Stormzy - Heavy Is the Head 2019 ( Free Download )

Stormzy - Heavy Is the Head 2019
 Stormzy’s second album hit streaming services in the UK just a couple of hours after polls closed in the country’s latest general election. The vote was touted as the most important in recent British history, but, honestly, you’d be forgiven for having lost track by now. Besides, this timing wasn’t planned: The election was called just a matter of weeks ago. Typically this coincidence in timing wouldn’t matter, but in the years since his debut, Gang Signs & Prayer, went to number one, Stormzy has risen to become something of a generational spokesperson. It feels fitting, then, that the album arrived as the country decided on its future.

Since 2017, Stormzy’s music and his activism have been increasingly intertwined. He used a performance at the BRIT Awards to decry then-Prime Minister Theresa May’s response to the Grenfell tragedy. Thousands of people at Glastonbury were broadcast shouting “Fuck the government and fuck Boris [Johnson, UK prime minister]” during his performance of “Vossi Bop” this summer. Elsewhere, he’s established a scholarship fund for black students at Cambridge University, and launched a publishing imprint with Penguin that’s dedicated to showcasing underrepresented voices.

If there’s a unifying theme to this album, it’s the infiltration of black artists—and young black men in particular, who are especially demonised and marginalised in British society—into canonized spaces. It plays out in the Shakespearean reference in the album’s title, and the hanging of its artwork in London’s National Portrait Gallery. “We’re still taking up space,” Stormzy declares on punchy opener “Big Michael,” and with the repetition of “Big Michael’s back, your time’s up” there’s the sense that he’s addressing more than just opponents in petty grime beefs. On “Superheroes” he rewrites the media’s narrative around young black men, calling out the successes of his peers. He underlines the point elsewhere on the album by calling out the endless list of establishment hallmarks and name-checks he’s notched up in the past two years: The Glastonbury headline slot, Elle cover, TIME cover, GQ cover, number one chart spots, BRIT Awards. It all adds up to a powerful picture.

His phenomenal success and influence have compounded the pressure on his still-young shoulders—“How the hell did I buss so fast?” he asks on “Audacity.” For Stormzy, the remaining questions are existential: Is he comfortable with his status as a household name and figurehead? It’s something he pokes at in the opening bars of the album—“Can’t tell where I’m heading,” he brags half-heartedly—but he arguably never finds an answer. Moments of doubt and frustration creep in. “I am not the poster boy for mental health,” he spits on “One Second,” referring to an unsanctioned NME cover from 2017. “Mummy always said if there’s a cause then I should fight for it/So yeah I understand, but I don’t think that I’m all right with it,” he continues. He’s aware of his contradictions—“One week it’s ‘Blinded By Your Grace,’ next week it’s bang you in your face,” as he puts it on the album opener—and they play out in the open here. There’s gravity in these moments of vulnerability, but Stormzy doesn’t always get it right.

“Lessons” is the album’s most tender moment, but arguably its most problematic. The track appears to confirm rumors of the rapper’s infidelity to his radio presenter/model ex-girlfriend Maya Jama, and Stormzy spends the majority of the three minutes asking for forgiveness. However, lines like “Thought I’d say it here than rather fling it in a text” perhaps reveal his misunderstanding of the power dynamics at play. Of course he has every right to address his personal torment in his art, but in this case he appears to ignore the fact that the person who ended the relationship—and did so as privately as possible—might not want the break-up to play out on an album track that’ll be listened to and combed over by potentially millions of people. It also feels slightly disingenuous when followed by a song whose hook is about ejaculating on someone else’s girlfriend’s face.

The heavy politicizing of his work doesn’t mean he’s not having fun, though. At the root of Stormzy’s appeal, as well as his authenticity, is a charismatic swagger. He skips over the beat on “Pop Boy” with such ease that there’s little to do but sit back and revel in it. The Burna Boy- and Sheeran-backed “Own It” follows: A silky pop anthem for a generation reared on dembows. The album is built around one-two punch combinations like this pairing. Adjacent songs are linked with one another sonically and lyrically: “Wiley Flow” and “Bronze” trade grimey taunts over record sales and certifications; “Crown” and “Rainfall” meld praise and introspection in an extension of GSAP’s “gospel grime” tracks; “Handsome” matches the marching tempo of “Rachael’s Little Brother” and links to the song with its “bun down the rave like Rachael Anson” refrain.

These threads between tracks are a cute touch, but feel slightly overwrought as the record slides between pared-back grime, luxurious R&B, introspective trap, gospel confessional, and puff-chested rap. The versatility on show gives a sheen of adventurousness that isn’t quite backed up by the beat selections—the majority of which feel like safe choices for an artist otherwise known for his accelerated ambitions. And while HITH sees Stormzy navigate second album syndrome with apparent ease, it also leaves open the question of where he goes from here.

 File Information:
Artist: Stormzy
Album: Heavy Is The Head
Released: 2019
Style: Pop
Format: MP3 320Kbps
Size: 122 Mb
Track: 16 
1. Big Michael
2. Audacity (feat. Headie One)
3. Crown
4. Rainfall (feat. Tiana Major9)
5. Rachael’s Little Brother
6. Handsome
7. Do Better
8. Don’t Forget to Breathe (feat. YEBBA) (Interlude)
9. One Second (feat. H.E.R.)
10. Pop Boy (feat. Aitch)
11. Own It (feat. Ed Sheeran & Burna Boy)
12. Wiley Flow
13. Bronze
14. Superheroes
15. Lessons
16. Vossi Bop