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Dylan / Public Domain, 50th anniversary recordings (1964)
« skrivet: 02 december, 2014, 15:25:06 »
"Bob Dylan Public Domain, 50th anniversary recordings (1964) will be a one off pressing limited to 1000 across Europe. The format will be a 9 piece LP Vinyl in a slipcase. Release date 8th Dec (this is likely to move back one week). aliasrobert"

Läser jag precis nu vet inget mer än detta om det är sant eller inte inte vet jag.



Wye Oak - 2014-04-11 Coachella Festival
Indio, CA

1080p webcast (no transcoding)

The webcast FAQ:

1. There is no audio and/or video when I play this thing. What do I do?
Change the thing you play your videos with. Use either VLC or MPC-HC, they're free and the best.

2. There is no audio and/or video or it doesn't work at all when I burn webcasts to a DVD. What do I do?
Use DVD Styler to make DVD-Video discs. It's free, easy to use and supports webcast videos.

If you have any more questions or whatnot feel free to message me. I'll add them to this thing and include them in the description of every webcast I upload. These two have been popping up relatively often so far.

The Tower
Holy Holy
Sick Talk
Hot As Day
That I Do


 :party: :d6:


recorded for FIP at Studio 105 Radio France, Paris, France, on thursday 6 february 2014

a belgian girl that is somewhere inbetween Joni Mitchell and Sade or Carmel... kinda of eighties female fronted lavish pop. Mélanie sings and flutes, with Pascal Paulus on keyboards, Pascal Mohy on pianoforte, and Dre Pallemaerts on drums. note: I have also found her surname spelled, incorrectly, as "de BLASIO"

tracklist > running time 21'15"
1- radio introduction
2- Let Me Love You
3- The Flow
4- band's intros
5- I'm Gonna Leave You
6- radio outro

FM radio broadcast by "Alza il Volume On Stage!", Radio 3 RAI [third channell of Italian national radio], on wednesday 5 November 2014, 14:32 hours CET.

Lineage (FM > wav > flacs > web):
aiwa XT-003Z tuner > Sony PCM-D50 linear PCM recorder > 44.100khz/16bit wav on Sony Memory Stick ProDuo [mark2] > usb > Audacity 2.0 (editing and track splitting) > 44.100khz/16bit flac's (level 8) > webtorrenting


.MKV Video  :d6:

Wayne Shorter Quartet - Live Webstream

Jazzfest Stockholm, Sweden, 2014-10-18

• Wayne Shorter - ts
• Danilo Perez - p
• John Patitucci - b
• Brian Blade - dr

Media Info in Info File

Source: Live Webstream

Have phun

Inspelningar / BT: The New Basement Tapes - 2014-11-13 Los Angeles
« skrivet: 14 november, 2014, 16:05:22 »

The New Basement Tapes
November 13, 2014
Montalbán Theater
Los Angeles, California, U.S.A.

audience recording (see samples below)

Zoom H1 (internal mics) > WAV > Sound Studio (track splits, opening and closing fades) > xACT (FLAC conversion)
Recorded by Bacharach (back of theater, left side)

Disc 1 (66:18)
01. [1:59] introduction by T Bone Burnett
02. [5:11] Down On The Bottom (Jim James)
03. [6:23] Spanish Mary (Rhiannon Giddens)
04. [3:16] Liberty Street (Taylor Goldsmith)
05. [2:56] Married To My Hack (Elvis Costello)
06. [6:22] The Whistle Is Blowing (Marcus Mumford)
07. [4:07] Diamond Ring (Taylor Goldsmith)
08. [4:38] Nothing To It (Jim James)
09. [5:09] Lost On The River #12 (Elvis Costello)
10. [5:09] Florida Key (Taylor Goldsmith)
11. [4:38] Stranger (Marcus Mumford)
12. [4:12] Hidee Hidee Ho #16 (Rhiannon Giddens)
13. [7:56] Hidee Hidee Ho #11 (Jim James)
14. [4:15] Down On The Bottom (alternate) (Elvis Costello)

Disc 2 (40:53)
15. [6:48] Kansas City (Marcus Mumford)
16. [5:39] Duncan And Jimmy (Rhiannon Giddens)
17. [1:30] encore break
18. [4:56] When I Get My Hands On You (Marcus Mumford)
19. [6:03] Lost On The River #20 (Rhiannon Giddens)
20. [3:01] Card Shark (Taylor Goldsmith)
21. [6:56] Florida Key (alternate) (Jim James)
22. [4:31] Golden Tom - Silver Judas (Elvis Costello)
23. [1:26] closing remarks

Duration: 1:47:10

The band:
Elvis Costello - vocals, guitar, bass, keyboards
Rhiannon Giddens - vocals, fiddle, banjo, bass
Taylor Goldsmith - vocals, guitar, bass, keyboards
Jim James - vocals, guitar, bass
Marcus Mumford - vocals, drums, guitar
Jay Bellerose - drums, percussion
Griffin Goldsmith - drums, percussion

with special guests
Alana Haim - vocals on The Whistle Is Blowing & Kansas City
Danielle Haim - vocals on The Whistle Is Blowing & Kansas City
Este Haim - vocals on The Whistle Is Blowing & Kansas City
Bo Koster - keyboards on Hidee Hidee Ho #11, Kansas City, Duncan And Jimmy, Florida Key (alternate) & Golden Tom - Silver Judas
Johnny Depp - guitar on Kansas City, Duncan And Jimmy & Florida Key (alternate)

This is the first and perhaps last concert by the New Basement Tapes, the group responsible for Lost On The River, the new album of unrecorded Bob Dylan lyrics. If you don't already have it, go buy it before you download this.

Card Shark is performed unamplified,

One of the Haim sisters plays percussion on Duncan And Jimmy.

The alternate versions of Down On The Bottom and Florida Key do not appear on the Lost On The River album.

If you have a better version of this show, please post it.

Do anything you want with this recording.



Lucinda Williams Band
Lincoln Theater
Washington, DC

***This torrent is incompatible with the CD-Audio standard.
The sound is in 24-bit stereo sampled at 44.1 kHz.***

Sound Professionals SP-CMC-2 (cardioid) > SP-SPSB-10 battery module > Edirol R09HR (24/44.1)
Row 9, four seats right of center, mics at ~4' high
SD > HDD > Nero Wave Editor/Audacity > Traders' Little Helper > 24 bit FLAC

Taped by: billfloyd
Transferred and Seeded by: billfloyd


01 Blessed
02 Can't Let Go
03 Crescent City
04 Pineola
05 Drunken Angel
06 West Memphis
07 Compassion
08 Are You Alright?
09 Blue
10 Soldier Song
11 Are You Down?
12 band intros
13 Protection
14 Foolishness
15 Real Live Bleeding Fingers and Broken Guitar Strings
16 Atonement
17 Essence
18 Joy
19 Honeybee
20 encore applause
21 Ain't My Cross To Bear (Allman)
22 Righeously
23 Get Right With God
24 encore applause
25 Rockin' In The Free World (Young)

Running Time: 2:02:29

Lucinda Williams: vocals, acoustic & electric guitar
Stuart Mathis: electric guitars, harmonica, backing vocals
David Sutton: electric & acoustic bass, backing vocals
Butch Norton: percussion, backing vocals

We thought the band was going to burn the theater down with this one.
An amazing two hour show from Lucinda with a killer band, great seats,
and the sound was perfect. Couldn't ask for more than that, except maybe
a third encore.

We'll put some MP3 samples up, but MP3 doesn't do this recording justice.

Opening act Kenneth Brian Band can be found here:

A Team FLOYDZ recording.
24-bit only, thank-you! Convert, downsample, redither or remaster only for your own use.
If you need to convert to 16 bit or other formats, try Foobar (it's free).

See our other recordings on Dime by searching on "floydz"

If you are doing some shopping, make sure you pick up Lucinda's excellent
new album, Down Where the Spirit Meets the Bone, her first album on her own label.



Eivør (Pálsdóttir)

The Netherlands

4th November 2014 (2014-11-04)


Type: Audience master, recorded 2 metres back from suspended left-hand side PA.

Source: Factory-matched pair of Schoeps CCM 41V microphones (DINa mounted) -> Marantz PMD661 recorder with Oade Concert Mod (-18 dB gain/44.1 kHz/24 bit WAV)

Lineage: Audacity 2.0.6
* Applied variable envelope amplification across recording for consistent listening experience.
* Used Clip Fix plug-in to repair 3 particularly loud vocal peaks.
* Added fades.
* Split tracks.
* Converted to 16 bit.
-> FLAC (compression level 8 ) [libFLAC 1.3.0 20130526]

Taper: Ian Macdonald (ianmacd)


01. [05:06] Green Garden
02. [01:03] [banter]
03. [04:23] Rain
04. [00:35] [banter]
05. [06:04] Far Away
06. [00:23] [banter]
07. [04:06] Remember Me
08. [00:20] [banter]
09. [04:21] Room
10. [01:04] [banter]
11. [07:01] Nú Brennur Tú Í Mær
12. [06:02] Wake Me Up
13. [00:30] [banter]
14. [05:23] Trøllabundin
15. [01:25] [banter]
16. [05:18] Boxes
17. [04:42] True Love
18. [00:58] [banter]
19. [06:32] Falling Free
20. [01:08] [encore break]
21. [01:00] [banter]
22. [04:12] When I Think Of Angels

Total running time: 71:47


45f2582ff2266a63ae4b7ed7df5a34bc *flac/01_green_garden.flac
acdb5db5efbc31c2f5b4fa3826646f24 *flac/02_banter.flac
75595ef553082162ba721a41a6f2cf06 *flac/03_rain.flac
b8f0c3f2d12f74a14e974ef02b92e75a *flac/04_banter.flac
4bfbc9f1dd5e001f6d235e6ede804ccc *flac/05_far_away.flac
2d5f8c76a7fb5d82a5b646a7fb8ebe1a *flac/06_banter.flac
b0b59c8ae9676153088015d9b046cee9 *flac/07_remember_me.flac
cc244459e780374f7316b0f6c0a1e4a3 *flac/08_banter.flac
fe22cb2cc4337e9451675b4c96404eb7 *flac/09_room.flac
7f71a8e0781f56340a266a87a4d28ed3 *flac/10_banter.flac
e7e127630e66b7cdb6e9a0a8ab26157d *flac/11_nú_brennur_tú_í_mær.flac
fce96d075a1e42e8cc81a5c6b9e466ad *flac/12_wake_me_up.flac
1d5f38fce943afce3d2ca55f7bd7bfeb *flac/13_banter.flac
86479c9f6eb8e627fb43f0ec965a1cfb *flac/14_trøllabundin.flac
55030c059ce117cc3ef6327d34af6dfe *flac/15_banter.flac
631f8bb839ab9ac13b66a6629e994832 *flac/16_boxes.flac
2a7265b07c1a89ed64be14f1996a4509 *flac/17_true_love.flac
816673bf59c1932cae726ccf2c72a67d *flac/18_banter.flac
235ffcd3676b59e330b1404020e1d5d3 *flac/19_falling_free.flac
c8e48abf18d3a13bf2b783e77afa6e03 *flac/20_encore_break.flac
9101fc0467d835caa94a040043d920aa *flac/21_banter.flac
45c1f77443b164571cb4aa3195f8cb29 *flac/22_when_i_think_of_angels.flac
4a1e478fbbe7e66b91bc682015d25b04 *flac/checksums.ffp
070c8f69a9c8f103dfadf19f2f02c929 *tags.txt
576c286d884ea8f87f568e1409e247d8 *titles.txt


"Who?", a lot of you might be wondering.

My wife and I decided to go to the Faroe Islands for our summer holiday in

Unbeknownst to many -- even a lot of Europeans -- the Faroe Islands are an
autonomously governed archipelago situated roughly halfway between Scotland
and Iceland. The 18 islands have enjoyed self-rule since 1948 and have their
own language, currency and top level Internet domain (.fo). Nevertheless, a
surprising number of people have never heard of the Faroe Islands and even
some of those who have would struggle to find them on a map.

These dramatic and inhospitable rocky outcrops in the north Atlantic Ocean had
always held a strange fascination for me, and so a trip to them one day was

Typically for me, I soon sought out a record shop in the capital, Tórshavn,
after arrival and asked the chap behind the counter to recommend some local
music to me.

He put on 'Krákan' by Eivør Pálsdóttir, which had been released the previous
year on an unknown independent Icelandic record label called 12 Tónar.

(12 Tónar would later go on to become one of Iceland's leading record labels
with an impressive roster of innovative artists, but at the time 'Krákan' was
their very first release and the name 12 Tónar was known only for their
cosy record shop along Reykjavik's Skólavörðustígur.)

From the moment the CD started playing, I was intrigued. I was told that Eivør
was a talented local girl from the village of Gøta on the island of Eysturoy,
who had recently moved to Iceland in search of a wider audience, having
outgrown the Faroes' domestic market of fewer than 50,000 people. Even the
Icelandic market, which most of us think of as tiny, is, with a potential
audience of some 300,000 people, huge compared to the minuscule Faroese

Artistically speaking, it was also a very logical move. Not only are the
Icelandic and Faroese languages related, both having only slightly evolved
from Old Norse with little outside influence, but Eivør's music bore a certain
kinship with Icelandic folk music and her singing style recalled breathy
Icelandic female vocalists like Björk and Emilíana Torrini. It was an obvious
career stepping stone to move to Iceland.

I bought a copy of 'Krákan', along with her first album, the eponymous 'Eivør
Pálsdóttir', which featured her interpretations of several Faroese and
Icelandic folk songs. Released in 2000 on the Faroese label Tutl, a completely
unknown quantity to me at the time, it appeared when Eivør was still just 17.

This strange music ticked all the right boxes of talent and quirkiness, with
the added allure of more than a little obscurity.

We left the Faroes a few weeks later, missing one of Eivør's local gigs by
just a few days. Bugger!

In the decade that followed, I continued to buy her albums and observe her
musical evolution from afar. Somewhere along the line, she dropped the use of
her patronymic surname and became just Eivør.

I would also check out her touring schedule from time to time, but she never
appeared to come any closer to the Netherlands than Scandinavia. I had to bide
my time.

Last year, she came tantalisingly close with a short German tour, her latest
record having been released in the country to a warm reception in certain
quarters. Truth be told, I didn't even know about the tour at the time, or I
might have made the effort to attend the gig closest to me.

Then came the day just a few months ago that she finally announced a couple of
concerts in the Netherlands, one in Ottersum (of all places) and another in
Amsterdam. I immediately purchased tickets for both.

The Ottersum gig was scheduled to take place a couple of days before the
one in Amsterdam, but Eivør caught a cold and her voice wasn't up to the task.
The gig was cancelled just a few hours before it was due to take place, and I
was about to get into my car to drive there when the e-mail came in.

I feared the Amsterdam show might be cancelled, too, and that another decade
might pass before I got to see her perform live, but she posted on Tuesday
that she was well enough to go ahead with the gig.

And that brings us to the bunker of Bitterzoet in the heart of the city. I
turn up half an hour before show time and the place is still pretty empty. I
count the punters: there are currently 41 of them.

That number probably swells to 75, perhaps even doubles by the time Eivør
comes on stage at 21:00. It's the emptiest I've ever seen the venue and aptly
demonstrates how obscure Eivør still is in this country.

She brings with her fellow islander Mikael Blak, who has worked with her since
her debut album. His father is Kristian Blak, who may be known to some of you
as the founder of the Nordic folk ensemble Yggdrasil, with whom Eivør has also
sung in the past. Kristian also doubles as the owner of the Tutl label, which,
I mentioned, released Eivør's first album some 14 years ago.

Anyway, Mikael is assigned bass and keyboard playing duties this evening.
There are no other musicians other than Eivør herself on acoustic guitar.

The resulting sound is considerably stripped back from the full band found on
Eivør's most recent album, 2012's 'Room', and this turns out to be something
of a double-edged sword.

Whilst the pared down sound obviously suits the acoustic numbers, one or two
of the more involved productions from the album, notably the title track,
suffer slightly. Divorced from its drums, 'Room' is driven by an electronic
bassline that gives it a slightly cheap feel when laid bare in this way.

It's not disastrous by any means, but it's a significant departure from how
the song is meant to sound when played by a full band, and I can imagine that
someone unfamiliar with Eivør's music might be best served by first listening
to her latest album before approaching the live renditions here.

I would be very surprised if this were anything other than an unavoidable
budgetary restriction. It would obviously be prohibitively expensive to tour
Europe with a full band when you're sometimes selling only 70 or 80 tickets a
night. No-one is getting rich from this endeavour and reducing the head count
is the only way to break even.

And yet, the size of the audience in this unassuming little venue is in total
disproportion to the quality of the performance given by Eivør and Mikael this
evening. It's an absolute delight and I feel privileged to be able to bear
witness to it.

Eivør's voice soars. She possesses truly incredible range, recalling early
Kate Bush and perhaps no-one more than Ólöf Arnalds. In fact, Eivør has even
been known to perform the occasional cover of Bush's 'Hounds Of Love'.

These comparisons do her an injustice, however. She isn't trying to imitate
anyone and many of her songs are uniquely infused with her Faroese singing
heritage. She sings in three languages and it's only been in the last few
years that English has featured heavily in her work.

The highlight of the set is 'Trøllabundin', sung in Faroese and written while
Eivør was living in Iceland. She abandons the guitar for this song, instead
beating a tribal rhythm on a Nordic frame drum.

The song features some impressive vocal gymnastics, which it may be tempting
to attribute to digital effects, but I can assure you that, apart from some
reverb, it is the woman herself conjuring every coo, rasp and yelp straight
from her own vocal cords. Even Mikael Blak isn't on stage during this song.
It's just Eivør and her frame drum.

A special mention should also be made of 'Falling Free', a stunningly
beautiful song, and the one that closes 'Room'. Eivør's vocal on this song is
simply bewitching.

70 minutes after she began, Eivør's first Dutch concert draws to a close.
There may be fewer than a hundred people in the room, but some of them
probably travelled across the country for the gig, and I guarantee you that
each and every one of us in the room is blown away by what we've witnessed

The quality of the recording is all that I had hoped and aimed for. It's
crystal-clear and puts you smack in the heart of the music. With a good pair
of headphones on, what you will hear is identical to what I heard on the

The recording is dedicated to Jens, a.k.a. DIME user jazz_sen, for his recent
reseedings of the precious few Eivør recordings to have appeared on DIME over
the years. All of them were originally posted before the dawn of my DIME era
and I am grateful to Jens for making them available again.

As always, samples are included to help you determine whether the recording is
worth your while.

On the other hand, you could simply defer to my assurance that you really
should hear this music. Why not do me, yourself and Eivør a favour and
download this? And if you like what you hear, you might even feel moved to buy
an album or two.

I think it's fair to say that if Eivør were from somewhere less remote than
the Faroe Islands, she'd be a lot better known by now. I'd like to think that
this recording might make a small contribution towards that goal, bringing her
into a few far-flung homes that would otherwise remain oblivious to her music.

Övrigt / Lakrits
« skrivet: 14 oktober, 2014, 15:36:01 »

Inspelningar / BT: Mirel Wagner - Label Pop Session - Sept. 16th 2014 - FM
« skrivet: 13 oktober, 2014, 11:06:21 »

 :party: :party: :party: :party: :party:

Mirel Wagner

Label Pop Session
16 sept. 2014

1- Intro
2- The devil’s tongue
3- No death
4- What love looks like
5- The dirt
6- Taller Than Tall Trees
7- 1 2 3 4
Total : 20 min 02 sec

Broadcast on 10th october 2014 on french radio France Musique (Label Pop program) but recorded on 16th september at the Studio 107 of the Maison de la Radio (Paris)
Analogic tuner > Eye TV > Sound Forge > flac

Mirel Wagner : vocals, guitar

upload by smog31

enjoy !

Övrigt / Artist färger och Kadmium färg förbud
« skrivet: 27 september, 2014, 23:07:25 »

"Artists see red over cadmium ban
A Europe-wide restriction on the use of the chemical pigment is under consideration

"A Europe-wide ban of cadmium pigments in acrylic, oil and watercolour paints is under consideration that, if successful, could be enforced within two years.
The EU is weighing a restriction on the chemical following pressure from Sweden, which argues that artists pollute the food chain when they rinse their brushes in the sink. Cadmium ends up in sewage sludge and is then spread on agricultural land, according to a report submitted by Sweden to the European Chemical Agency (ECHA) last year.

Dags att köpa några stora tuber verkar det som... Jag använder pigment i sin råa form som pulver så jag köpte 1kg ljusgult azo pigment nyss det är nytt för mig känns svårt att gå över till azo pigment som man har talat om länge inte har de bästa åldrande egenskaper och saknar den optimala lyskraften styrkan nåväl miljön är mycket viktig så det får bli tunna lager med kadmium om något i framtiden...

Andra artister / Sumie Nagano - Sumie
« skrivet: 14 september, 2014, 19:32:51 »

SUMIE - Show Talked Windows



Det här är ju inte helt fel heller... Sumie...

Less is more. Det behövs inte så mycket. Det är en "fine line..."

Jag får känslan av en ... ..... :-)

Speed Into

Läge för att lägga på "listan" tycker jag... Så nu var det gjort :-)

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