Thursday, April 29, 2021

The Offspring Let The Bad Times Roll 2021 ( Free Download )

 The Offspring Let The Bad Times Roll 2021

The Offspring Let The Bad Times Roll 2021
The Offspring Let The Bad Times Roll 2021

 Theoretically, a more efficient punk band could have formed, broken up and played reunion shows in the time it has taken The Offspring​’s 10th album Let The Bad Times Roll to see the light of day. A lot has happened since the stalwart Californians put out their last record Days Go By in 2012, with everything from label uncertainty, line-up issues, subsequent legal tussles, a global pandemic and life getting in the way. Considering the fact that its lead single Coming For You came out six long years ago, the band would have been forgiven for thinking the process was doomed and giving up on these songs ever being released. After almost four decades together, frontman Dexter Holland and guitarist Noodles hardly need to do this, after all, and yet here, finally, they are. Despite their often overlooked yet stupendous commercial success throughout the ​’90s and early ​’00s, America’s most underappreciated punk band are back for another round of defying the odds.

Producer Bob Rock (Metallica, Bon Jovi) is back at the console for the third time, and first impressions are that despite the challenging circumstances of the record’s completion, the more that things have changed, the more they’ve stayed the same. Founding member Greg K may have been ousted on bass and been replaced by H20 man and touring guitarist Todd Morse, but as the jittery rush of This Is Not Utopia hurries in, The Offspring roll back the years, broadly raging against the lie of ​‘The American Dream’. Similarly, the title-track pairs a characteristically jaunty melody with gallows humour about how rubbish everything seems to be, flitting expertly between the band’s innately playful nature and firing off stinging missives. So far, so good then. It’s a takeaway reinforced by most of the album, in fact. Despite – or perhaps in spite of – their advancing years, The Offspring show no signs of slowing down or growing up gracefully. There’s a snap and bite about Behind Your Walls, while Army Of One rattles on with a pleasing Dead Kennedys-meets-Fear-like fire in its belly, and Breaking These Bones keeps the intensity at just the right level and pacing.

Where Let The Bad Times Roll will likely divide opinion is in the mid-point, three-track swing of the aforementioned, ice-hockey-goal-music swagger of Coming For You, the bookending, rocked-up cover of evil orchestral classic In The Hall Of The Mountain King, and the embarrassing dad overshare of We Never Have Sex Anymore – which leaves as little to the imagination as its title suggests. Flirting, as ever, with novelty, Let The Bad Times Roll is The Offspring as they’ve always been, without apology, sending themselves up as much as tackling really quite serious issues such as the opioid crisis (The Opioid Diaries).

It’s dubious whether anyone needs an Offspring piano ballad in their life, however, especially one carrying a slight melodic whiff of Gary Jules’ take on Tears For Fears’ Mad World (or, indeed, Five Finger Death Punch​’s rendition of one of Offspring’s biggest hits), but that’s where the record closes out on Gone Away Requiem, save for Lullaby’s briefly trippy one-minute epilogue, reprising the title-track refrain. That’s more a matter of personal taste than a reflection of the job the band have done on the whole though, and how much you can stomach the occasionally jarring tonal shifts will determine your desire to revisit the record. For the majority of its runtime, Let The Bad Times Roll represents a welcome return from a band who undoubtedly make the world all the brighter with their presence.

File Information:

Artist: The Offspring
Album: Let The Bad Times Roll
Released: 2021
Style: Punk Rock
Format: MP3 320Kbps
Size: 77 Mb

01.This Is Not Utopia
02.Let The Bad Times Roll
03.Behind Your Walls
04.Army Of One
05.Breaking These Bones
06.Coming For You
07.We Never Have Sex Anymore
08.In The Hall Of The Mountain King
09.The Opioid Diaries
10.Hassan Chop
11. Gone Away
13.Guerre Sous Couvertures
14.The Opioid Diaries (Live)

Thursday, April 22, 2021

Taylor Swift - Fearless (Taylor's Version) (2021)

 Taylor Swift - Fearless (Taylor's Version)

Taylor Swift - Fearless (Taylor's Version)

 When Taylor Swift announced that she planned to re-record each of her albums to effectively take control of her masters and stick it to famed music manager Scooter Braun, the move was quintessential Taylor: strategic, savvy, and easily mapped onto an empowerment narrative. This wasn’t simply a cynical IP grab with purely financial implications; this was also a woman quite literally reclaiming her past selves. For listeners, however, the value proposition seemed less clear. So much of the relationship between pop star and fan revolves around the idea of “blessings,” with the generous artist bestowing gifts to her listeners. With “new” versions of old albums, Swift seemed to ask her fans to accept the re-done albums as a new canon to replace the beloved decade-old records.

Fearless (Taylor’s Version) is the first of six of these planned “new” versions. Starting with her second album is a deft choice; her writing is stronger than on her 2006 self-titled debut, and Fearless contains some of her more iconic and commercially successful tracks. Instead of cosplaying a caricature of her 18-year-old self, we get present-day Taylor in conversation with the Taylor of the past with a wrenching intimacy.

What is to be gained from parsing the gap between remix, recitation, and reincarnation? Dissecting the Easter eggs tucked into Swift’s songs has always been part of the Taylor listening experience—decoding which lyric corresponds to which break-up, tracing the lineage of each biting remark. Fearless (Taylor’s Version) presents a different puzzle: spotting the difference between the original and this almost-identical copy. These versions are slightly more polished, like photos touched up on Instagram with a press of a button: the sound is brighter, the mix is clearer, each peal of guitar is sharper. Most of the alterations to original songs are barely noticeable, besides an invigorating blast of fiddle on “Love Story”; each song’s runtime remains either exactly the same or off by a single second.

Most obviously changed is her voice, which has strengthened and deepened over the years. Her choruses are a bit less breathy, and she glides into belting without sounding strained. There are micro-changes in inflection: “You ask me for my love and then you push me around,” she cries on “Tell Me Why,” the note a bit more strangled and snarling. The seconds-long “Hallelujah” in the bridge of “Change” sounded exalted on the earlier version; here it sounds more like a sigh, somewhere between relief and remorse.

The songs on Fearless surge between hope and pain, bitterness and awe. The tension in Taylor’s early albums drew from that dichotomy: to reach for fairytales while listing their fallacies, to decry white horses and still believe there’s redemption in the perfect dress. “Today Was a Fairytale,” a song she wrote to accompany her cameo in the 2010 rom-com Valentine’s Day, slots right into this context with buoyant guitar and Swift’s ode to “magic in the air.” The other “new” songs on Taylor’s Version, released from her famed vault, blend into that bland, twangy sweetness—with the exception of “Mr. Perfectly Fine,” a delightful, strumming takedown. “I don’t know how it gets better than this,” she sings on the title track, and that glow remains even as she describes a breakup that leaves her breathless.

“Forever and Always” is Fearless’ best song, but the shock from the original album gives way to something cooler—more disgusted than aghast. In the 2009 version, Swift sounded wounded as she sings: “You looked me in the eye and told me you loved me/Were you just kidding?” In the newer versions (she also includes a slowed piano iteration among the bonus material), her voice is subdued but more full as she sings those lines, no longer litigating the cruelty of an ex, but allowing the sorrow that comes with accepting your own anger.

That mournfulness hangs over this new recording session. It’s hard to distinguish whether there are actual sonic differences in how she re-performs a song or if the knowledge that a 31-year-old is embodying songs she wrote as a teenager permeates each track. On the new recording of “Fifteen,” she clings to the last note of “Count to ten” for an instant longer than the original before she cries: “This is life before you know who you’re going to be.” Part of listening to Fearless (Taylor’s Version) involves tracing its link back to our own past selves, when we could pretend that wanting was worth more than knowing, that wanting could be everything. The meta-layers of control and contrition tangle in these recordings; Swift was 15 herself when she signed her deal with Big Machine’s Scott Borchetta, who eventually sold her catalog to Braun. She is making some of the best music of her career now, and presumably putting that on hold to wrangle control over her old records. The past always becomes a difficult place to revisit.

 File Information: 

Artist: Taylor Swift
Album: Fearless Taylor’s Version
Released: 2021
Style: Pop
Format: MP3 320Kbps
Size: 245 Mb

01. Fearless
02. Fifteen
03. Love Story
04. Hey Stephen
05. White Horse
06. You Belong with Me
07. Breathe
08. Tell Me Why
09. You’re Not Sorry
10. The Way I Loved You
11. Forever & Always
12. The Best Day
13. Change
14. Jump Then Fall
15. Untouchable
16. Forever & Always [Piano Version]
17. Come In with the Rain
18. Superstar
19. The Other Side of the Door
20. Today Was a Fairytale
21. You All Over Me
22. Mr. Perfectly Fine
23.  We Were Happy
24. That’s When
25. Don’t You
26. Bye Bye Baby
27. Love Story [Elvira Remix]

Wednesday, April 21, 2021

Jazmine Sullivan – Heaux Tales 2021 ( Free Download )

 Jazmine Sullivan – Heaux Tales 2021

Jazmine Sullivan – Heaux Tales 2021

 Watching Jazmine Sullivan thrill herself with her own ability is like watching Spider-Man gleefully swing from skyrise to skyrise, not an enemy in sight. Just look at Sullivan shimmy on a recent NPR Music Tiny Desk (Home) concert as she sings, “I’m hoping these titties can get me out the city,” her voice tickling its lower depths. Her eyes widen with feigned confusion when she coos the words, “I don’t know where I woke up.” When she belts, “Don’t have too much fun without me,” from Heaux Tales’ outstanding single “Lost One,” she throws her head, arms, and palms back, as if offering herself to something bigger.

Heaux Tales itself looks to something bigger, too, beyond Sullivan as its subject or star. Her fourth album is expansive and inclusive, embodying as many women’s insights into love and sex (read “Heaux” as “ho”) as 32 minutes could reasonably allow. Across eight songs connected by spoken-word interludes from different women, Heaux Tales unfurls a patchwork of origins, outcomes, thrills, and disasters of coital indulgence in her most cohesive work to date. Sullivan strategically activates her regal voice with stories that are sharp, intimate, and addictive.

One of Sullivan’s breaks into popular R&B was with the 2008 revenge tango “Bust Your Windows.” The scorned lover in the song is one of many personas Sullivan would act out over the course of three albums that pulsed with drama and camp. Her music has jumped from reggae to disco to boom-bap to marching band and more as she explored the lives of women and men in the throes of crime, passion, and addiction. Heaux Tales, by contrast, commits to simpler, more timeless soundscapes, like the snaps and synths of “Bodies” or the standout guitars of “Lost One” and “Girl Like Me.” Over the comparably minimalist production and instrumentation, the album’s narratives of agency are made central.

There is a direct throughline between the archetypal portraits Sullivan has painted in the past and the more dynamic accounts here. On “Mascara,” from her 2015 album Reality Show, Sullivan personified a proud gold digger with an attitude to match. “We all want to be that confident person,” Sullivan said about the song at the time. “And it’s hard to be that way. ’Cause you always feel like somebody’s judging you.” Throughout Heaux Tales, though, the motivations and makings of women who do or wish to earn material things through love and sex are considered with more kindness and clarity. In one of the spoken intermissions, a woman named Precious Daughtry says a childhood of deprivation repels her from men without money. Her words are followed by Sullivan’s searing performance of “The Other Side,” a vivid daydream about moving to Atlanta to be with a rapper who can provide for her. “I just want to be taken care of/’Cause I’ve worked enough,” she reasons.

The album’s perspectives do contradict themselves at times. On songs like “The Other Side” and the Anderson .Paak-assisted “Pricetags,” sex is a bold means of empowerment, financial or otherwise. Then, on one interlude, Sullivan’s friend of 20 years, Amanda Henderson, dejectedly admits that looking to sex for power leaves her feeling insecure. “Amanda’s Tale” is followed by “Girl Like Me,” in which Sullivan and H.E.R. sing of the hos in Fashion Nova dresses who steal their love interests away from them. Ho-ing goes from a source of pride and abundance to one of shame. Sullivan’s songwriting is agile: These conflicting judgements and desires live in women—and both can live in one woman at once.

All over Heaux Tales, Sullivan contends with what can be lost and gained through sex, from a secure sense of self (“Get it together, bitch,” she tells herself on “Bodies.” “You gettin’ sloppy.”) to crazed pleasure (“I spend my last ’cause the D bomb,” she proudly admits on “Put It Down”). The colloquial bursts of specificity in these vignettes are a feat of songwriting, and the restraint a power-vocalist like Sullivan shows in her delivery is as important. Sometimes her voice is choppy and conversational, sometimes it sounds like rapping, and it’s almost always a delight to sing along to. On this album, she’s both Deena Jones and Effie White; she can be an easy-listen or an all-consuming one. From the crinkly opening run on “Put It Down,” her most powerful singing is mixed into the background, as if to render her a little less superhuman.

R&B has long offered women space to voice their sexual appetites, from the foundational dirty blues songs like Lucille Bogan’s “Shave ’Em Dry” in 1935 (“Say I fucked all night and all the night before, baby/And I feel just like I want to fuck some more”) to Adina Howard’s 1995 hit “Freak Like Me.” After six years between projects, Sullivan joins the ranks of today’s R&B and R&B-adjacent stars like Summer Walker and SZA, who have updated the genre with music that complicates desire with messy reality. Old archetypes like The Gold Digger and new ones like The Instagram Baddie begin to crumble away, leaving fuller women in their wake. Sullivan’s friend Amanda Henderson told the Philadelphia Inquirer that she was nervous to include her revelation on Heaux Tales, but has since found relief in the number of fans who have connected to it. Even in the way Sullivan’s Tiny Desk was arranged—with lush instrumental breaks, opportunities for her background singers to take the spotlight, and a guest appearance from H.E.R.—it is clear Heaux Tales is communal.

File Information:

 Artist: Jazmine Sulliva
Album: Heaux Tales
Released: 2021
Style: Soul
Format: MP3 320Kbps
Size: 72 Mb

01. Bodies (Intro)
02. Antoinette’s Tale
03. Pick Up Your Feelings
05. Put It Down
06. On It (feat. Ari Lennox)
07. Donna’s Tale
08. Pricetags (feat. Anderson .Paak)
09. Rashida’s Tale
10. Lost One
11. Precious’ Tale
12. The Other Side
13. Amanda’s Tale
14. Girl Like Me (feat. H.E.R.)



 Other Albums:

" Sly Johnson - Silvere 2019 


Saturday, April 17, 2021

Now That's What I Call Music! 108 2021 ( Free Download )

 Now That's What I Call Music! 108 2021

Now That's What I Call Music! 108 2021

File Information:

Artist: Various
Album: Now That's What I Call Music! 108
Year: 2021
Genre: Pop, Rock, Hip-Hop/Rap, R&B, Dance
Total Tracks: 46
Total Size: 337 MB  
Quality: Mp3 320 kbps

Disc: 1
01. Olivia Rodrigo - drivers license
02. Miley Cyrus - Midnight Sky
03. Harry Styles - Golden
04. Dua Lipa - We're Good
05. Jason Derulo - Lifestyle (feat. Adam Levine)
06. The Weeknd - Save Your Tears
07. Glass Animals - Heat Waves
08. Billie Eilish - Therefore I Am
09. P!nk, Willow Sage Hart - Cover Me In Sunshine
10. Shane Codd - Get Out My Head
11. Raye, Rudimental - Regardless
12. Ava Max - My Head & My Heart
13. HVME - Goosebumps
14. Nightcrawlers, Riton, Mufasa & Hypeman - Friday (Dopamine Re-Edit)
15. ATB, Topic, A7S - Your Love (9PM)
16. Tiësto - The Business
17. Lana Del Rey - Let Me Love You Like A Woman
18. James Arthur - Train Wreck
19. Passenger - Sword from the Stone (Gingerbread Mix)
20. Liam Gallagher - All You're Dreaming Of
21. The Killers - My Own Soul?s Warning
22. YUNGBLUD, Machine Gun Kelly - acting like that
23. Nathan Evans - Wellerman (Sea Shanty)

Disc: 2
01. Miley Cyrus - Prisoner (feat. Dua Lipa)
02. Ariana Grande - 34+35
03. Anne-Marie, Ksi, Digital Farm Animals - Don't Play
04. Shawn Mendes, Justin Bieber - Monster
05. The Kid Laroi - WITHOUT YOU
06. Lil Tjay, 6lack - Calling My Phone
07. Nathan Dawe, Little Mix - No Time For Tears
08. Jason Derulo, Nuka - Love Not War (The Tampa Beat)
09. Cardi B - Up
10. Doja Cat - Streets
11. Clean Bandit - Higher (feat. iann dior)
12. James Hype, Harlee - Afraid
13. Navos - Believe Me
14. Jennifer Lopez - In The Morning
15. Lady Gaga - 911
16. Kylie Minogue, Dua Lipa - Real Groove (Studio 2054 Remix)
17. Sophie Ellis-Bextor - Crying at the Discotheque
18. Steps - To the Beat of My Heart
19. Sabrina Carpenter - Skin
20. Sam Smith - Kids Again
21. Years & Years - It's A Sin
22. Celeste - A Little Love
23. Becky Hill - Forever Young



Evanescence – The Bitter Truth 2021 ( Free Download )

 Evanescence – The Bitter Truth 2021

Evanescence – The Bitter Truth 2021
Evanescence – The Bitter Truth 2021

 Back in the early 2000s EVANESCENCE was an unstoppable force of goth-infused metal that invaded the home stereos of near enough every teenager around the globe. So popular was their debut album Fallen that it felt like it was issued. Powered by Amy Lee’s haunting and ethereal voice, backed up by driving guitar leads and earth-shattering drums. It was always going to be a tough act to follow, but in 2006 they somehow managed it with the release of the heart-ripping The Open Door. Sales, however, were way down from their debut and the band faded into the background. They were eventually rejuvenated but the reaction to their mediocre self-titled release was lukewarm and a hiatus followed.

The Bitter Truth sees the Arkansas group release their first original music in 10 years but can it make up for the lacklustre previous output? Yes and no. While it’s a personal and emotional tour de force, it’s an album sadly marred by a lack of variation and a sub-par mix that means a lot of the power and message conveyed is lost throughout.

The record starts off with an interesting synth-led build in Artifact/The Turn which leads nicely into early album highlight Broken Pieces Shine. It features a stomping intro that eventually gives way to the band’s typical gothic guitar tones. Amy Lee’s vocals are some of the most distinctive in modern metal and her trademark bellow is always welcome. The Game Is Over follows we start to see that perhaps this is the trend that we’ll see in tracks to come with its building intro. The drums striking behind the chorus vocals are fist-pump inducing.

A sharp left turn is taken for the pop stylings of Yeah Right. While it’s a catchy number, it stands out like a sore thumb in an album full of dark undertones. Sadly this is where we see a dip in quality with the underwhelming Wasted On You, showcasing that sometimes even Amy’s sultry tones can’t save certain songs.

Better Without You sees the same issues persist that we also see in Feeding The Dark. They both follow the same structure and at this midway point, a lot of the tracks sound all too similar and just aren’t interesting enough to keep you interested or really listen to the message hidden within.

How you feel about politically charged Use My Voice will be determined by your current world views but it is an incredibly powerful song that is a true anthem in every sense of the word. The In The Air Tonight-esq pounding march of the drums really drive home the strength that Amy Lee must feel when belting out “don’t you speak for me!” in the chorus. The backing vocals which feature Lzzy Hale [HALESTORM] and Taylor Momsen [THE PRETTY RECKLESS] will fit perfectly within a live setting when shows return.

If there’s one aspect of the band that they nail every time, it’s the ballad. Since the days of My Immortal and Lithium fans have clamoured for more of the stripped-back performances allowing Amy Lee to shine and Far From Heaven is The Bitter Truth’s sole ballad. It’s a piano-led piece that showcases their song-writing abilities not always seen at their peak on this album. It also shows how sometimes less is more. Sadly the mix throughout the album is incredibly muddled and all too often, Amy is almost forced into the background to make way for the overpowered guitars. It feels like a lot of the time you’re forced to crank the volume to the max to truly hear everything she sings.

The final two tracks, Part of Me and Blind Belief are a prime example of what EVANESCENCE are capable of but it seems to be a little too late. The darker, driving guitar lines are prominent and they both have exceptional choruses.

EVANESCENCE‘s first original material album in 10 years is a mixed bag of gothic goodness and forgettable dross. During their best moments, it feels like a revisit to the days of Fallen, but we end up seeing poor production and all too familiar song structures derailing what could have been a heroic return into the foray. Amy Lee has no doubt poured her heart and soul into this album and she has not lost a step vocally. The Bitter Truth is that while the message within the tracks is emotionally charged and penetrating, the music just can’t reach the same level.

File Information:

 Artist: Evanescence
Album: The Bitter Truth
Released: 2021
Style: Alt Rock
Format: MP3 320Kbps
Size: 107 Mb

01.ArtifactThe Turn
02.Broken Pieces Shine
03.The Game Is Over
04.Yeah Right
05.Feeding The Dark
06.Wasted On You
07.Better Without You
08.Use My Voice
09.Take Cover
10.Far From Heaven
11.Part Of Me
12.Blind Belief




Ben Howard – Collections From The Whiteout 2021 ( Free Download )

 Ben Howard – Collections From The Whiteout 2021

Ben Howard – Collections From The Whiteout 2021
 Ben Howard was a laid-back star of English neo-folk who garnered comparisons to José González and wrote songs with titles like “Keep Your Head Up.” But in 2014, he released “End of the Affair,” a dramatic, tortured single that stretched towards eight minutes. His subsequent album I Forget Where We Were was successful enough to top the UK album charts and thoughtful enough that Jason Isbell cited the title track as an influence. The 2018 follow-up, Noonday Dream, was a relative disappointment, full of druggy mood pieces without the craft of Where We Were or the hooks of his debut, 2011’s Every Kingdom. Not long after that, Howard heard the experimental piece “Santa Agnes,” by guitarist Aaron Dessner of the National. Over the next 18 months, the two met periodically to work on Howard’s fourth full-length, Collections From the Whiteout.

In theory, Dessner and Howard are natural collaborators but hardly engaging foils; neither lacks for soft-spoken, brooding ballads. Yet they push each other forward, expanding their comfort zone and making choices that feel genuinely unconventional. Dessner likes to emphasize that his main band’s music is more than just the five men at its center, and the albums he produces often employ the same auxiliary musicians and techniques. Whiteout involves a healthy mixture of Dessner’s team (Jason Treuting of So Percussion, ubiquitous keyboardist Thomas Bartlett), Howard’s team (bandmates India Bourne and Mickey Smith), as well as some new collaborators, like Big Thief’s James Krivchenia and jazz drummer Yussef Dayes. Dayes co-writes several highlights here, including driving, oddly sensual lead single “Crowhurst’s Meme”; his drums make “Sage That She Was Burning” sound more like progressive jazz trio GoGo Penguin than a typical Howard song. “Unfurling” rides a slightly off-kilter shuffle that resembles little in his catalog. Even the songs where Dessner and Howard are alone feel new for them: The arrhythmic pulse and lack of percussion make “Finders Keepers” genuinely unsettling.

“Finders Keepers” is also new lyrical territory for Howard, moving the focus away from his own search for purpose to depict an absurd, macabre scenario in which a friend of his father discovers a dead body in a floating suitcase. On this record, he finds inspiration in the stories of amateur yacht racer Donald Crowhurst and airplane thief Richard Russell, though on the outro of “Crowhurst’s Meme,” Howard admits that he’s “aware of the allegory”—using niche historical events to explore the same inward-looking concepts. His attempts to grow beyond his usual soul-searching meet mixed success; “Far Out” aims for Roald Dahl-style dark humor but a groaner about a gravedigger who can’t “make a killing, what with all of this living” feels meaningless, as does the not-quite-wisdom (“half a life is half in dream”) of “Sage.” Fortunately, the timbre of Howard’s double-tracked vocals helps the more koan-like lyrics go down easy. The most successful storytelling experiment is “Rookery,” where he criticizes a lover’s unfeeling attitude: “I bet you think everything’s in its rightful place/That sentiment is man’s disgrace” nails the acuity he reaches for elsewhere.

Howard has long loved a slow burner, but only one song here exceeds five minutes; the rest are sufficiently edited down that the 14-track Whiteout is the same length as the 10-track I Forget Where We Were. Brevity turns out to be a strength, ending songs like “Unfurling” and “Metaphysical Cantations” before the experimentation becomes repetitive. “The Strange Last Flight of Richard Russell” rapidly expands and contracts in its middle section but never builds on that tension, landing with a non-committal ambient fade-out. Considering how routinely Howard’s songs have stretched out in the past, it’s a genuine shock when one feels too short.

Whiteout doesn’t always sound like a revelation, but it allows Howard to open up, letting in new lyrical and musical ideas that complement his own without overwhelming them. On “What a Day” and “You Have Your Ways,” he incorporates the choruses of his UK hits in the odd time signatures and synths that mark an Aaron Dessner production. Howard winds up not in the realm of the National, but of a weirder Dessner side project like Big Red Machine—the kind that thrives on collaboration. The contributions of outsiders wind up proving how well Howard can hold his own.

 File Informationt:

Artist: Ben Howard
Album: Collections From The Whiteout
Released: 2021
Style: Indie Folk
Format: MP3 320Kbps
Size: 149 Mb 

01.Follies Fixture
02.What A Day
03.Crowhurst’s Meme
04.Finders Keepers
05.Far Out
07.You Have Your Way
08.Sage That She Was Burning
09.Sorry Kid
11.Metaphysical Cantations
12.Make Arrangements
13.The Strange Last Flight of Richard Russell
15.What A Day (Edit)
16.Sorry Kid (Edit)



Saturday, March 27, 2021

Stabbing Westward – Hallowed Hymns 2020 ( Free Dwonload )

 Stabbing Westward – Hallowed Hymns 2020

Stabbing Westward – Hallowed Hymns (2020)

Stabbing Westward have released the new Dead & Gone EP, their first collection of new music since 2001. Along with streaming the entire EP, the band has also unveiled a music video for the title track.

The Illinois-based industrial rock act had broken up in 2002 after releasing four studio albums, and scoring such hits as “What Do I Have to Do?”, “Shame”, and “Save Yourself.” They officially reunited in 2016, and have been playing shows ever since.

The Dead & Gone EP marks Stabbing Westward’s first proper release of new music since their 2001 self-titled fourth LP, other than a “kinda new” song called “Home in You” that was shared as part of the Cold Waves VI compilation in 2017. The five-song EP consists of three new tracks — “Dead & Gone”, “Cold”, and “Crawl” — as well as remixes of the first two tunes.

The single “Dead & Gone” features an industrial beat, going from melodic in the verses to aggressive in the chorus as frontman Christopher Hall delivers impassioned vocals throughout. “Cold”, meanwhile, starts of with a Middle Eastern-influenced intro then settles into a “Blue Monday”-ish New Order vibe, as Hall wails, “How did you get so cold?” in the chorus.

In a Facebook post, Hall mentioned that Dead & Gone is the first of three new EPs that will “add up to an album in the end.”

Watch the video for “Dead & Gone” and stream the songs “Cold’ and “Crawl” in the YouTube players below. Under that, stream the entire EP via Bandcamp.

 File Information:

Artist: Stabbing Westward
Album: Dead And Gone
Released: 2020
Style: Gothic Rock
Format: MP3 320Kbps
Size: 46 Mb

01.Dead and Gone
04.Dead and Gone (StoneburnerRemix)
05. Cold (StabWalts 12 Dance Mix)

Dua Lipa – Club Future Nostalgia 2020( Free Download )

 Dua Lipa – Club Future Nostalgia 2020( Free Download )

Dua Lipa – Club Future Nostalgia 2020( Free Download )

A pop diva is poorer without her remixes. Madonna’s dance remixes span Shep Pettibone’s kinetic “Express Yourself” rework to Stuart Price’s revitalizing overhaul of her discography on ’00s tours. Whitney Houston’s club versions brought extra oomph to a joyous NYC Pride performance in 1999. (“If your music’s banging in the clubs, you’re doing okay,” Houston noted.) And the hip-hop and dance remixes of Mariah Carey, pop’s queen of the remix, lower drawbridges between genres and become playgrounds for innovation.

Not all of these icons descended from the pop pantheon to party with the people. But Dua Lipa, who made True Blue for the 2020s with this year’s Future Nostalgia, is a raver. At last year’s Glastonbury festival, she wore sunglasses, a red wig, and adopted the alter-ego “Valentina Vicious” so that she could party in peace. Lipa met The Blessed Madonna that weekend, and linked up with the Kentucky-born producer earlier this year to create Club Future Nostalgia, a fun but overstuffed mix that hopscotches between piano house, Baltimore club, and the kind of dance remixes that power Chelsea gay bars like so many cheap well drinks. A stacked lineup includes Masters at Work, Mr. Fingers, Mark Ronson, Yaeji, and Moodymann, with seamless transitions from The Blessed Madonna. But heavy-handed editing can make Club Future Nostalgia feel oddly uneven.

Yaeji whittles and rebuilds “Don’t Start Now” into bouncy minimal disco, chopping her own murmured vocals into the beat like ASMR with somewhere to be. The previously unreleased “Love Is Religion,” remixed by The Blessed Madonna, sounds like a Lip Sync for Your Life song from RuPaul’s Drag Race in the best way. Mr. Fingers’ skeletal version of “Hallucinate” lifts just “I’ma love you like a fool/Breathe you in till I hallucinate” from Lipa’s original. In his edit, “fool” sounds like “fucker,” a soundtrack for any darkroom sex god to lay out their agenda to a willing partner. But the Mr. Fingers track is abbreviated—The Blessed Madonna adds a superfluous sample of Gwen Stefani’s “Hollaback Girl,” which takes up nearly a third of its runtime. Similarly, Jacques Lu Cont’s Balearic rework of the previously-unreleased “That Kind of Woman” is sublime, but getting only three minutes of it feels like a tease; Lu Cont, aka Stuart Price, can make every second of a seven-minute remix feel essential.

DJ drops from Lipa punctuate the record, a trick Vince Staples also used on his 2018 album FM!, which was styled as a radio show. Club Future Nostalgia feels less like London pirate radio than a show from one of BBC Radio 1’s most inquisitive DJs. That accessibility isn’t a bad thing. Jayda G’s amped-up version of “Cool” is exactly what you want to hear in a warehouse at 3 AM, football whistles and all, and Horse Meat Disco’s euphoric “Love Again” seems to be made for the moment when the sun starts to peek through a club’s shutters. But Club Future Nostalgia’s starriest moments are some of its weakest. Mark Ronson’s depressingly loungey remix of “Physical,” with a disappointing verse from Stefani, manages to make one of the year’s most vivid pop songs feel like background music. And the irresistible “Levitating” is deflated by phoned-in features from Madonna and Missy Elliott, who were more charismatic when they teamed up for a Gap commercial.

Great DJ sets are built around tension and release, but whipping through 15 producers in 50 minutes, Club Future Nostalgia struggles to build the anticipation to earn a payoff. The most dazzling exception comes at the end of the album: Moodymann’s remix of “Break My Heart” is by far the best track. Built around a bass lick, cowbells, and weird ambiance—clinking bottles, a menacing laugh—it feels terrifying and beautiful. A more left-field approach to Lipa’s music—as seen elsewhere, on Hyperdub artist Loraine James’ dark experimental rework of “Don’t Start Now,” and Erika de Casier’s neo-noir take on “Physical”—would have enriched the mix. As it is, Club Future Nostalgia is a bit like a round of exquisite corpse: fun while it lasts, but somehow less than the sum of its parts.


Artist: Dua Lipa
Album: Club Future Nostalgia
Released: 2020
Style: Pop
Format: MP3 320Kbps
Size: 125 Mb

01. Future Nostalgia (Joe Goddard Remix) [Mixed]
02.Cool (Jayda G Remix) [Mixed]
03.Good In Bed (Zach Witness & Gen Hoshino Remixes) [Mixed]
04.Pretty Please (Midland Refix) [Mixed]
05.Pretty Please (Masters at Work Remix) [Mixed]
06.Boys Will Be Boys (Zach Witness Remix) [Mixed]
07.Love Again (Horse Meat Disco Remix) [Mixed]
08.Break My Heart Cosmic Girl (Dimitri From Paris Edit) [Mixed]
09.Levitating (feat. Madonna and Missy Elliott) [The Blessed Madonna Remix] [Mixed]
10.Hallucinate (Mr Fingers deep stripped mix) [Mixed]
11.Hallucinate (Paul Woolford Remix) [Extended] [Mixed]
12.Love Is Religion (The Blessed Madonna Remix) [Mixed]
13.Don’t Start Now (Yaeji Remix) [Mixed]
14.Physical (feat. Gwen Stefani) [Mark Ronson Remix] [Mixed]
15.Kiss and Make Up (Remix) [Mixed]
16.That Kind Of Woman (Jacques Lu Cont Remix) [Mixed]
17.Break My Heart (Moodymann Remix) [Mixed]



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