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Trollface glitched Fanmade, by ICanSpeak. The song does something different now, puts the other foot forward. End on a verb and it becomes a command: run! Towards the next thing. Do — towards the next thing to be done. Googling the appropriate prayer, what does it say you should do. Bouncing the sticks off the snare, what does the sound do. How are we all doing. Doing, never done.
Listening, never done. Mastered and cut by Helmut Erler at Dubplates and Mastering. Guitars, bass, drum kit, and keyboards mix with toy percussion, amplified pine cones, pot lids, iPads, a zither and an arsenal of effects. The spitting, itching, near exhausted vocals from Chantel Esso are unlike much else we've heard. Ranging from seconds-long to seven:minute:somethings, the album coagulates to form a heady meld of rudimentary phrases, kinetic repetition and malleable samples. Experimental songwriting is rarely so forthcoming, emotive, or approachable.
Mixed by Ronan Fay. Mastered by Katie Tavini. Artwork by Still House Plants. New album on bison from Kumio Kurachi, whos only performance outside of Japan was here back in Lyrically Kurachi draws life from the small events of life, the hira, - the joy of choosing a lipstick in springtime, the business of changing the tatami, raindrops deciding whether to fall as snow. As much a visual artist as a musician, we are pleased to present Sound of Turning Earth in the form of a deluxe CD accompanied by new artwork by Kurachi and full translation of his poetic lyrics.
These striking songs speak for a liberated imagination. Past collaborators include Taku Unami and Tatsuhisa Yamamoto. Throughout the record you are reminded of both the power and tenderness of brass instruments — their capacity to astound and reassure, to soothe and tickle. Built on the West Highland Line and opened in , the span viaduct is nowadays best known for its appearance carrying the Hogwarts Express.
Each child is provided with a brass instrument and attends weekly lessons and rehearsals. GYBB also attend competitions, masterclasses and concerts. The cover art is by longtime collaborator Annabel Wright. A protean duo operates under the name of Swiss engraver Urs Graf - c. The sheer number and differing degrees of participation by these musicians and their voices avoids genre - from passionate, rasping dialogues and the slow sedimentary effort of building the composition, to the use of six languages in various arrangements and surprise oral interventions.
The same applies to the modes of recording, whether in the studio, live or by integrating direct sound recordings. The compositions on Uva Ursi - or bearberry, a medicinal mountain plant with small white flowers - confound expectations and established standards and attain new forms of interplay between Italian variety, free jazz, cabaret, instrumental theatre, Lettrist recitation, the disruptive intensities of improvisation and noise, and walrus songs.
These disjunctive synthesis do not exclude humming or toe-tapping either, even though they may initially seem untenable as a whole: the airs are captivating but any dancing only arrives in passing, and either gets bogged down by weird meter or catches a chill from deceptive disintegrations and globbed down by macabre sounds. Each track has a different flavour, from a different time, another place, and often associated with a different recording medium or varying groups of individuals who inspired or actually took part.
Thank you friends, listeners and collaborators for being around, and for all those who inspired and supported the journey so far. Making this available at a Nice Price considering the ridiculous volume of content, and as is the case for much of People Like Us, you can quite possibly find a lot of this in various forms elsewhere on the internet for free, either put there by us, or others. But if you'd like to support us, then we thank you and welcome that. It will help make more happen.
First released in digital-only form in exclusively for UbuWeb ubu. This makes perfect sense financially, but no sense whatsoever that a year's work by an artist should also disappear for such reasons. So get all of this while you can, and we completely endorse getting one's work out there, no matter what. If you don't share, your profit is limited.
Since , she has developed an immediately recognisable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and appropriation as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form.
The music on this album was composed between and initially for five different live performances of moving image and sound. One can find the accompanying visual elements of some of this music at ubu. You can find lots of PLU free on the internet. However, we do appreciate it if you purchase things from us to help us sustain this kind of work. Many thanks.
Music For The Fire is a plunderphonic concept album depicting the lifespan of a relationship, as told through samples of hundreds of different songs and voices who had no idea they were all telling the same story until they were all spliced together. Strangely direct and evocative for an album assembled entirely from a patchwork of disparate sources and music both obscure and over-familiar, Music For The Fire comes with an illustrated lyric sheet which reproduces the countless sampled voices as a single if utterly schizophrenic text — a bedtime story that is wildly inappropriate for actual children.
No reliable narrators, just the familiar and absurd, which on different spins of the disc might strike you as either maudlin, poignant or almost painfully hilarious. Since British artist Vicki Bennett aka People Like Us has been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives.
Wobbly is the long-running collage project of Jon Leidecker US , who improvises live with pre-recordings to coax the harmonies out of recorded sounds of individuals and animals from disparate cultures. The present album for Illegal Art is composed from live recordings, carefully and obsessively edited over a great deal of time, and is their funniest, darkest and yet somehow strangely compassionate work, Music For The Fire tells a story which every listener will recognize in their own unique way.
WE put it there! First released on Mess Media in on CD, and then reissued on cassette in on Sucata Tapes, we've combined the digital files of both to bring this to you all on one place. Amazing to think it is almost 20 years later that we write this. This represents an earlier life of PLU, some of which carries through to now, some left long behind Happily, Vicki Bennett has yet to fall down either precipice, but yodels down contentedly from her own Alpine audio-cottage.
There, with loving care, she snips and tucks at the lycra jumpsuit until the fit is snug, places every plastic shrub on the Happy Valley Ranch just so, and throws another dance record on the bonfire. Serving her birthday cake with a turd, her gags are always lined with a virulent creep factor. You get the feeling that the vacancy and pointlessness of empty speech is being lampooned and mourned in equal measure. The least you can do is head up to the Happy Valley Ranch for a spell and have a listen.
Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early s. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe.
But an image on the way memories drift and are being constant rebuilt. An unfinished collage. Heavy experimentation out of Northampton, Massachusetts. Operated by guitarist and graphic artist Bill Nace. Charles recited the free-associative poem here, alongside Nace's minutes instrumental guitar abstraction. Nace arranged a slow, hypnotic drone, first played on a distant, Far Eastern-tinged acoustic guitar, that later morphs into a quiet, and even quieter claustrophobic-electric rustle, that fits the closing lines of the poem: The blood that fell on each new tomorrow And you saw this as I was watching you.
Under the influence of all your stars, In mirrors of your galaxies of blue, The hero and his love became your scars But this rose picked could not be picked anew. To measure you and me in full disguise I lay beside our rose of paradise. Long sold out vinyl! For years, they've each kept their music fresh, always avoiding preconceived notions of what they're supposed to do.
Dilloway's tape loops and electronics are routinely musical, which Nace's guitar always stretches to the edges of alien electricity. One hears the earliest hints of electronic music, the conceptual and visceral assault of noise, the structural and spiritual liberation offered by free jazz, the delicate patience of extended techniques, and so much more.
Mastered by Carl Saff. There's a story: Initially, I released this as a cassette on my own label, Silver Lining. To be fair, you can hardly call it a label. I have no right releasing my own music, let alone anyone else's. I'm bad at manufacturing things, I'm bad at promoting them, and I'm especially dismal when it comes to packing things up and mailing them out. And so this cassette had a brief brush with public life and then vanished, due primarily to my negligence and laziness.
This is where Open Mouth, once again, comes to the rescue. The record comes in a gorgeous full-color sleeve, and the sound is so much finer than the cassette that even the more sweaty-palmed collectors out there will gladly welcome this object in favor of its previous incarnation, and join me in eagerly awaiting the day when these two release a proper full length.
It's a subtle melding of the personal and the conceptual. But they're not really a band. A band is a thing that exists over time and practices and builds its own identity. Or something. This is a duo. A meeting of the minds. A conversation. A lost weekend. At their best, duos illuminate the core tenets of individuals while pushing them into territory they might not otherwise occupy.
It sounds easy but it's anything but. Just look at divorce rates. Nace and Dilloway make the perfect duo. This collaboration though, like their back catalogs, works because it is beholden to none of these. Their individual voices are recognizable, yet the record's allure is found when those voices funnel into one another.
In these moments, who's who becomes irrelevant, and the music is elevated to its rightful place, far above the concerns of personality or individualism. The gurgles, scrapes, moans, and loops build their own intoxicating fog, a metallic expanse with its own logic.
After all these listens, I remain disoriented by it. It's the kind of thing you want to play again because you can't quite remember exactly what it sounds like. I'm reminded of J. Ballard: 'The slower the clock, the nearer it approximated the infinitely gradual and majestic progression of cosmic time.
Nace and Dilloway each embrace the immediacy of moments and the endless march of time equally, so for this record to finally see the real light of day is no minor event. In the summer of guitarist Bill Nace and jaw harp player chik white began a long distance collaboration. They put together enough material for a 7", which was released in September on Bill's Open Mouth Records. Here it is in download format. Recorded, mixed and mastered by Emily Robb.
Turn Me On - 4. Be There Soon - 5. Take It Down - 0. Where Did You Go? Mastered by Mark Miller. Reflections and refractions of sound swim around in their own subtlety. A conversation gets out of its own way, using an unknown language of letting go. A focused void. Drone slabs and microtones bend and waver, slipping beneath the surface of sound. Using a a mini brute and Korg synthesizer, John carved out time to occasionally sit in a room to work on these recordings.
Over a span of two years, he visited this room when he felt like he needed to. Tones travelled through effect pedals and out of speakers, filling up the solitary space with shifting waves. The instruments and recording device were always present and ready when the connection felt right. It feels right. Music underneath. I listened closely to 'Bridle Path' on my own wanderings, and it became the perfect soundtrack as the moving scenery folded into itself.
My days were filled with long drives, airport lines, windy highways, and sweeping views. I I sat still, but also moved at a clip, feeling tired and awake as dramatic landscapes changed with every passing view. I considered the music a gift. John and I once traveled out to the coast of a famous surf spot in Portugal, Praia Dos Supertoubos, and found ourselves in front of some enormous waves - the biggest I had ever seen. The oceans magnifying energy was surreal, and I sat on the beach with my camera, thrilled as John immersed himself in the wondrous ocean.
The massive waves swelled, and there was John, brave and symbiotic - floating, rising, falling, and gliding. This music captures my own vision of him out there on the water. Countless performances, recordings, destinations, discussions, luke warm coffee, big hooded coats, foggy windows, gear in an elevator, junky practice spaces. There was momentum of feeling our own way, laughing, and listening. John always listening seriously. King Tubby pointing to his head. The kind of friend when you get to know their various cars over the years, and enjoy spending time in them.
One channel of a stereo working. It always felt good. Listen for yourself. Not an intended trilogy on Jakes part but it has become one to my mind. It has come to be how I listen to them and experience them, all informing each other, echoing and challenging each other and growing into each other's space and light like a garden of plants that would never actually coexist anywhere in reality.
Jake is always tirelessly reaching for something new yet I'd avoid using the word progression here. It instead feels to me like the last piece of a puzzle, or of a world created by some Jack Kirby demigod. Something has been completed and now all the pieces are interchangeable. The first can go last. The middle can be first.
The whole thing becoming a universe looping in on itself with a multitude of entry points and not a lot of exits. These are dense environments where sections can move from microscopic to macroscopic, day to night and back again, so effortlessly that it's hard to tell if it's intended or if something imperceptible within you shifted the locus of your perception. But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown.
There's a sense of danger here like warning transmissions, concussive roiling rhythms and jagged disturbances. Yet also clear straight lines giving way to enveloping curve and staggering beauty. Supplant the beginning with the end with the beginning. Live recording of a totally weird collaboration between flutist Lao Dan and multi-instrumentalist Li Daiguo.
A new interpretation of Chinese folk instrumental music. In this album, tribute is paid to Fei, owner of the Old Heaven bookstore and pivotal figure of the Chinese avant-garde scene, whose magnetic voice and demonic laughter can be heard at the very beginning of side A. More 'traditional' dombra solo album from Mamer - more cyclical, less sustain driven reflections on Kazakh tunes.
An artform whose history spans over a century, zhuizi originated in Henan province. Its main musical instruments are the zhuihu, a two-stringed bowed lute, and the zhuibang, a wooden percussion played with foot tapping. Almost completely blind, Guo Yongzhang is known for his peculiar, resounding yet smooth vocal style. He sings with deep feelings and great verve. Lyrics deal with both the hardships and good values of life while always maintaining a sense of humour.
Despite being long regarded as a folk master, Guo has continued to play tirelessly among ordinary people, often travelling from village to village and performing for a whole day at a time. As he nears the end of his life, Guo regrets that nowadays, few people wish to learn the art ofzhuizi. He worries that this precious art form may soon be lost. Guo co-headlined the last day of the festival with French prog-rock act Gong on May 20, Recorded April 28, at B10 Live, Shenzhen.
It has gone on to become one of the longest living rock bands in China. In , Mamer joined Puppet and has since maintained a close relationship with the band. The band went on hiatus from to , reformed in , and finally released their full-length debut 'Urumqiin' , a sophomore titled '32 Days' followed in It's gold. Alkisah is the new album by Indonesian duo Senyawa.
Alkisah is co-released by a multitude of independent record labels from all over the globe each with different packaging and design, with multiple version of remixes by various artists. Senyawa is an experimental music duo with Rully Shabara extended vocal technique and Wukir Suryadi homemade instrument.
The music that they create is a combination of extended vocal technique and a homemade instrument. The instrument was handcrafted by master instrument builder Wukir out of one long piece of bamboo, it is a string instrument with guitar pick-ups—it is amplified and processed through several effects pedals but at times is played as an acoustic instrument, percussion and string instrument. They are located in the ancient city of Jogjakarta, Central Java, Indonesia and their music is a reflection of their traditional Javanese heritage filtered through a framework of contemporary experimental music practices.
Live recording of O Yama O at les ateliers claus 9th May Recorded and mixed by Christophe Albertijn. Caddo Lake - Soulful Lady - That Time of Night - Memphis in Winter - Shuffleboat River Farewell - The day prior to his concert at les ateliers claus, he came to Brussels and expressed his wish to do some record shopping. And so we did - in between soundcheck and the actual concert.
Keiji Haino likes to hear unique sounds and performers and so we went on a search. In a certain store in Brussels I made him listen to one of my favourite albums by Igor Wakhevitch Hator - he listened and promised me half-jokingly his performance at les ateliers claus would be better. Their project is a sound collaboration bringing together the field recording archive of Felicity Mangan and the abstract vocabulary of Stine Janvin.
Their music is built from electronic and vocal adaptations of animal and insect recordings originating mainly from the Australian and North European fauna. The organic mix of bug beats and atmospheric soundscapes uncover a sonic ambiguity between rural nature, electronics and the human voice, creating a peculiar, mellow insect techno. Together with him we planned 3 varied evenings. For the first evening his central guest was the notorious and also legendary guitarist Roland Van Campenhout.
Roland grew up in the Rupel area. His father, a jazzmusician, drowned when he was 5. Roland left home at the age of He did not get involved with music until the age of In he changed to another genre: blues, while also still experimenting with other styles during his career such as country, worldmusic, folk and rock. He broke through during Jazz Bilzen, where he established his reputation as a live artist.
Han Bennink born 17 April is a Dutch jazz drummer and percussionist. On occasion his recordings have featured him playing clarinet, violin, banjo and piano. Though perhaps best known as one of the pivotal figures in early European free jazz and free improvisation, Bennink has worked in essentially every school of jazz, and is described by critic Chris Kelsey as "one of the unfortunately rare musicians whose abilities and interests span jazz's entire spectrum.
Han is a brother of saxophonist Peter Bennink. Two experimental strands from China's Modern Sky label, publishing left field local music and folk gems. Their second album 'Fictions' was an improvised performance recorded in Chongqing, June On stage, the members often turn up with masks and black robes as though performing a mystical ritual. Immaydey, the Umay Goddess, is the goddess of fertility and virginity in Turkic mythology, regarded as the eternal Earth Mother with mystic, almighty power.
Compared with the music of Puppet, the songs of are evidently more compressed, confrontational, and explosive, which as believed stick closer to the authentic sound of rock. The lyrics are succinct, often sarcastic, and sung in almost a robotic manner. December Later in that year they supported krautrock legend Damo Suzuki on his Chinese tour. May All Music: Red Scarf. Nate Cross' cornerstone label for jazz and improvised music based out of Austin, Texas and influenced by Cross' time in Chicago.
It has nothing to prove. The sound is proof enough. Cover artwork by Morris Barazani, untitled, c. Courtesy of Corbett vs. Dempsey, Chicago. Sleeve photograph by Scottie McNiece. Liner notes by John Corbett. Layout by Drew Liverman. Produced by Nick Mazzarella. Desert Encrypts Volume 1 is a two-part suite based on observations from the desert in and around Marfa, TX. It also explores Mazurek's ongoing fascination with social, psychological, and physiological structures, both terrestrial and extra-terrestrial.
The composition includes written music and graphic scores for improvisation. For Desert Encrypts Vol. Mazurek has always been associated with the Chicago scene he spent so many years in as well as his time in Brazil thereafter , but Desert Encrypts Vol 1 is his first album that feels truly Texan to these ears, and we're excited to present a new exciting development in a long string of exciting developments that have marked Mazurek's long and illustrious career.
George, Marfa Book Co. On Exoplanet, Rob Frye generates an atmosphere in which drummers and improvisers orbit synthesizers, inhabiting a Goldilocks zone of electronic and biotic components. Some of the tracks were created spontaneously or composed of strict loops, but two of the arrangements are melodic adaptations of the song of Musician Wren.
After working as a field biologist with the Institute for Bird Populations in California from , Frye began to slow down and transcribe birdsong, eventually developing a performative lecture called Hearing Hidden Melodies. This bird, known as Uirapuru in Brazil and La Flautista in Peru, reminds us of the mysterious sonic knowledge threatened on our very own home planet. On this, his first album for Astral Spirits and his first as a leader, Rob played woodwinds and synthesizers and directed a specialized crew, recruiting Bitchin' Bajas Drag City bandmates Cooper Crain and Dan Quinlivan on engineering and electronics.
On "Innercosmos" we he hear his unconventional wind tubes, and on "XC" his voice calling as instruments gather, playing the bird's melody. Recorded by Giovanni La Rovere. The result is a magnificent set of exploratory improvisation. Vidic and Field's playing has a rich, textural quality, developed through their use of timbre and dynamics. In this way, Akiyama's multiphonic approach to guitar, and his innovative use of effects, offset's Vidic brilliantly.
Over the course of 45 minutes, Akiyama, Vidic, and Field generate a nervy tension, walking razor thin lines, such as the ones threaded through the middle of "Inner Circle. Mastered by Mikey Young. Thereafter we played mainly as a duo. This session is one of the few times Figgis and Day played as a duo. They were, with others, co-founders of the Continuous Music Ensemble and People Band, whilst also collaborating in other configurations.
Mixed and Mastered by Mike Figgis. Artwork by Terry Day, Mixed and Mastered by AJ Pillette. This studio recording is the only time we have played together, other than an initial get together at my house where only a few tambourines were percussed upon.
Other than working with the Shakuhachi playing of Clive Bell, this was my first experience of collaborating with a non-western instrument. Spanish born label set up in , now based in Perugia, Italy. Textural, improvised free form music. Resonating metal surfaces, chains, paper, thin strips of wood, a broken radio, small battery powered oscillators and a floor tom.
Passing cars outside the window. One microphone recording it all. We hear passing cars in the distance, gusts of air past the window: a wider universe in which these sonic events occur, not necessarily emphasized but present nonetheless. Released September 25th, Mastered by Francesco Covarino. Distant engine-like low end rumbles open the record, and the similarities between rippling arco bass and some mysterious crackling field noise trigger all manner of pleasant sensory confusion.
As an experience, Caura triggers all manner of sensory memories, from trudging through a rainy field to jumping at the sound of a car backfiring. As a duet piece, seems to push both parties out of any familiar comfort zones, and right out there into the unknown, which as ever is energizing and frightening in equal measure. Released April 2nd, Improvising duo Ed Lucas and Graham Dunning explore texture, timbre, dynamics and drones. Ed Lucas plays trombone, sometimes augmented with controlled feedback, and has had many associations with improvising musicians in London and beyond.
Graham Dunning uses turntable with field recordings pressed to dublate, along with snare drum and objects, focusing on tactile soundmaking. Released November 29, Field recordings from different times and places, a walk through the woods or an exotic place far away from home. Studio-made sounds using instruments, tape loops, reel to reel Revox recorder and digital editing.
Otherwise insignificant everyday life sounds. Everything mixed together in a diaristic manner, like seamless notebook sketches. Released september 25th, Still active. The star of this session is of course the leader who gives his name to the quartet.
Louis Moholo-Moholo, a powerful, effusive and sensitive drummer who moved from his native South Africa to Britain in the s and became an important voice in the then burgeoning improvised music scene seems to have lost none of his exquisite verve and can still lay down some mighty flourishes on his kit. He's joined here by three other blokes who are much younger men, but pianist Alexander Hawkins, bassist John Edwards bass and saxophonist Jason Yarde are all up to the task of matching the leader's drive.
The insistent, irrepressible "For the Blue Notes" which starts off the set, alludes to the drummer's legendary band of the 60s. Other historical references include the piece "Tears for Steve Biko," which is part lament, part protest song.
The title cut is one solid blockbuster of a tune, with everyone going full throttle. The most loveable thing about this session recorded in November is that there's a balance of what has often been called "inside" and "outside" playing, as this quartet, with a finely-honed telepathic sense, works as a tight unit, even when each musician is pushing at the limit of cohesion and coherence in some of the wilder moments, of which there are many.
But the music can downshift to a lullaby softness, as in 'Something Gentle" and sway gracefully in the waltz-time of "Angel-Nomali. Mastered by Matt Colton at Porkey's. It was with Viva that Louis toured South Africa in , and for Louis and some of his compatriots in Viva the tour was nothing less than a personal triumph, a return home after three years spent in exile.
Why these studio sessions rested in the vaults for so long remains a mystery. It was a slightly changed band that Louis assembled in the fresh ingredient that would move Viva into the darker, earthier grooves of Bra Louis - Bra Tebs was singer Francine Luce, originally from Martinique and now one of the vocal treasures of the London improv scene. But here they are, at last.
Some of the songs are as quirkily gentle as a Norma Winstone record, some like Annie Ross in a free-improv band - and though Francine Luce's frantic variations might not work for everybody, she's sonorous and soulful on the brooding traditional song Utshaka, and on a defiant Motherless Child. Stevens has often paid tribute to the music of people such as Eddie Blackwell and Ornette Coleman.
Parker has his roots in the records of Coltrane, Dolphy and others. They have drawn on other musics to create a new language which is very personal and not in any way parasitic upon its resources. Other contexts will find Parker playing tenor saxophone and Stevens a conventional kit. In the duo, Parker plays only soprano and Stevens' kit is diminutive - no bass drum, two hi-hats, a childs snare.
Evendently they have mapped out a very special area - extremely concentrated and intimate. My intention with The Joy of Paranoia was to create an album which presented my saxophone improvisations within several different situations. The tracks with Michael Garrick, though based upon familiar compositions, were played very openly. The duets with Veryan Weston were spontaneous.
Joy of Paranoia Waltz is based upon a simple riff with four saxophone overdubs. The Wakefield Capers, with the exception of some established rhythmic settings by the members of Paws for Thought, is improvised. Tracks originally released in as OG, Diverse. The music sounds a vibrants as when played in and , so many memories.
Gripping episodes abound, such as the sound of Osborne's vinegary, Ornette-meets-Ayler sax soaring over Miller's whipping bass figures on the gruffly tender Bloomfield, McGregor's fills on the riffy Quandry made fortuitously more pungent by the off-pitch piano , and two versions of the springy, Mingus-like Touch Hungry — the first with a percussively Monkish McGregor, the second with some fine, Miles-like trumpet from Marc Charig. Those who remember Miller's heyday will love this rough-hewn document, as will fans of the South Africa-celebrating Townships Comets and Moholo-Moholo's current work.
The windmill is located about a mile north of the town where i live, on what i assume is ranch land used for raising cattle. It was once used to pull water from underground to fill a couple of large tanks nearby. It's in a bad state and no longer in use. There are two large crows nests at the top, and the inner workings are laying on the ground next to it. They are monaural recordings. Jeph Jerman is appearing in a variety of musical groups and collaborative projects across different genres for more than three decades.
From the nineties, we can see in his extensive work a great interest in the sole act of listening. Rather than a classical musician, he is more suggestive of a sound wanderer who sets off daily from his home to the surrounding Arizona desert characteristically named Sonoran desert , where he records sound fragments or collects found objects which he uses in his improvisations and performances. As a contemplative walker without a set destination, he is interested in the pure sound without references.
To what we listen is not so important, what matters most is the time, place and the way we listen. Unlike other field recording artists, Jerman is not interested in the aesthetic richness or sonic variety, but simplicity, gentle differences, vibrations, moderation, and the primordial animalism on the quiet edge of organic and inorganic nature.
The symbol of the circle and rotation and the moaning material shaped by nature elements subtly fit in the comprehensive sound diary and environment where Jerman moves and lives. I make sound that'll hopefully be listened to. As with many inner city industrial areas in large cities all over the western world, this place is ripe for redevelopment.
However, in this case, due to the zone being directly underneath the flight path to Sydney airport, as well as being flood prone due to environmental factors, unscrupulous property developers are not able to completely gut the place and erect hideous apartments. What is interesting to me, and what this recording aims to capture, is that these factors — the aeroplanes and the puddles — act as a form of resistance to the development.
Sonic details of empty streets from close neighbourhood, subtle intervention and fragments of lonely voice comments are reminding distinctive forms of sound journalism or a diary for night adventurers. Mappa presents the sonic evidence of this opposition; the non-human voices of resistance that the aeroplanes and water speak with in this acoustic environment.
Released by mappa as MAP09 in As a project, Line Gate has been undergoing a slow, steady transformation, much like the longform drone works that have come to characterise it. The gently modulating drone of the hurdy-gurdy remains present during the first piece, along with its very characteristic almost psychedelic resonances and overtones. However, the listener's ear is almost immediately drawn to another sound source - the human voice.
The result is a mind-bending interplay between the hurdy-gurdy and the voice; one weaving around the other in seemingly indeterminable patterns. Layers of voice, some processed, some raw, are the only building block here. A resonant layer of sampled voice, not dissimilar from the hurdy-gurdy, acts as an unstable, shifting sonic bed around which a gradually growing choir of voices orbits endlessly.
Sibilants, consonants and vowels recited in mantra-like cycles form a non-linguistic vocal tapestry, one without explicit meaning, but imbued with huge emotional gravity and a unique enchanting quality. Field recordings, like always with me came from lot of places. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel.
In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world. Architecture and culture of these sonic environments is created in two ways. Second one is shaping the sound and the composition itself. The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones.
The whole approach is about accepting to make do with this. With this method of work I have to accept the hollow periods, failures and even the doubt. The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way.
It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel. Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies.
In his work we can also find parallels to literary techniques and space or to forms of reading. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. So, my life, my practices are not compartmentalized. One can observe here how their musical language and range of instrumental techniques in the use of guitar and idiophones got crystallised.
The classical form of a musical piece organized in time and characterized by a set of elements that create a coherent narrative is replaced here by the primacy of repetition, pitch, precise articulation and reverberation. Sounds seem to be clearly rooted in specific acoustic spaces, which allows the space itself to be treated as a real instrument that adds another layer of meaning.
Repetitive sound sequences operate in a similar way to the metronome, determining an obsessive rhythmic pattern, a kind of matrix on which all the details are inscribed. The static structure of the pieces allows the music to function as a sound sculpture - breaking time constraints in favour of continuous duration and acting in a multi-perspective way. This material, does not promise any solution, but strictly accompanies the listener and tries to close itself in the continuous present.
The title of the album is a reference to the anthems written by the British composer Z11, Z2 and the titles of the pieces refer to his sacred songs Z, Z Vinyl in your hands is a ceremonial sonification of the sacred herbarium, painted myths of the animal kingdom and voices behind the thicket.
A return to the time when the forests, tree crowns, soil, thickets and heaven were full of continuous murmur. Or, on the contrary, a vision of a future in which the chaos of natural noises will reign. Slimy earthworms and phosphorescent bugs crawl out of the holes and gaze toward the sky. Brightly colored birds pick juicy fruits and there is no silence, because it is absorbed by the buzz of a virgin ecosystem.
In the caves, marshes and hollows of trees, the most important questions are decided. A polyrhythmic rain falls from the sky and washes the prehistoric mud from mammalian hair. Somewhere to see human footprints, but those who have left them are long hidden under giant leaves. The light, reflected from the vibrant structure of life itself, dances for all, in full color. The feast of photosynthesis. Nothing to see from the top. Plants, moss and mushrooms grow at a tremendous rate.
They climb each other to break through the lush green blanket. And above all, the orange disc shines pleasantly. Huge catalogue of free improvisation from to today, with a focus on Soviet musicians. The second part, "My brothers the wind and sun n. Total time: 59' Essential Sun Ra, avant-cosmology. Hungry East German audience flies off to travel the spaceways.
The music is a subtle reminder of what each improvisation should strive for: explore a little bit further - almost even further - than the previous piece of music you played. When it seems impossible, try to give a little bit more. The music is an intimate and fascinating conversation between six musicians. To be engaged in the conversation one has not only to speak but listen as well. Edited and mastered by Martin Pearson. Artwork by Olga Kokcharova.
Vocalist and pianist Amina Claudine Myers pays tribute to one of her biggest influences, Bessie Smith. Myers has been a member of the Association for the Advancement of Creative Musicians AACM since and has been composing for voice and instruments ever since. Gorgeous record. Mastered by David Crawford. Front cover photography by Spencer A Richards. In artistic terms, it was a shocking statement from Phil Minton and Roger Turner which scared a lot of people. Now, years later, the recording sounds as if it has been recorded today.
It has not lost any of its artistic qualities and stood the test of time. The work of great originality and integrity. And it would take a fertile imagination for one to reconcile the duo's rendition of Monk's "'Round About Midnight with the original, for example.
Armed with boyish enthusiasm, the artists pursue a wanton spirit through their surrealistic game plan. Of course, British freestyle vocalist Phil Minton is a well-known improviser since the advent of this date with his fellow countryman, percussionist Roger Turner. But this recording still resides as an attention-grabbing document. And indeed the strongest impression of this music is its urgency.
Cliched reflections about the tormented Russian anima are almost unavoidable, but the fact is that music has great immediacy for people in times of crisis; I have seen it in such unromantic settings as an RAF base on the eve of the Falklands gambit. This urgency is what compels Vyacheslav Ganelin piano, various instruments , Vladimir Tarasov percussion and Vladimir Chekasin saxes, various to free improvisations of sustained focus and intensity at live sets recorded in Leningrad and West Berlin.
The latter appearance greatly impressed the Western critics, and the music stands up well. These men are playing for their lives, and have no time to worry about whether this or that transition might be difficult. As a result potential pitfalls vanish into thin air as they achieve a kind of mobility rare outside of Sun Ra and a freedom that must have been sweet indeed. Part 2 recorded live in West Berlin, October 29, Tapes remastered by Alan Moseley.
Special thanks to Liz Trott for smuggling out the tapes. This record of zany duets is among Eugene Chadbourne's wildest and dearest recordings, featuring selections from over two decades. These duets with Han Bennink, Derek Bailey, the late Charles Tyler, John Zorn, and others, showcase the woolliest side of Chadbourne's woolly playing and his dodging all over the musical and historical map. The first track is an acoustic version of John Lee Hooker's "Whiskey and Women," accompanied by Bennink playing a pizza box with brushes, a giant bass autoharp played with drumsticks, and, of course, a drum kit.
Chadbourne plays the tune straight for him at the beginning, even getting all the words right, but then veers off his National Steel onto a "communist" five-string banjo, and he and Bennink run the course, carrying the off-meter bar blues as off-world as they can go, laughing all the way.
Next up is Derek Bailey and Chadbourne on two selections. Bailey's guitar and Chadbourne's electric rake and electrified banjo trip and slip all over one another here, with respect and purpose, of course, but nonetheless sloppily.
It's a rousing series of musical maneuvers at over nine minutes. When Bennink and Chadbourne reunite, it's a darker, more percussive show: feedback from rhythm and lead instruments becomes the M. And it's quite beautiful, as Gershwin's songbook comes through as the melodic framework for the improvisation.
The work with Tyler, "In Between Comme C and Come Saw," is balls-out space improv, though the master saxist uses his baritone in striking ways not usually becoming of the instrument itself. It becomes a kind of clogged, scraped, razor-voiced bell in the tower of noise.
Tyler draws microtones out of the instrument we have literally never heard before, and Chadbourne is content to lend idiomatic support to this gracious unfolding. This is more in line with Zorn's Classic Guide to Strategy than anything else, in both spirit and execution -- though there are no duck calls credited on this recording.
There is space here, sometimes long periods of it, where what is happening between the pair is not readily apparent; there is plenty of trickery and tomfoolery as well, leaving the listener guffawing in more than a few places. Quick intuition, a broad dynamic spectrum, and dazzling tonal colors. On a canvas of metallic percussion by Steve Noble, Bevan manipulates his striated tone like a painter adjusting brush strokes- some sounds are long, wide, and spacious, others squat and impossibly dense.
Designed by Steve Noble. Photography By Thomi Wroblewski. Post Production by John Hadden. Incredible ensemble for Company Week in ' Twenty-six minute opening track sees the whole collective scrambling into full-blown ecstatic chaos,follwed by two mega duos from Anthony Braxton and Steve Lacy. Artwork by Iain Patterson. Typography by Nicolette Amettte. First two days of Company Week where musicians came together for five days improvisation - most of them meeting for the first time.
Produced by Derek Bailey. Post production by John Haddon. Photos by Martin L McGain. Made with the assistance of the British Library Sound Archive. Photos by Mark Wastell. His sonic version of perpetual motion turns up in many dimensions at once - timbral, rhythmic, gestural, melodic, rhetorical, dramatic, and much more - so that playing with Bert often becomes a matter of finding, somewhere, a sound that he isn't playing at the moment, a sound that you can grab onto as a life preserver to save you from getting smoked right out the room.
Photograph of George Lewis by Betty Freeman. In the following months we played all kinds of places, occasions which figured prominently among the many musical pleasures I enjoyed during that period. One such occasion, thanks to Bill Laswell, was this recording. Toca Joga - 2. Quanto Tempo - 3. Polvo - 4. Rio Branco - 5.
Joca Toca - 6. Que Horas - 7. Tondo - 8. Produced by Adam Skeaping and John Haddon. Design by Karen Brookman. Photos by Eleonora Alberto and Karen Brookman. Unheard of underground alongside crucial reissues. Melbourne based artist Arek Gulbenkoglu presents his second full length album for Penultimate Press. Following on from the release Three days afterwards, A gift like a hollow vessel sees a sharper scalpel at play resulting in a more nuanced release which unfolds a curious journey of suburban psychedelia.
Sourced from voice and body sounds, recording of non-musical processes, actions and events, breath, tapes of animal sounds slowed and sped up, processed field recordings, electronics, percussion, tape delay, sample of old folkways records and Esperanto text to voice translations. A gift like a hollow vessel is striking and intimate musique concrete. A work of confounding beauty as created by one of the most unique voices operating in orbit of psychedelic music as it presents itself today.
Artwork by Matthew Revert Tracklisting: 1. A gift like a hollow vessel - 2. A gift like a hollow vessel - Alcor gathers together the prime of Harwood's previous CDR micro-editions and presents the material as a seductive and puzzling new whole. Alcor is the ideal record for fans of fringe position electro-acoustic study, Delphic audio confusion, or anyone who pines for the days when Small Cruel Party still roamed the earth.
Mastered by Graham Lambkin. Montenegro - II - III - Q - Trumpets - 6. Guns - November - Matthew P. Over the last decade Hopkins has distinguished himself as master of multiple musical forms including bent song, freeform concrete, improvised electronics and techno. Under his own name he has produced a most singular take on abstracted voice, feedback, field recordings and found sounds.
With Blue-Lit Half Breath Hopkins furthers his domestic enquiry into subconscious sounds with a series of vignettes that hover from hissing clunk, atmospheric creep to improvised piano refrains. Amongst all this the voice of Hopkins appears throughout as a shadowy narrator delightfully disturbing the sonic play. Penultimate Press is proud to release their official debut LP Chiltern. Comprised of individual tracks folded into two side long suites Chiltern is an unique excursion through foreign encounters, warm surrounds and disorientating comfort.
Field recordings, electronics, samples, guitars, voice and atmospherics all contribute to form a bewitching whole. Many questions are raised: Is this a soundtrack to a mental experience or an altered take on a familiar reality? Is section 3 based around the sound of a basketball court? Does section 4 comprise a song? Where do the original soviet science fiction soundtracks fit into all this? Is this sound or music? Simultaneously ambiguous and accessible Chiltern is a ride unlike another and resides as the consciousness tickling release of Crooked Dances is a melancholic, playful journey rooted firmly in the real.
Second in a series of two previously unreleased soundtracks Henning Christiansen made for the films made by his partner and collaborator Ursula Reuter Christiansen. It takes a certain amount of confidence for a musician to stand alone on a stage or in a recording studio and play an instrument. One of the few masters of jazz reed instruments, Joe McPhee still proceeds to make music as if for the first time. He is a master of the instruments he plays because, like an athlete, he maintains the physical chops as well as an openness to the application of the musical vocabulary he has cultivated over time.
And, for this performance, he chose to play two instruments rather than one: the alto sax and alto clarinet. Old Eyes for Ornette Coleman - Take The V Train - Side one comprises Metzger's public debut on his modified banjo, recorded in at a former church-turned-underground art space in Minneapolis.
One of his most memorable compositions, 'After Milo' later turned up as an untitled improvisation on his CD for the Chairkickers label. Jumping ahead six years and several more banjo alterations later to side two, the glittering 'Orans' gets a workout at a memorial show for the artist Matt Zaun. As an acknowledgment of the occasion, Metzger also gave a one-time-only performance -- 'Dark Green Water' -- on another of his mutant instruments: an acoustic guitar with the body drilled out to accommodate a cymbal set into its face, and ten assorted strings of varying lengths laid over the top, giving it a particularly metallic and dissonant sound.
After Milo - Dark Green Water - A followup to Marches Of The New World , Antarctica is made up of two side-long excursions into monolithic drone-rock. It sounded so warm that it was like embers from a bonfire. The textures are raw, the sound hypnotic, the effect nicely time-stopping. Bianchi, Blow Up.
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It topped the chart for two weeks and then remained at number two for four weeks behind Nena 's " 99 Luftballons ". It stayed on the chart for 21 weeks and was the 9th biggest-selling single of the year. In Sweden, the song entered at No. The release of the single was accompanied by a quirky music video. The cast included professional wrestling manager "Captain" Lou Albano in the role of Lauper's father while her real mother, Catrine, played herself. Super Show!
This collaboration was the catalyst for the "Rock 'n' Wrestling" connection that lasted for the following two years. Lauper's attorney, Elliot Hoffman, appeared as her uptight dancing partner. Saturday Night Live creator Lorne Michaels , another of Hoffman's clients, agreed to give Lauper free run of his brand new million-dollar digital editing equipment, with which she and her producer created several first-time-ever computer-generated images of Lauper dancing with her buttoned-up lawyer, leading the entire cast in a snake-dance through New York streets and ending up in Lauper's bedroom in her home.
The bedroom scene is an homage to the famous stateroom scene in the Marx Brothers' film A Night at the Opera. It is the year that certain issues and representations began to gain saliency and the textual strategies of female address began to coalesce. Before the song starts, the beginning of her version of " He's So Unusual " plays.
The music video was directed by Edd Griles. The producer was Ken Walz while the cinematographer was Francis Kenny. The treatment for the video was co-written by Griles, Walz, and Lauper. The video was shot in the Lower East Side of Manhattan in summer and premiered on television in December The music video officially crossed one billion views on YouTube in January A CD single was issued in , known as a ringle , which included bonus interactive computer material as well as a code to download a free ringtone of the title track.
The ringle, as well as all other issued ringles, were recalled by Sony Music due to issues with the ringtone not working correctly. They have yet to be reissued. The arrangement evolved as she experimented with the song's style over the course of the — Hat Full of Stars Tour. The song was a big comeback hit for Lauper, landing in the top 10 and top 40 in several countries.
It was also a big dance hit in the United States. It peaked at No. Music writer James Masterton noted in his weekly UK chart commentary, "The new version slows the track down to turn it into a far slinkier dance groove to quite inspired effect".
The melody and Cyndi's excellent vocals are still its selling points, and the success of Cyndi's Twelve Deadly Cyns album suggests the timing could be right to make this a hit again. A music video was produced to promote the new version, directed by Cyndi Lauper herself  and published on YouTube in September The physical edition was exclusively distributed to over eight hundred stores run by Tesco , an official partner of the event series.
From Wikipedia, the free encyclopedia. Rick Chertoff William Wittman. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
April Learn how and when to remove this template message. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Robert Hazard Lolly Vegas. Cyndi Lauper Jimmy Bralower. Retrieved July 15, Rock On The Net. Retrieved May 31, Washington Post. ISSN Retrieved December 14, Seal Press. ISBN September 12, Official Charts.
Archived from the original on June 2, Hung Medien. Archived from the original on May 16, Retrieved April 8, Temple University Press. The Village Voice. Retrieved May 12, Retrieved June 17, Retrieved August 6, Retrieved October 24, St Ives, N. W, Australia: Australian Chart Book. Retrieved May 19, Ultratop Retrieved May 30, Library and Archives Canada. Retrieved September 25, December 28, Archived from the original on December 28, Retrieved April 23, Retrieved March 1, Irish Singles Chart.
Retrieved May 17, Musica e dischi in Italian. Retrieved June 6, Set "Tipo" on "Singoli". Then, in the "Artista" field, search "Cyndi Lauper". Oricon Charts. Archived from the original on April 21, Retrieved Dutch Top Retrieved September 8, Single Top Top 40 Singles. Retrieved September 5, Singles Top Swiss Singles Chart. Official Charts Company. Cash Box magazine. Retrieved July 16, GfK Entertainment charts. Zimbabwe Singles Chart Book: Retrieved June 23, Polish Airplay Top Retrieved April 15, Retrieved November 1, Retrieved June 2, Single Top in Dutch.
Dutch Top 40 in Dutch. Recorded Music NZ. Retrieved July 17, December 22, GfK Entertainment Charts in German. Retrieved July 1, Requests - Help modders in need! Wares - Modding commissions! Questions - Ask anyone anything Friday Night Funkin' related! Jams - Participate at various jams hosted by the community!
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