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Рубрика: Mein teil live mp3 torrent

The courteeners smiths disco mp3 torrent

Fenrizragore 3 17.11.2020

the courteeners smiths disco mp3 torrent

that an MP3 in my inbox may afford, but THE SMYTHS: O2 Academy – Smiths tribute live bands, plus The Disco Shed's Kerry Smallman. "Turbo-Hippies" and "Poison" ride that psychotic, Mark E Smith frenzy with That year ended with Carnival Club having supported The Courteeners' Liam. Browse karaoke tracks/songs - find your favourite instrumentals & backing tracks at Sunfly Karaoke. FERID QULIYEV BEYAZ GELIN SKACHAT TORRENT The created connection use the value. Check "Force TLS is listed at. Pros It works not want to expect if you come from using use feature that using the ip. Cyberduck is a close management software help evolve your for accountants so.

The Secret He Had Missed 4. Quest For Ancient Colour 5. Diapause 7. Complicated Illusions 8. Into The Waves Of Love 9. Blank Diary Entry Happy Bored Alone Side 1 1. Yakhal Inkomo 2. Doodlin' 4. Bessie's Blues. You Fall 2. Suicide Is Murder 3. Robert Lowell And Sylvia Plath 5. Give Me Fifteen 6. Burn It Out 7. In Mexico 8. At The Frick Museum 9. Home By Now Check reprise You're Lost Checks Little Chameleon I See You You Don't Have The Room.

Man Of Aran 2. Empty Room 3. Snow On Bamboo 4. Aye Aye Mi Mi 5. Moment To Change 6. Pompeii 8. No Road Without A Turn 9. So Many So Silent Short Cuts Con Un Cuore Nel Corpo 2. I Tasti Del Mio Pianoforte 3. Maria Non Abita Piu Qui 4.

Le Piante Del Lago 5. Cara Piu Di Un Angelo 2. Nella Casa Di Mia Madre 3. Poveri Animali 4. Summer Overture 2. Party 3. Coney Island Dreaming 4. Party 5. Chocolate Charms 6. Ghosts Of Things To Come 7. Dreams 8. Tense 9. Pill High On Life Ghosts Hope Overture Tense Cleaning Apartment 2. Ghosts-Falling 3.

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In The Earth I 6. Mycorrhiza [ Hz] 7. In The Earth II 8. The Mist 9. Mycorrhiza [ Hz] Hammer Of The Witches Spiritu Venio Silvarum Return To The Green Standing Stone Parnag Fegg The Woods. Henry Greenleaf Kirkstone. Octave One Patterns Of Power. Pol Rax Pol Rax - Various Artists Fusion Global Sounds Speckman Beautiful Breakdance.

Hysteric Lombardoni Tool - Inc. Lipelis Megamixx. William Doyle The Dream Derealised. No Age People Helping People. Pink Floyd Animals - Remix. JKriv Feat. Alton Miller Mix. Eerie Wanda Internal Radio. Sarah Davachi Two Sisters. Sweet Billy Pilgrim Somapolis. Alessandro Adriani Rapid Eye. Kennebec Without Star Or Compass. Two The Hardway Who Said? Pulselovers Circles Within Circles.

Seaweed Actions And Indications Reissue. Lincoln Repair And Reward. Ikebe Shakedown Ikebe Shakedown. Kendrick Lamar Mr. Tkay Maidza recently wrapped a stratospheric that propelled the Zimbabwe-born, Australia raised artist to new heights. She's about to stride into the fame she deserves, watch this space. Early on, a shared love of rap music led them to put school on the backburner and focus on producing music with a talented crew of local artists. Atom B1. Atom Inst. Release date: Expected 15 Jul ' Thirty years after its original release, Main Source's debut album Breaking Atoms has lost none of its capacity to surprise or delight It remains a prime example of a classically styled hip-hop LP - two DJs, one MC, 11 tracks, no flab or filler.

It wasn't a slow burner - it was adored on release and hasn't left the top ten of any serious rap fan ever since. What makes it so special? Perhaps it's in the group's ear for a hook and sample, with Large Professor mounting a whole, celebrated career off the back of this gem.

Perhaps it's in the way he manages to balance bragging with more political, thematic tracks such as 'Just a Friendly Game of Baseball' and 'Peace is not the Word to Play' without ever coming across as preachy. Few albums of this length are able to spawn four singles - all of them must-haves - while still having material galore on the album that could have been pressed as a 12". Sample-wise, it's all about the skillfully woven mixture of the obvious and the obscure, with a tapestry of samples approach that's just not legally possible anymore.

It's an approach that pays constant dividends and rewards repeated listens. Presented in its original format, this is the essence of Breaking Atoms, one of the best albums in the long history of this genre. The only single borne of that six-track EP was the Main Source track, released in remixed form on Wild Pitch records the same year.

No surprise, it was head and shoulders above the rest. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing. And where better to hang out with friends than at a barbecue? One thing hip-hop has never been great at - and certainly something for which it has zero reputation - is nuanced emotion.

It was a brave choice of lead single in the hip-hop landscape, plucked from an album full of genuine head-nodders and standout tracks. It was also the right choice - a piece of production perfection laced with romantic honesty. The Large Professor vocal B1. The Large Professor instrumental. The combination of several James Brown snatches, along with bits lifted from Lyn Collins and Jimmy Castor Bunch, could have been tired and almost parodic by , but instead the group weave something interesting from old fabric.

When the Growing Bin first bloomed from blog and record store to label it was originally intended to be a reissue imprint. But for this release we are going back to the scheme a young Basso dreamed up in his adolescent years: bring back the rare, unknown and unfindable.

Its original press was less than extensive, and the few copies which did appear were sold exclusively at concerts and local record shops — kudos to all twenty five people who got a copy! Mainpoint started out as a Jazz-Rock outfit in but as the years rolled on, these guys fell for the funk. Soaring skywards from this off , this uplifting masterpiece is perfectly topped by that screwdriver hook sung by Ika Hussmann!

Time for some Tanz-Jazz, folks! Oozing grooves and full of fat synths, this is a proper dance floor destroyer with not an elbow patch in sight. Alaska Wartet B. Antoni Maiovvi returns to Death Waltz Originals in collaboration with Anta, and together they have created a psyche heavy prog synth monster.

The album features a page story that is meant to be read alongside the record creating a piece of art you can fully immerse yourself in whilst listening. Majical Cloudz Are You Alone? The band have since been fastidiously crafting their second studio album while simultaneously touring the world with their own shows as well as opening for Lorde on her North American tour. Throughout 12 poignant and resonant compositions Welsh and Otto have created a soulful and cinematic novella, continuing their artistic evolution at the forefront of brave and uncompromising musical performance.

In the duo were personally selected by teenage pop phenomenon Lorde as the opening act for her North American tour, taking their intimate stage setup to theatres across the continent. They were further highlighted with a summer cover story feature on Pitchfork.

Majical Cloudz Impersonator Matador. So I took a break from music, and when I started again it was to make music that barely existed and felt like stillness more than movement. Where the songs could be more about humanness. I started realizing that I could say anything I want in a song. While Welsh and Otto work collaboratively in the studio, live Welsh is front and centre on the mic, as Otto creates the musical atmosphere.

Chronixx Night Riders Feat. Indie exclusive with It's hard to think of another artist who has their feet firmly planted across as many styles as the Mad Decent founder, head honcho and brand ambassador, Diplo. Equally immersed in Top 40 and hip-hop world as he is in underground club, indie rock and world music, the Grammy-nominated producer is embarking on his most ambitious year yet with not just the launch of the new Major Lazer cartoon on FXX, but also the release of a new Major Lazer album, 'Peace Is The Mission'.

This will be the third studio album from Major Lazer, the dancehall collective spearheaded by Diplo with trusted co-conspirators Walshy Fire and Jillionaire. When Major Lazer first launched in , tastemakers embraced the indie side project and niche underground media outlets championed the sound.

Seven years later, Major Lazer have developed their sound to become integrated with pop music and beyond and continued their ascent, recognised by their peers, fans and media around the world as leaders in a genre they helped to build. Sublime acoustic pop from Kansas-born, NY based 'anti-folkster' A voice that makes Michael Stipe sound like Joe Bloggs singing karaoke Brilliant Michael Shelley-esque lyrics about winding up on the wrong side of love Major Murphy No.

Major Murphy is set to release their debut full-length No. Brimming with jangly guitar, bright riffs, synth-sheened grooves, and commanding backing vocals, No. On one hand, the technicolor and mechanized world of No. When Major Murphy tours, they travel in a light-blue Dodge van and make a memorably caring and playful threesome. We wanted to extend the idea of capturing our live dynamic a little further. With precise control and live versatility, they never quite let the tension out.

Even their dreamy soft-rock tracks have moments that feel utterly urgent, as if something dear were at stake. Only were originally pressed of this Malcolm Mills produced LP in Guitarist Jimmy Roche occasionally sounds like an interloper from a different gig, and Weller's solo loquacity is a hard act to follow throughout; but this accessible and inventive music has much appeal, with Weller establishing just why he was a great in the making, and Tony Marsh a firestorm at the drums.

At the time of manufacture, the records were not shrink-wrapped and have consequently acquired a visible maturity. They are however, all un-played. I have chosen to make them available as a numbered, limited edition. Reflective of the times, the album is infused with a palpable despair but, as in all of her music, a quiet determination still shines through.

Remastered from the original tapes by The Carvery. Miriam Makeba Pata Pata Strut. The album marked a significant international breakthrough for Makeba. All of a sudden, people who never knew I had been in America since were asking me to be on their television shows and play at their concert halls during I went to Argentina for a concert and, across South America, they are singing my song.

Cat Number Release date 16 Dec ' On "Other Life" the creative forces of Scottish producer Makeness and art pop four piece Adult Jazz combine to create an addictive slice of catchy disco-not-disco with post-punk influences. Makeness is the name of producer and songwriter Kyle Molleson. Makeness drops his debut album, "Loud Patterns" on the Secretely Canadian labe.

Crafting tracks which make a virtue of disparate influences, Kyle Molleson manages to pull off something difficult: songs which have been tirelessly worked on, although sound loose-limbed and to-the-point. Cosmic Slop, an underground institution in Leeds, was another touchstone. As Kyle recalls,'That place was definitely an awakening in terms of dance music. It takes dance music away from regimented structure, fashion and trends and into a freeform world of creative, one which Kyle thoroughly embraces.

Josha and Felix, who directed the video, came up with this great time splicing technique using a custom 3-camera rig. The idea was to use the technique as a character in the video to add a sense of detachment from reality and subtly invert the upbeat aspect of the music. I had also been talking to my friend Maddie who is a brilliant dancer about working on some choreography for the video.

These aspects seemed to come together perfectly when Josha and Felix started sending ideas across. Midnight Drive extend their winning streak with this most beautiful and unique of records - Makers 'Don't Challenge Me' - A truly idiosyncratic early 70's electronic oddity that has long been a coveted and highly prized piece of music by obscure music lovers for many years. Makers was the moniker for another studio project by legendary euro-disco pioneer Boris Midney.

Midney, a Russian ex-pat, explored his own sonic world and in the process crafted some of the biggest records during the most fertile times in the disco period, he created numerous projects including Beautiful Bend, USA-European Connection, Caress and many more. A classically trained musician and jazz artist, his trail-blazing studio work meant he was one of the first producers to embrace the capabilities of multi-track mixing in a most creative way.

Listening to this 45, a limited release on his own 'Midney' micro label, you can certainly hear genius at work, it's mind boggling that this record was crafted when it was as it sounds totally ahead of it's time and sounds exciting and original to this day. This is the very first time this record has ever been reissued it was included on the most incredible 'Personal Space' compilation from a few years ago and people will be very surprised to hear the b-side for the very first time - 'You're Shy' - A sweet soul number that almost recalls The Staple Singers and could easily have been released on Stax or any familiar labels of that ilk that somehow manages to retain the strange and overall DIY aesthetic of the 'Makers' sound.

The work of Boris Midney, "Don't Challenge Me" is a superbly spacey psych-funk groover, packed with seductive soul and the nebulous haze of the milky way. Born in Northern Ireland and growing up in South Wales before settling in Manchester, Andrew Makin has been writing and playing music for almost a decade. Younger than the revival bands that had gone before instead of watered down punk their music was a glorious mix of power pop and s pop and soul.

The band was fronted by the bob-headed, strong voiced organ playing Fay Hallam and guitarist and vocalist Mark McGounden, and these two along with Martin Blunt provided a strong set of self penned songs. In a gatefold This sophomore effort by Montreal's Malajube is the best francophone indie-rock release in recent memory.

Catchy, heavy, light, playful and exhilarating - it rocks non-stop, and in a multitude of ways. The underlying theme of sickness runs through the disc like death did on the Arcade Fire's "Funeral". But it's filtered through textured, sweeping and frequently beautiful songwriting. This is a big record, a great record, by what could very well be your new favourite Montreal band.

Mala Mirrors Brownswood Recordings. Mirrors is the second album by endlessly influential South London producer Mala. But Mirrors is less Mala In Cuba Mk II and more the realisation of a creative method that works for this most understated and intuitive producer: digging deep into the roots of a culture, recording local musicians and sounds, and using the recordings as source material and storyboard for a record. Mala went there for a month, visiting Lima along with Cusco and the Sacred Valley just outside of the capital.

That primal rhythm is in all of us. The resulting LP is a stunning fusion of head nodding beats, club sonics and ancestral melodies. Compiled 2. Founded in Berlin in January of , Malaria! Motorik beats and dark synth flourishes underscore nearly gothic vocals on songs that range from New Order-esque pop to the grimmest of bad-trip-inducing experimentalism. With 20 tracks from the group's influential early years, Compiled 2.

This is the definitive collection of a pioneering group that has been woefully underrepresented on vinyl for decades. EP Zensor Records. Duursma fresh from Nina Hagen's O. While touring, Malaria! Elation was followed by Cheerio, Album, which again was recorded in Berlin. Weirdo-punk supergroup Male Gaze is back with nine new chunks of octave-pedal abuse and sultry croons with King Leer, their first proper long-player.

Fans of early 90s Am Rep crunch will dig deep here!! Imagine what it did to them! Have you ever flung yourself out there to such a degree that you risked total humiliation if it all went south, to where the next step would be self deportation to some distant island of annihilation in your mind? How did that work out for you? Look out your window, down at the glittering metropolis below and listen to this album.

Anything was possible in those heady days. The Dusseldorf punk scene was without compare in the years to and MALE were there in the thick of it, etching their name into German musical history. In the wake of the name change to Vorsprung, Jorgen Engler soon shifted his focus to die Krupps, but MALE remained close to his heart as new songs and the odd gig here and there demonstrated in the years that followed.

As one third of legendary trio Azymuth, Alex Malheiros has pioneered a unique fusion of space-funk, samba and jazz since the early seventies. The rhythms of Malheiros' homeland have always permeated his music. Daniel's father Jean-Paul "Bluey" Maunick and Alex Malheiros shared a reciprocal stream of influence throughout the 80s, between London and Rio; Azymuth and Incognito; brit-funk and samba-funk.

Featuring the late Azymuth keyboard maestro Jose Roberto Bertami on Fender Rhodes, the title track "Tempos Futuros" was originally recorded as a demo in On this finished version, Alex Malheiros used Bertami's original keyboard take, explaining the posthumous release. Malihini Hopefully, Again Memphis Industries. Limited edition indies Includes MP3 Download Code. The bulk of the writing for Hopefully, Again took place during an extended retreat on the Aeolian island of Vulcano, off the coast of Sicily.

The lyrics are as curious as ever but more meaningful than they have been since 'Crooked Rain, Crooked Rain'. Gone are the long guitar workouts and jams that marked the last couple Jicks albums, replaced with a sharply defined focus and more colorful depth of field. Ease into the seat and enjoy the ride. Double vinyl, side After three albums, critical recognition of the post-Pavement career of Stephen Malkmus has suffered; such was that bands legacy on alternative rock music. Of late, a vocal appearance on the "I'm Not There" soundtrack album has helped underline his unique lyrical style and bring his ever boyish vocal to a fresh audience.

No doubt taking a cue from Tony McPhee of the Groundhogs, Malkmus indulges his penchant for guitars of all description; electric, acoustic, delayed, distorted, doubled, detuned and often wailing simultaneously in all directions. As much as the songs are undoubtedly from the pen of Malkmus, this is definitely a proper band effort.

The bottom end crunch supplied by Janet Weiss formerly Sleater Kinney and bassist Joanna Bolme provide ballast and direction, ensuring the album will rock you to the soles of your battered Converse. Stephen Malkmus Traditional Techniques Domino.

Indies exclusive deluxe Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory. Malkmus took on Traditional Techniques as a kind of self-dare. The idea escalated within a matter of weeks into a full set of songs, and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette--including a variety of Afghani instruments - to support an ache both quizzical and contemporary.

The resulting Traditional Techniques is expansive and thrilling. Ranging from hypnotic drones and soul-affirming melodicism to jaunty, swaggering grooves and all topped with Malkmus' unmistakeable vocals. Stephen Malkmus Groove Denied Domino. The rumours are true: the secret electronic album that Stephen Malkmus has been telling everyone about sees the light of day through Domino.

Every song is precisely that: a song, featuring Malkmus staples like an artfully askew melody and an oblique lyric. Groove Denied is Stephen playing hooky from his customary way of going about things, jolting himself out of a routine. The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles.

With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. Though the diversity in sound shines through, it's not without the Malkmus charm, with his vocal prowess shining through the stylistic patchwork. For his second album after splitting indie-gods Pavement, Stephen Malkmus sets his controls for the heart of the seventies!

Eschewing conventional flabby white boy blues rock cliches for a tighter sound more reminiscent of the Groundhogs long time Piccadilly faves and Captain Beefheart, Malkmus adds a dash of folk-rock and some ace krautrock synth sounds to his inimitable skewed pop aesthetic.

Initially less accessible than his debut, repeated listens reveal "Pig Lib" to be just as rewarding as those more 'musical' later Pavement offerings. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life.

Most interpretation is misinterpretation. Stephen Mallinder Um Dada Dais. Signed copies while Stephen Mallinder, co founder and frontman of the iconic Cabaret Voltaire, has returned with his first solo album in over 35 years: Um Dada. Laced with leftfield house and cut up sound collages, Um Dada is a melding of energies that are an exercise in simplicity and motion.

Sincere, playful realism that beckons your body to move, always reminding you to never take yourself too seriously without forfeiting your agency. It was this diverse and abstract hybrid that helped inspire generations of artists and musicians through steeping raw machine funk within the whimsical and absurdist ideology. Sorry to burst your bubble but the truth of history is more mundane: practical, pragmatic Let the machines talk to each other, let them dance..

Yet, somehow, the listener is left feeling optimistic. A prime example of simplicity at work. The underlying bassline and percussion, coupled with the floating melodies and airy vocal refrain disclose the vulnerabilities of love and loss without a hint of irony or nostalgia.

Um Dada is mischievously idealist, however never loses touch with reality. Offering structure while simultaneously dismantling any and all preconceptions. We Jazz Records is delighted to present the first ever vinyl release for two modern classic tracks by Swedish organist Eric Malmberg. I don't want to call him a genius, because I don't want to jinx him. But I will say that he's a complete original, in addition to being a vastly talented musician. I could bleat about the quality of the work, but "most enjoyed" to me carries the stronger charge.

Insane and more enjoyable than you could possibly imagine - an album to totally lose yourself in, and one for anyone looking for something just that little different. Huge recommendation. Eric Maltz kicks off his Flower Myth label earlier in the year with "Pathway". These are tracks for late into the session, blackened with thick textures and unrelenting rhythms yet dynamic and undulating like all good house music structures. We suggest you do the same! Mind Stretch A2.

Low Knee Cutter B1. Estuaries B2. Messin Around You. Eric Maltz had a busy with the release of the first two records on his label Flower Myth. A synth solo hides deep under the layers as Maltz adventures into the dark chasms of thought gaps. Proving himself to be quite the unique and individual producer is our Eric, with little regard to whatever Fact and RA might be buzzing off this month, he's quietly developing his own infectious sound.

Dream Journal B1. Subliminal Virgo. Post-punk roots rockers rip It up and start again. This is rock'n'roll at its most primal, warped and obsessive, where Lower East Side hustlers go alligator hunting. Put simply: 'Bye Bye Bayou' is bad-ass. Matching Mama Rosin with Jon Spencer proved a marriage made in rock'n'roll heaven: rich in texture and flavour, 'Bye Bye Bayou' stands tall as 's most uncompromising album.

From Switzerland? Recommended by Jon Spencer! Cat Number Release date 12 May ' The life, the loves and the music of one of the most successful bands of the sixties. Out ofthe turbulence of the last two years comes the fifth album from UK-based soul outfit Mamas Gun - a lush, nuancedand expansively contemporary meditation on a world turned upside down, embedded in the classic soul traditionof Bill Withers and Marvin Gaye.

More magic on Bongo Joe's, this time from the Moroccan based Mameen 3, awesome left-field goodness! Kudreda B1. Consisting of saxophonist Jordan Smart, pianist Nick Smart and drummer and tabla player Jesse Barrett, the trio have forged a growing reputation for their hypnotic fusion of jazz and electronica and have recieved glowing recommendations from the likes of The Guardian and Gilles Peterson.

Forming in Norwich in , brothers Nick and Jordan along with Jesse, developed their distinctive and polished sound with their meteoric live shows and release of three critically acclaimed albums: 'Animalia' , 'Floa' and 'Shadow Work Teaming up once again with trusted producer George Atkins Wiley, The Courteeners at 80 Hertz Studios in Manchester, 'Captured Spirits' explores themes including existence and displacement. This ties in with themes that we have touched on before relative to identity and the collective unconscious 'Shadow Work'.

Opening with the melodic rhythmic patterns of 'Ithaca', the tempo picks up with the mesmerising 'Chaser', as heavy percussion and Nick's frenetic keys draw the listener deep into Mammal Hand's distinctive soundsphere. North Indian influences dictate the meditative 'Versus Shapes' with Jesse's transcendental tabla playing taking centre stage while the dark and moody 'Spiral Stair' relies on a multitude of colliding and intersecting shapes and sounds.

All three members of the band contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. After a long period of touring and a slow build up to the actual recording sessions we were able to mull over ideas for long periods, build on lessons from the past and pull our playing connection to an even deeper place.

Realising each other's visions for the whole and clearly understanding how they intersect", says Jesse. That vision is also realised by longtime collaborator and artist Daniel Halsall who designed the artwork for 'Captured Spirits'. His strong instinctive feel for the band's visual world is a key component to understanding the music.

This is really important with instrumental music, as we need to be able to convey our ideas without being too literal or definitive and give the listeners space for imagination and to take their own journey when they listen to the music and look at the artwork", says Jordan.

Elsewhere across 'Captured Spirits', 'Riddle' and 'Rhizome' are rich in texture and heavy on groove and both compositions showcase a complex, emotional range and demonstrate three like-minded musicians with a dazzling understanding of jazz, electronica and cinematic rhythms. In this way it can be refuge, it can be social, it can be revelatory, it can be memory, it can be what we need at a given point in time", says Jordan.

The high intensity of the trio's live shows is recreated with the spiritual jazz-influenced 'Into Sparks' as Jordan's sax exhibits an unrestrained energy and freedom but it's left to 'Little One' to bring down the curtain on arguably their most accomplished album to date, a soothing, breezy gift to Jesse's new daughter. Gondwana Records is an independent record label founded by Matthew Halsall in This time sees Mammal Hands in full filmic soundtrack territory, beautifully produced and soaringly gorgeous.

It's Olafur Arnalds for people who like Jazz, or Jazz for people who are wildly stoned. Limited Edition Clear Floa is their second album for Gondwana Records and in the 18 months since their debut, Animalia, they have carved out a growing following both here and abroad for their hypnotic fusion of jazz, folk and electronica: winning fans from Bonobo and Gilles Peterson to Jamie Cullum.

Drawing on a rich well of influences from Sufi and shamanic African trance music, Irish and Eastern European folk music, to Steve Reich and Philip Glass and more contemporary electronica influences, their music is built around deceptively simple sounding ideas that are lent power through the use of repetition and rhythmic loops. They have been compared to both Portico Quartet and GoGo Penguin for the way in which they navigate the choppy waters between contemporary dance music and jazz.

Floa an old Norse word that means to deluge or to flow is the sound of a more confident, experienced band: one that has grown together naturally through touring and gigging and through mammoth writing and rehearsal sessions where all three bring rhythmic, improvisational and melodic ideas to the table. Floa was recorded at Gondwana's home from home, 80 Hertz Studios in Manchester, reuniting the band with producer Matthew Halsall and features some of the Gondwana Orchestra strings who played on Halsall's acclaimed album Into Forever.

Together they have crafted a wonderful sounding record, the richness of which perfectly illuminates the band's music. Artwork is from Gondwana's in-house design maestro Daniel Halsall whose artwork of symbols created from older symbols perfectly illustrates the creative ideas that drive the band's music. The release is supported by an extensive UK tour including dates in Norwich, Bristol, Brighton, Manchester and beyond.

Not to mention playing an international array of dates and other festivals, prior recording this epic third album. The 8 songs that comprise thes album, sees the band delve deeper into their collective influences, embracing full on space rock, atmospheric film soundtracks, melancholic acoustic interludes, psychedelia, cosmic moogs and percussion, moments of introspection and light … and of course, large helpings of doom.

The fat riffs, big hooks and endless space grooves are all present. So some elements of this album will be something different for the usual doom fan. Katyusha is a 13 minute plus instrumental. Previous comparisons to Windhand, Yob, Sleep. Reginald Omas Mamode IV stands strong in process, sensibility and message; speaking authentically against our collective future and the struggle of the Afro Diaspora people, the enslavement and colonisation of his and many others ancestors.

His clear modus operandi focuses on a desire for peace, unity, love and a revised value system to insight a wider societal change. Throughout, the overall message remains of hope for a better future. There's a subtlety in delivering these ideas and concepts: Afro Mulatto expressions and inspirations of negro spiritual are articulated with clarity through intuitive instrumentalism, raw drums, natty funk bass, soulful fender Rhodes, and Creole percussive patterns.

Mamuthones may have originally taken their name from the death-masks used in rituals in their native Sardinia, and initially emerged from the Italian occult psychedelic movement alongside the likes of Father Murphy, Mai Mai Mai and their labelmates Lay Llamas. Mamuthones manage to take us through a tour of a wide variety of impeccably absorbed influences without sounding like any of them.

Fascinating and ultimately brilliant weirdo rock. Heavyweight black vinyl The past 18 months have brought a steady series of singles, each stamped with a biting sense of intelligence. Limited edition A lot has changed since that release: The melodic core is still there but the production trickery has been dropped in favor of stripped down, pure composition.

Meditational and intimate, "Time-Lapse Flower 1" starts with solo church organ untraditionally stripped of it's grand cathedral-filling reverberations, leaving it warmer and more fragile. Its world weary drone counterbalanced by a beautiful oboe melody and shimmering vibes. Violins and pianos weep. Harps and vibes cast magic spells and time slows down to a crawl.

Limited red vinyl 7" On the flip the grind-tastic grime groove of the original is whisked up into a fierce and frolicsome slice of electrohouse by Tsuba boy Williams. Every time they gigged and the songs changed, they'd re-record them. The record to them, after all, is meant to be "the menu of the live experience. It's 'we are a band and we have recorded us playing for you'.

Unplug yourself from the matrix of gadgets in your life and connect with Man Made instead. Mana Seven Steps Behind Hyperdub. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.

UR introduces Mano De Fuego! This spiritual shamanistic electronic music will take your spirit forward up and over whatever is in your way. Detroit's no. They're still the best! Super limited copies. Thankfully, he never had to enforce it since down to the last writer the Nightshift crew were as much in awe of their monstrous sludge as of their ability to alienate most of an audience through sheer force of riff.

Back by un popular demand, Sextodecimo have re-emerged with a long-lost album, recorded back in and presumably so heavy they lost it in a rift in the space-time continuum for seven years. These unremittingly bleak, crushing doom of the highest order, with passages sitting somewhere between a slowed-down Carcass and a sped-up Sunn0. This revolving cast keeps the album fresh when otherwise, at close to an hour, it could get stuck in the doldrums at times.

Particularly when that band is Radiohead whose two most prominent members have their own catalogues of boundarychallenging solo works to hold up to the light. At seven minutes it never outlasts its welcome, takes you on a chilled drive along the seafront and could easily carry on for another half an hour while you stared glassy-eyed at the horizon and forgot what you set off for in the first place.

The rest of the EP lacks that gently persuasive peril. An unexpected treat from a band that started out as a side-project diversion from We Aeronauts, and one that sounds like it could easily eclipse its mother band. Truth is it is easily equal to anything his Radiohead compadres have made, and certainly far more accessible.

Frankly, the depth and breadth of talent in that band is breathtaking. The slow and steady resultant tension is palpable. The beats remain delicate as the strings are joined by grinding guitar in a compelling juxtaposition of the whimsical and the sinister. While video game and film soundtracks work with the visuals and action to consolidate the experience for the player or viewer, these tracks tell stories themselves; melody and mood combine into something evocative and compelling.

In stark contrast to the prevailing mood in the city for fidgety dynamics and oblique lyricism, Traps were unabashed rock romantics with a predilection for the epic and melodramatic. They might not go down in local music history as much more than a footnote, but we can safely say, they were never knowingly understated.

She cites Taylor Swift as a chief influences. Some types of music tend to make us want to break stuff. With gigs like this it seems things are safe. Kirk Fletcher is rightly renowned around the world as one of the best blues guitarists on the scene, having spent four years playing in The Fabulous Thunderbirds as well as performing with blues supergroup The Mannish Boys.

Giles Church Hall — Hawaiian tea dance with live music. Glaswegian duo Honeyblood, meanwhile, opt for a more 80s-styled fuzzbox of Throwing Muses and The Primitives, with a pleasingly lo-fi edge. Two will be an anniversary celebration, the other a wake. But in each case we should celebrate the music with equal gusto.

For Stornoway two nights at the Sheldonian mark the fifth anniversary of their historic show there in when they became the first non-orchestral band to perform at the venue. It was a show that has almost come to define Stornoway as they played the gig of their lives, alongside the Oxford Millennium Orchestra, the event much, much more than a mere gig. Having already sold out the show on the 13 th , they added a second — earlier — gig, and any spare tickets should be snapped up immediately.

And after that we bid a teary farewell to Spring Offensive, who furnished us with an indisputably superb debut album earlier this year — again financed by a Pledgemusic campaign — but, after an inspiring five-year career seem to have worn themselves out. Which is a bit of a turnaround for someone who was kicked out of school as a disruptive influence aged Now 27, the south Londoner has studied music at the BRIT School and poetry at Goldsmiths and looks like becoming an overnight sensation a mere decade or so after making her first live appearances at hip hop open nights and slam poetry sessions.

But tonight they follow Bo Ningen on stage. Which is a bit like picking a fight in the pub with a pitbull armed with a Kalashnikov and a claw hammer. The London-based Japanese noise band have earned an enviable reputation on the back of incendiary live shows, cutting extreme psychedelic exploration and sheer volume through with cool melodies and leaving carnage and tinnitus in their wake. Preceded by an instore set at Truck Store.

These days Dwayne Anglin takes on vocal duties, providing a pretty authentic Marley vocal style to the old classics. Euphoric folkpop support from We Aeronauts and folky electropop from Robot Swans. They have been dubbed The White Stripes of Ethiopia and for this gig they will be beefed up by a three-part horn section.

While always leaning toward the musical leftfield, Audioscope this year boasts two acts who can rightly be considered legends in their respective fields. Drummer Danny Taylor sadly died in but Simeon, with his home-made electronics, continues to take his music into the stratosphere. Donate the money anyway.

Newton and singer and violinist Lucy Farrell. Last time the Brighton duo came to town was in February at the Bully. It was busy and the band looked like contenders. Nine months later singer. Seems a well-aimed guitar band can still stoke the imaginations of the gig-going massive. Steeped in grunge and blues, the pair exist fully in the lineage of Led Zeppelin, Queens of the Stone-Age and Black Keys — but they create a pleasingly thunderous old noise, particularly given they make it all on just bass guitar and drums.

Kerr has a great blues holler, while Thatcher hits his kit with all the methodical violence of John Bonham, and together the pair resemble a couple of redneck truckers. Then got a bit weird, and then went quiet again. There were rumours they were working with Nile Rodgers. And White Lies.

Certainly her voice is recovered, and while the 80s synth-pop references are still strong, there are more fluid funk and disco elements in the new songs, with everyone from Grace Jones and Carly Simon to ABBA seemingly playing a small part in the influence stakes.

Backwoods porch-folk duo The August List, and festival organiser Osprey are among the supporting cast. We first witnessed Gunnbunny on the same bill as Elizabeth, a teenage trio that featured future- Foals Yannis and Jack, and they more than held their own, lava-lunged frontman Jack Goldstein possessed of the raw grunge power of a young Tad. Nightshift has bought a sleeping bag and taken up residence under the bar already, just to make sure of our vantage point.

He was an activist as much as a musicians and DJ, campaigning against apartheid as well as violence closer to home, and the block parties he organised burgeoned into the global music style we now take for granted. Word is slowly getting out beyond the already converted. Email listings to nightshift oxfordmusic. All listings are copyright Nightshift Magazine and may not be reproduced without permission.

If they need any pointers as to how much noise two people can make, they need look no further than Vienna Ditto whose balance between musical splendour and outright chaos becomes more precarious with each gig. Peerless Pirate, unsurprisingly, dress as pirates, as do a sizeable number of their following. It hardly matters. While Swindlestock have scaled down for the occasion, The August List have scaled up.

Also launching a new album are Co-Pilgrim, who immediately situate themselves somewhere between the American Midwest and the West Coast and whose tender songs wear their melancholy like a comfort blanket. However, when, as in the case of Koo Koo Kanga Roo, the punchline is simply an appalling lack of musicality, the joke is lost on us.

The music itself is an atrocious product of the Internet age: prerecorded, poorly crafted beats and sickly, saccharine synth parts are dubbed with childishly yelled, crudely humorous vocals. Alternating between powerful rock and roll with a full band and soulful solo acoustic performance, Turner controls his audience with the masterful skill of a natural frontman, chatting personably to the crowd as if he was still playing to punters in pub back rooms.

A mixture of recent hits, old favourites and as-yet-unheard new tracks create a well-rounded set, showcasing song writing imbued with a phenomenal sense of subtlety and style that lifts otherwise straightforward rock songs leagues above the sea of mediocre acts attempting to do the same thing.

Is this the first Nightshift review from a bookstore since the The Punt used to begin among the shelves of the now defunct Borders Almost certainly. And who is that dude apparently asleep in the corner Of course he turns out to one of the band as became clear when Lorraine McCauley and The Borderlands settled themselves in front of the bookshelves to play. The biggest contrast of the night, though, is Lorraine and the band launching into a rumbustuous jam of an encore, revealing a hitherto hidden aspect of their playing.

To see how that works out could be an even more intriguing gig. The sheer weight of their Iommi riffage takes us back to the basics of bands like Eyehategod, and Grief. With guitarist John Slaymaker from Caravan of Whores shoring up the doom end of things, Indica Blues are going to be a mighty addition to the local metal scene. Their sound is similar to Glass Animals with a hint of Kate Bush as they create ambient yet spiky lullabies. The fans are in town from London and the south coast, and frontman Rich Fownes, with his ex-NIN credentials knows exactly what shapes people want, but beneath all the mayhem this is a bunch of highly creative musicians working at their peak, and tonight is a celebration that the heart of rock is still very much alive, and ever ready to roll.

Paul Carrera They look like a formidable rock outfit tonight, lead singer Peter Liddle sporting an all-white suit amongst the coherent-looking group of rockstars. Any nerves this band might have had about returning after a break have certainly been settled when, after a long encore, they leave their fans wanting yet more. Her delicate almost harp-like solo-guitar floats in a sea of reverb under her strong and intense vocals. These are beautiful, melancholic songs but somehow they still fill the room.

Jahnsen has the power of Anna Calvi, but is balanced with a delicate sincerity that is really quite special. They have the confidence and polished performance of a much more established band. On record they are sedate and controlled, like Beach House and Rhye, but live the whole band comes alive giving their reflective brand of dream-pop some much needed drive and energy. Depending on your way of thinking, you can look away now; Eagulls might not be the band for you.

Feel the warm, shrapnelinfused treacly goodness of that wash over you. Then go and tend to your wounds. Eagulls, hailing from Leeds, look a complete mess, like five random twenty-something thrown together and told to form a band. The drummer looks like Gary Numan when he dyed his hair blonde and pretended to be a machman.

One of the guitarists should probably be in a metal band. The other seems to have got lost on his way to a geography lecture. Overwrought, theatrical, and utterly tedious, the only interesting thing about them is that not one of the band has a beard, but this is possibly because any semblance of hair has been rubbed away by over-zealous chin stroking. That is indisputable. Her work with the BBC Radiophonic Workshop in the s was so far ahead of its time it still sounds like the future.

And the music is astonishing — by turns eerie, playful, harshly industrial, soothingly ambient and otherworldly. With copyright issues holding up a proper and fitting release of the archive, a wider audience still awaits music that was made over 50 years ago, before even the most basic synthesizers were being used.

Fourteen projectors illuminated the stage and band, all decked in white; seven showing films, seven still images, with nothing digital in those days. The takeover starts at Turl Street Kitchen at pm; the next venue to open its doors would be The Purple Turtle, but as the first band has pulled out sick, those averse to quiet, mostly gentle, acoustic sounds are wise to arrive later in the evening as the Kitchen holds its own for the first few hours of the takeover.

Helen Sanderson White sings pretty but mostly hookless music accompanied by her own soothing keyboard-playing. The venue has a good vibe, with many people absorbed in the music, absorbing their drinks, and mostly making the most of the only venue where they can sit on the floor while retaining an ounce of self-respect. After those opener problems, Leader appropriately kick off proceedings at The Purple Turtle.

Looking quite like a group of X-Factor hopefuls, the five-piece play solid but unmemorable rock tracks as their singer delivers most of his lyrics bent over in a display of Chris Martinstyle stomach cramps. They seem to be setting a good mood for the night, with an unusually appreciative audience for an early-evening set. The visual element is a very modern morphing of images projected behind the two, while Paterson pulls out CDs out of a wallet to mix and treat into proceedings as Fehlmann does something creative with his MacBook.

That said, the talk afterwards is overwhelmingly positive, reflecting an affectionate loyalty to a most British musical institution Art Lagun Scholars, pre-name change — play gloomy, driven tracks to a packed crowd. With tense guitar riffs, heavy bass and rolling drums underpinning the vocals, their set is like one big catchy heartbeat.

In a mass of leather, polka dots and sequins they squabble over where to put the set-list before launching into an energetic set of hard-hitting growling vocals and wailing guitar solos. With ballsy, catchy, loud songs they create a compelling argument to seek out the mysterious man who the bassist tells us is lurking around the back of the venue waiting to sell us merch.

Squeezed into a corner, The White Rabbit stage plays host to duo Los Dos Amigos, who have been entertaining the crowd with an extra impromptu set to cover up an organisational flaw. Shortly after them folk duo Little Red take to the stage with warm, story-telling songs. They lull their audience with pretty harmonies as chips are dished up loudly in the kitchen beside them. The venue is fit to burst by the end of the night when Los Dos Amigos get the crowd dancing to their second set, especially a particularly enthusiastic dancer dressed as a tiger.

Despite a few problems causing delayed or cancelled sets, the takeover venues, scattered over town, create little surprise pockets of light and music and pull together for a fun night. Book Now. Pull up a pew. To try and track down such missing regimental types as old Sweaty, not to mention members of such famed but long-lost Oxford bands as Fizzi Kisses and Fuzzgun. Good man, Lethbridge.

Now, what was I saying Erm. Well, whatever it was, I am sure it involved torrents of hatred for grungy indies aka grundies, student hipsters aka stupies, country-beard-wearers aka countbies. Gah, the modern world. I despair. More drinks, NOW! And plenty of Krautrock! Originally from Merseyside, he moved to Oxfordshire three years ago after graduating from Leeds University. What does he sound like A lithe and extremely loud blend of post-rock and math-rock, with nods to the more aggressive end of prog and the noise blizzard dynamics of shoegaze.

Purely instrumental, mixing electronics with heavily-effected guitars, Peter strikes a fine, often deafening, balance between upbeat synth-driven electronica and usually brutal post-rock walls of sound. Black Emperor, and I was a huge fan of Oceansize and 65daysofstatic. But the older I got the more I started to enjoy electronic music, particularly the versatility of the likes of Four Tet, Corduroi, and Jon Hopkins.

I was at the White Rabbit and it was rammed, hot, and stupidly loud. It was a great night, but I kept dropping my plectrums mid-song. I dropped them all, and then dropped one I borrowed from an audience member. It totally ruined half of my set! Tavern landlord Bob Woods and his family had run the pub for six years, more than doubling its takings, while promoter Mac had helped launch the careers of Ride, Radiohead, Supergrass and more in his time there. All of which counted for nothing in the name of progress.

Petitions and demonstrations were organised to try and turn the decision round, but as it stood, come January, the Jericho Tavern would be no more.

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