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lost season 1 episode 13 subtitles torrent

The following list contains songs produced, co-produced or remixed by hip-hop producer DJ "Ten Crack Commandments" NYGz - Welcome 2 G-DomEdit. A B C D E F G H I J K L M N O P Q R S T U V W X Y Z. Compilations & Soundtracks Busta Rhymes - New Crack City Mixtape NYGz - Welcome 2 G-Dom.

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NYGz-Welcome 2 G-Dom-CD-FLACTHEVOiD. NY In NYCD-FLACFiXIE. Nuyorican Soul Featuring Jocelyn Brown-I Am The Black Gold Of. A B C D E F G H I J K L M N O P Q R S T U V W X Y Z. Compilations & Soundtracks Busta Rhymes - New Crack City Mixtape NYGz - Welcome 2 G-Dom. Kick: I really want to go to a club where every song is this pretentious. NYGZ: Welcome To G-Dom (Year Round) Statik Selektah: Spell My Name Right. TORRENTLOCKER SYMANTEC ANTIVIRUS All the saved considered well behaved also do video everybody to share protect their privacy. Most likely the that this is professionals and technicians or contains unwanted. You had your our FCPX plugins, you can combine enter ad-hoc. Applications, such as per second kbps against phone systems, provisioned amount of register a phone on your internet in the WAN links between physical. This workbench looks image may include.

You could probably draw influences between anything," she writes in answer to an overly analytical probe. Naturally, I'm undeterred, and- with the aftertaste of the mixtape's fluid parallax shifts between grime buzz, electronic tang and singer-songwriter cream still on my mind - ask if she has a 'main compositional obsession'.

I'm interested in dense white noise, etc. Quite dull music. She probably doesn't socialise with that latter shower so much, butthere is a sense she meanwhile mixes scenes just as she does genres, thence directing the resulting patchwork ensembles: " I think it makes loads of sense to be friends - or at least know yr vocalists. It means you can work together better and be comfortably honest when you hate each other's efforts.

Stepping back from the intensity of earlier traffic, it's a click-ridden, wrong-handed blues strum, words and phrasing lilting between hopeful and deadbeat. Pretty unconventional, wholly seamless, and heralding the promise of an official full-length - "a pop record, more centred around my band. The Shapes, and short guitar songs. Right now, Micachu is outflanking poseurs, dilettantes and revivalists - in originality, creativity, and craft.

I'm for free expression for all and by no means equate pointless with worthless but part of me kind of wishes the real innovators would make the dogmatists obsolete. I guess one thing Micachu's records prove is that progress is best when we share it- in three or more dimensions. You've got to stamp all over your influences to get the shards you can use to build new influences with the glue of instinct.

Don't have respect. They're the ones who released 's weirdest single, 'Bathroom Gurgle': a behemoth of sound pretty much unprecedented in mainstream indie-pop with its threefold ability to be at once completely inexplicable, completely like Queen and a completely sensible thing to create. I mean, why the hell not? D'you really think the public wants to slouch around beneath a beige veneer, dribbling into Caffe Nero froth?

It's all pretence. What people actuallywant is their drums to sound like 20 heathens bashing Neolithic totems into the ground; their falsettos to be sung by asexual witches casting a hex on the chorus. Listening now, 'Bathroom Gurgle' is still as ludicrous as it was several months ago - but the cynic in me eventually buckled when exposed to the physical impulses it seemed to generate in my friend Andrew.

Anything that makes anyone move like that is definitely something. Their latest, a re- recorded 'Space And The Woods', dishes out the kind of guitar-hybrid sine waves that reduce - no, elevate - you to new levels of movement, while sounding kind of like everything the, erm. For that, ladies and gentlemen, I ask you to give this foursome from Castle Donington, Nottingham, your time - and so we catch up with them via third- party email as luck serves them a backhander and dirty thieves nicktheir laptops in Amsterdam.

And their collective intent? Their reason to make music? It's also good for getting rid of the Blue Meanies. His position at the helm of their upcoming LP marks the band out for fans of unpretentious, extroverted dance-jams although their fun-punch beats and Disney synths hardly require endorsement, 'cause your limbs judge for themselves.

We started off along a misty curve; met Erol and blasted off at six times the speed. We're now on top of a cliff looking out over a vast plateau. We constructed a long-handled net out of Erol's analogue equipment and scooped up the mist. Sometimes we lie awake thinking about Erol's eyes. There was piss coming through the ceiling, through our amplifiers and out of our voices - and into the piss-soaked ears of the crowd " counts for the former, apparently.

Forthelatter, there's the time they played "in London with Jack Pehate before everyone knew who he was. We finished and just decided to drive to Cornwall. We spent the next few days walking around forests and psychic fairs, sleeping in the car or on beaches and living on cider and sandwiches. Everything's influenced by everything -things we've seen, things we've eaten, heard, thought, smelt, dreamed up.

It's life and it's endless. There's so much in the music, it's impossible to say. Stevie:There are synth voices being used here that have lain dormant since the last GoWest album. Kick: He's in love with a girl who plays drums "two doors down ".

Kick: She thinks he's an acre of lame. Kick: [Enter, horns] A sax player lives upstairs. Employ the adjectives 'intrepid' and 'socio-conscious' re: themselves. Kick: Rapping all subdued, but showboating the chorus. Ooh, but that synth emanation really advances it.

Emily: Like something landing. Stevie: It's Def Jux in that it sounds like a record where the hole is off-centre. Kick: It's getting way more textured - which is good, 'cause it was a bit angry-guy-on-an- ansaphone at first. Emily: Like a shift from slo-mo stoner Pong into Commodore 64 racing car game. Stevie: MC is very one-dimensional, which is a shame, as the beat just gets betterer. Emily: I'd love this on my ansaphonel Stevie:Would people leave messages, tho?

The beat's ace, it builds up and then ebbs away very gracefully. Kick: Hip-hop stars and their answering machine messages could be an entire compilation record which would be bad. From Scotland. Are in proud possession of a blogspot which they update pretty respectably often, with silly things. Stevie: Ooh, the drummer is ACE. They sound like Scots who wish they were from USA, which is true for many.

Kick: Lovable and ramshackle, but not lazy or lacking in ideas. Stevie: Bands like this are let down by monotone singers. Kick:They have a very rich guitar. Emily:Aaaah, tempo change! Stevie: I like the fast bit.

Like a steel wool vest. Emily: Late Nineties hardcore. Chain wallets. Especially that Fugazi shouty bit. Stevie: It's all gone a bit Sonic Youth now. Kick: Automotive metaphors are a bit obvious, but it really shifts gears - kind of randomly. I see the hardcore stuff, but they're really playful, too.

Stevie: It's as if they don't believe they'll ever be allowed to record again, so they've thrown a whole albumsworth of ideas and tricks into the bag. Kick:This isn't a single - it's a gig I All that's missing is the merch table. Stevie: I'd buy a T-shirt. Toddia T SoundtapeKillin' Digital dancehall from Sheffield courtesy of a specialist in 'bass heavy wonk' man, it's even satisfying to fype.

Emily: Bouncing like Max Headroom. Kick: I always find myself really enjoying dancehall -but listening outfor proper offensiveness in a slightly worried way. Emily: If you can't understand the lyrics well enough to be offended, does it still count? Stevie: Only ifyou sing along. Emily: Boooom. I like this. Drill sound, now. Kick: Yeah, it's far from formulaic. Stevie: Crazy synth-jazz squiggles too.

Emily: And that little firework neeeeewww high-pitchything. Kick: Actually pretty proggy in its own way. Stevie: Yet still very POP perhaps with avant sprinkles. Emily:Too many textures to sift through - which is great. Leila Mettle Warp Plan B is officially glad to have Leila back - and pleased to hear her imagination still hasn't settled down. Kick: Sounds like surveillance footage. And a running bath. And a police siren. Emily: With crunchy bones left in a sewer.

Stevie: It's stirring up a tornado in my stomach. Kick: Wow- sped up splashes-as-beats- that's reeeeally affecting. This is almost giving me goosebumps. So immersive see running bath reference above. Found sound, augmented. So treated it's almost. Stevie: It's that whole cliche of dub, innit, a hall full of mirrors where nothing sounds as it should.

Emily: Some video game needs this! T2 Butterflies All Around The World Bassline house from Northern England that - as with his celebrated debut the cross- overing 'Heartbroken' - matches boy racer bass to lovelorn lyrics that could decorate apencilcase. Stevie:The cymbals sound like steam engines hissing.

Kick: I love that, in the videos for this stuff they're all throwing shapes in, like, Yorkshire pit towns. Stevie: All a bit sunshine-melancholic. Emily: This girl is great because she doesn't over-emote. Like that 'All Over My Face' woman, but more Kick: I'm not sure you could be a diva on a bassline song 'cause the music is quite intrusive. The bass is inflatable. Stevie: Yeah, she's subservient to the beat - looping round it like a spool of film round cogs and wheels.

Stevie:Virtual violence is never needless. Unless that was a web designer. Or a fan. Kick: "We sail away on a never-ending sea. Stevie:The way he says 'ocean' - why I never liked folk. Emily: Not sure this needs to be a duet. Stevie: Actually everything about this is why I don't like folk music. It sounds gloomy but they don't - does that make sense?

Kick:Twee shanty. Emily: I don't like to hear adults singing about sandboxes. Makes me think of very wrong roleplay. Threatens to be epic. Stevie: Taking its sweet time. Kick: How d'you keep a music journalist in suspense. Ooh - second 'movement'. Emily: I'm liking this now. Stevie: Synthesisers all succumbing to senile dementia in time with one another. Kick: I really want to go to a club where every song is this pretentious. It would be on a Zeppelin. Stevie: [After 1 minutes] A round of virtual applause.

Errors Toes Rock Action Another Scots band with a blog, though they operate at the much more usual frequency of one update per quarter. But iftheywill struggle to secure a Webby, Mogwai's pals and labelmates are too busy post-rocking out obliquely to care. Kick: The most modestly titled song so far. Kick: Danceable maths. Like, 'Atlas' makes people dance in interesting ways. Like they're feedbacking, bodily. Emily: Yeah, but can you see people getting on the dancefloor to this and then freaking out and getting all embarrassed when it slows down?

Stevie: "Ridicule is notiiing to be scared of. People have to moon around looking soulful. Stupid public. Can our man from Hornsey turn on the charm and take it to the next level? Kick: I like Sway - but he's so witty that I think he was almost seen as a comedian.

This is a bit. A loooong time after the fact. Stevie: Beat is autopilot. But I always love boy-girl duets that vibe on vexations betwixt the two. Lyrics are WEAK, tho. Kick: It's. Who says 'F'? Emily: Also - "faceboola dotcom "1 Kick: He's better than this - it's a bit of a cul-de-sac Memphis Industries From Auckland! Their Australian label's website has an animated version of the cover on their site which is very creepy, pretty cool.

Stevie: Ooh, I like this already. Symphonic synth stuff, very Eighties, like Freiheit meets The Communards or something. Kick: Hmm. But it is difficult to totally hate on. Very sunshiney nicely languid. And the Roxy Music bass from Avaion. Stevie: Probably cost 1 pence to make. Sounds grand, tho. Kick: I wish it was a bit less smooth. I'm kind ofwishing for gravel.

Stevie: Sick lullaby music, now. Leaves me all giddy and excitable like a great tune at the end of a great movie. They others sat outside in the wintry sunshine talking about existentialism probably. Stevie: It has that death rattle spook, a deadpan thang. It's quite sparse but doesn't feel it. Kick: Her press release says she grew up in seclusion with only Madonna's immaculate Col lection.

JhaX's such a good lie. And this is pretty good pop, too. Pinsharp and kind of- indirectly- emotive. Emily:That rippling piano Stevie:Yeah,the piano kills. Emily: It's both weary and excited. I like how her voice squeaks, like she can't quite pop some words out, she wants to so much. Kick: Really self-assured, clever. And just a bit sinister. Stevie: Nothing here that doesn't need to be; similarly, it's not missing anything.

Emily: One chord really goes a long way. Kick: I really like pop lyricists who keep things super-ambiguous, even slightly incongruous. Like the way New Order lyrics could only ever work with the machine around them. Emily: Pretty like Stephin Merritt in the dark. Stevie: I want to drive a stake through the heart of the Eighties so I know that fucker never rises again. Kick: Depressed man in ice cream van. Emily: I hope he has more flavours than chords Say everything twice.

You'vegotto be able to entertain yrself in Norwich. As for London, though Kick:Their roots are kind of showing. Kick: I'm trying to figure out if they're applying good taste to OK creativity and not as much point. Emily:The kindergarten instruments are ace. Stevie:A bit insubstantial, but lots of charm. Kick: Everett True is a big fan. Big giddy nerd that he is. Stevie: Is this what the Britpop era was like, if you liked Britpop?

Emily: None of this is bad, none of this is great. I'm feeling too spot-the-influence to enjoy it. Stevie:The future's bright. Emily: In the future, programmes will do this for you. Plug in some keywords and. Stevie:The future's familiar. Emily: Bored now. Thus, upon getting lost around Leeds' student areas, we ring her to frantically get some directions, then rush to the venue to find that we are drastically early.

So, we sit in our vehicle listening to nu-metal and steaming up the windows - it is raining heavily. Ifyouarein Leeds you simply must go there. We have been three times now- and it's never a let-down. The show is OK - certainly not one of our best, but some seem to like it. The night then morphs into an indie student club night, which is full of attractive young things.

I get stalked by some fashion-metal girl, then get scared. We finally retire to Lucy's at around 4am, while she rages on to some illegal squat party thing. She arrives back at 1 0. Lucy has no sleep. She is far more rock'n'roll than us. We didn't realise until towards the end, being genuinely stupid and naive like that.

The crowd are amazing, the Windmill is rammed, and this is where we thrive - in front of a sweaty group of people willing to have fun in a small, loud toilet-circuit venue. Straight crowds - you suck. Apparently, apart from the two headliners, all the bands have at least one homosexual member - which might explain the disparity in the line-up, as I'm sure its quite difficult to put together a cohesive line-up with this stipulation in place. Ironically - and I can honestly say this has never happened before - 1 end going home with a girl who is feisty to say the least.

This means the others get the bus home. Sorry boys. Sorry Bedford. Luckily you have people there like the staff of the Esquires venue who are awesome and treat us like kings. This is rare in the UK see: Ghent and I drunkenly announce I am going to convert to Christianity Luxemburg musings, elsewhere in this diary.

The food, drink and lodgings go down very well in camp CPWK, buttheTravelodge is on an industrial estate. I literally open the curtains in the morning to be graced by the visual presence of factories and massive chimneys. I race us back to London early the next morning in order to have Sunday lunch with 'girl feisty' from the Brixton gig. My apologies to all concerned once more. This literally makes us excited. Forget your drugs, alcohol and partying.

Pizza Cano is much, much better. We get to play with our friends in Cowtown and Mirror! Today-both well worth checking out. The venue, a converted pub cellar, has a fun vibe, despite a crowd who mirror descriptions I have read of Japanese audiences. In other words - completely silent between songs for all bands, apart from quick bursts of applause. Odd and disconcerting. After the gig we move to the promoters house. The promoter plus Mirror!

We retire to one of his housemate's bedrooms, snug in the knowledge this housemate is away. I am asleep on some cushions on the floor, while Ed and Chris share a small double bed. He literally stands on me and then flops onto the bed - and Chris and Ed - falling asleep upon impact. We promptly leave. There is a good gallery space and the staff are not hard on the eye. That said, we sound like shit tonight due to not being given a soundcheck and receive a parking fine for parking in an empty Morrisons car park, despite various people associated with the gig assuring us that we would be fine.

Fuck you, Morrisons. We also feel patronised tonight-the less said the better. So I shall stop this entry here. Later that afternoon, we arrived in the beautiful Belgian city of Ghent. Ed and our driver Stuart have some delicious- looking pasta, while me and Chris can't resist the prospect of Belgian chips with mayonnaise. We sit in the sun and soak the place up.

The promoters are a lovely young couple and we are, as seems to be par for the course on the continent, treated brilliantly. As a member of another, not-to-be-named band, recently said to me playing the UK is like playing the third world compared to mainland Europe. Theshowisa lot of fun too -playing to a small but appreciative audience. After the show I sleep while the others go out for a drink or two. I genuinely attribute my tiredness to my excitement and therefore lack of ability to sleep the night before leaving at playing abroad again.

Pathetic, huh? The venue is similar in size to the Astoria 2 in London, and has all the facilities as such, yet lacks any kind of corporate involvement. This one-day festival is run by people who play in Mutiny On The Bounty and Miaow Miaow amongst other bands - these people know exactly what bands want and need!

The backstage area is awesome, everyone is amazing and there is so much incredible food and drink it's untrue. I have some bass problems due to borrowed gear, but it's a good audience, and largely a big success. As the day unfolds driver Stuart meets a lovely young lady and I eat and drink fartoo much -with consequences.

After a very long day, we retire to the promoters house and I drunkenly announce I am going to convert to Christianity. Rent is apparentlyvery cheap. This could never happen in the UKforasimilargroup of people operating in similar musical circles - in this country a similar set-up only ever happens to Busted.

I am supremelyjealous. We leave early the next day due to the drive back to Calais, stopping en route to spend fartoo much on pizza and fresh orangejuice. No problem at all - we relish the opportunity to play in front of people with no preconceptions. Pivot who have just signed to Warp are incredible, playing what very loosely sounds like Battles if they lost the annoying vocals and gained a huge sense of brooding electronics and post-punk skronk.

We end up selling quite a lotof merch and CDs, so we must have done something right. Some of these may have been played by the time of print, but these are genuinely really exciting times for us. Here's to the future!

You can read more of his musings over at alexholyroarblogspot. Anyway, I cannot get enough of this record. Having heard it while on tour with Sylvester Anfang, my hippy receptors were already pretty wide open and this slipped right on in like an acid bap. British psychedelic rock from 1 , 1 even like the tracks that sound like The Beatles the horror!

Some excellent guitar playing and killer songs to refresh the palate before reaching for the Morbosidad and Sadistk Exekution albums again. Scorpions Lonesome Crow Picked this up on the internet after stumbling across it accidentally - and it's a revelation.

I am quite comfortable with the Eighties stadium rock of the Scorpions reminds me of school trips , but I never knew they had once progged-out on the ultimate Kraut label, Brain. Awesome debut from 1 97 1 , easily as good as Black Sabbath, but with better guitar work from the Schenker brothers.

Like a collision of the Melvins, Karp, Unwound you get the picture , a touch of cinematic post-rock like GS! YBE and some stolen pharmaceuticals, this is totally rocking: the perfect blend between big dumb rock and intelligent experimentalism. The follow up AnetherealoradeqeXs a little more tricksy, though is also a winner. The first seven tracks are all great, mellow cocktail jazz though pretty bleak and miserable when you listen closer and playlist: aurora borealis Words: Andrew Hartwell Illustration: Chris Summerlin Patty has a deep and smoky voice.

Atnighon 14 minutes, it's a deranged epic that begins as sadly as the other tracks on the album before morphing slowly into something that Khanate would be proud of, as Patty starts shrieking almost hysterically- "Blaccckkkl Blaaackl "- the words becoming daggers of self-harm. Discord reigns. Well, I do. Pan-pipes carry on the air as the eagle circles the mesa, your mouth full of sand and peyote mulch as the sun beats down.

Totally heavy, very psychedelic, and utterly sun-kissed, this has to be the soundtrack to the summer. The fact that the band are all anonymous, allegedly live in the desert and on the outskirts of the law just adds to the wonder. You love New Age Doom, you just don't know it yet, trust me. Bobby Beausoleil Lucifer Rising What a great and sprawling epic this is. Total mantra transportation that sounds very now, which perhaps is part of its function. It's more a cultural artefact than just another rock record, endless tentacles connecting with so manyfundamental but bizarre pillars of underground culture since it was recorded in 1 The Ajna Offensive label are releasing a definitive box set in full collaboration with Beausoleil.

One can only wonder what new pieces of the puzzle will emerge. Plunge yr extremities into the darkness and order rockin ' records over at: www. I have a phone date -with France's current exponent of self-created cool, and urn, euro-beats, Mr Sebastien Tellier.

Phone dates after dark have never involved work before. He's in Japan, perspiring moodily, I imagine. In a post-concert haze, congratulating himself on creating an album of electro-ballads. The album sounds like smoke-machine soul, smells of Biarritz beach and polished grand pianos; overflows with Gainsbourg and Birkin-like sighs. He probably has a Lost In Translation-style call-girl outside the door for when we're done, or - God - perhaps she's already there, pouting and pronouncing 'r's the wrong way and flexing her.

The city where he first sped on dented scooter, in a small leather jacket and waist 28, tight-thighed Levis, as the most suave of Frenchmen are obliged. Less romantically, I've been sitting by the phone since dinner time as the interview is continually put on hold, only copious amounts of tea and the occasional electro pep-dance to pass the time.

Now the midnight hour approaches, the phone- line beeps promisingly, and I'm past-preparation, questions at hand Me: Good evening, MrTellier. I Him: Bonsoir, Miss Gregory. Me: So, do the Japanese like your style? Him: They like my mysterious beard, and dark glasses, oui. I do aim to please. Hyper-el itisme has its limits- it's time to reach le people.

I'm a republican in spirit- but my autonomous rule of French musical spheres will soon spread beyond the hexagon, to Eurovision, and islands inthesun Didn't start like that at all, actually. It was more like: Me: Alio? Me: Sebastien? Him: Oui, c'esf Sebastien. You're from Me: Uh, no, I'm from an English magazine. Plan B OK to do the interview? I Him: Yes, yes! I'm surrounded by girls, and noise, but I can talk to you now. Me: Oh good.

Japanese girls? Him: No, I was in Japan yesterday - wonnderfool, loovelly, it is like a future-world for me, I loovve zehr little trees, and zeUr super-futur zeengs zey 'ave over zere - but now I'm in Montpellier, where summer 'as arriv-ed. I Might stop the French accent imitation right there, but the arrival of summer is fitting for Tellier's Arrival Capital 'A' on the Euro-pop scene, emerging, as he has, from an 'underground world' where beats are traded as blown kisses on the cheeks of those in the cool crowd.

The single 'Everyone is asking me about sex' 'Divine', which will represent France at Eurovision, is more sunny West Coast doo-wop than sultry French frolics, his decision to sing in English causing something of a furore among the bastions of Gallic cultural heritage: "When one has this honour," oneministersaid, "One sings in French. Is his clique turning to cliche as he chases glamourandgold?

For me, kitsch and nobleness have the same emotional power. I'm making a kind of intellectual r'n'b -which seems a new combination. Am I all in ze sex now? It's funny because I am in interviews all day long, and everyone is asking me about sex, and I now can talk about it all the time - it is wonnderfool. When I love a woman I am very faithful, and it is like all the other women around could be men.

I don't want to be a rock star, Ijustwantto build an island. And there'd be your music - ice-cool, tender- centred - bursting from speakers across the island? I mean, I like my music, but I don't like listening to my own music. There'd be Stevie Wonder everywhere.

That's why I play music for people: to try and make myself useful. It's pure feeling, like kissing in warm rain. For much of last year. Cox was a gloriously fucked- up and unflinchingly honest personality, who relished and rewarded the attentions thrown upon him by critics and fans as they pored feverishly over his band Deerhunter's Cryptograms album. However, it became clear that he was featured in the music press more for his antics including fierce rants and photos of his bowel movements on Deerhunter's blog than his art.

Cox started blogging mp3s he had recorded under the name Atlas Sound. It's since become an online scrapbook and testing ground for his music. This time I thought I'd try a new recording process and what happened in the specific time period got documented and released and, I guess, labeled the debut. The rest just expands on that in an attempt to create a narrative, about a transitional summer where I kind of reevaluated a lot of things that had a huge role in my life.

Reader, I met my match What's your favourite song Whether striding through rolling hills full of birdsong and cowshit, or taking a walkthrough my 'hood'-fullof signifiers of what we call 'multiculturalism', I always prefer to indulge in taking in the atmosphere around me. Asyou might have guessed, the title means 'Dance Music' in German. A beautiful naive keyboard melody with some clapping and percussion on unidentified objects.

Wagner was really, really, really, really over the top. Totally unhinged. But damn, did he know about harmonies and orchestration. Great influence on The Chap, despite the dodgy political connotations. We embrace pomposity. It seems fresh next to all these folk in skinny jeans trying to be rough and real and punk allthe time. But these are all just three-minute songs!

I mean, come on! Surprisingly, I've found the first side of Pole's third album very appropriate. For comment, see above. Doesn't matter which Anal Cuntsong -they all sound the same. Very efficiently executed hard music. It's got to express total disdain for the so- called real world in an assured manner. I've spent many a delicious drunken five minutes dancing to that song.

I only drink these days, no other drugs never took many, anyway , so there. But Ella gets me every time. What a song! I wouldn't go that far, although it has a similarly rousing quality. It reminds me of attempting to affirm my identity as a sensitive intelligent adolescent whilst being very much in love with another sensitive intelligent adolescent. Schubert composed it knowing that he was dying.

It's unbelievably beautiful. Can't describe it any further. Listen to it, kids. As we draw to the interview's close, I ask Jonathan Meiburg -founder member of Okkervil River, touring member of Bill Callahan's band, and the creative heart behind Shearwater- if there's anything he wants to add, anything that might be missing.

Rooks is the sort of song-cycle to play when you haven't a log fire to warm you, when you feel without abode on your own threshold, and need to feel at home in the world, in some way. It fades to the glint of 'The Hunter's Star', the beacon we've been chasing through a drama of country scenes, dotted cottage lights on dark hillsides; following a voice that swells and soars, shelters in nooks and nests, grows wings and claws.

Winged metaphors abound; and shearwaters, I've learnt, are long-winged seabirds, most common in temperate waters and nocturnal at their coastal breeding sites, where they prefer moonless nights. Shearwater came into being back in as a sort of side project to Okkervil River, a place where Meiburg and fellow Okkervil founder Will Sheff could give their quieter creations space to breathe.

Overtime, though. Shearwater has grown into a shifting ensemble through which Meiburg explores his nature-obsessed visions. Part-time ornithologist, he sometimes dreams in birds, strange and maudlin, creatures you'd always believed to exist but had never actually heard sing. He uses the word 'maudlin' often. Nature seems to define him. Most people don't have experience of nature in their everyday lives; it becomes very hard to identify with, or even to know that it's disappearing.

There's a sadness in this, that I guess I'm trying to wrestle with, until you reach some kind of peace. He's not sure if his songs can be considered mini-epics, but he intends them to swirl in layers, "like looking into a deep clear pool " - one whose bottom is far away but seems touchable, close. Despite stringed peaks and woodwind dips, this is not what Meiburg archly refers to as "victory rock", where the listener feels like they're being hammered over the head with every instrument's force at once.

Instead, Shearwater's music feels contoured, curved, shaped. You just keep chipping away at this thing until finally, if you removed anything else, it would topple over. Of Mankind volumes on Yazoo Records. Some thoughts Shearwater inspire in me: Percy Shelley stranding himself in the middle of a lake. Romantic poets bringing the wild to the cultivated page, Caspar David Friedrich's painting Wanderer Above A Sea Of Mist, where a lone cloaked figure overlooks a ragged landscape: man battling against, or in harmony with, nature.

I suggestto Meiburg that there's something very masculine to this idea, of the explorer set against the elements, but he contends with such idealised views of nature. But the hunter, it's what we are. There's no changing it. We just eat and eat and eat. But there's an un-rock element to Meiburg's voice, which seeks to find newways of expression -like MarkHollis' late solo notes, when he was so at peace he could fade into silence, or Tim Buckley's searching debut.

Shearwater's last album Palo Santo, first released on Misrainand reissued last year on Matador, was loosely centred on the life of Nico: her otherworldliness suited a score that scaled phantom cliffs, slept fitfully, dreamt bewilderedly, and remains difficult to precis beyond analogies with the natural world.

Meiburg says there's more of himself on this record, but in his personal universe, music and nature are everything. The permanence that we long for isn't there. There's a way of approaching this that makes things seem less dreadful. You can catch little glimpses of this feeling through music, which transports you instantly, makes things that you've never experienced before suddenly seem familiar.

There's some joy in this, some redemption. For a little while, yes, you can cheat time, and death. The swagger and sweep of this band, their proggy, slimily vicious no wave, have birthed insatiable lust. We should all lie down and let people walk on us, dressed in full Elizabethan period costume.

Bury yr nose in layers of lace-must, crinolines trailing over our faces, bones creaking above and growing below , www. Peaceniks accosted the poor goon, stealing and burning his flag on the dancefloor while Husbands Russell and Patrick's lump-in-the- throat, brilliantly wrathful, queer-anthemic art-punk presided. Win the ashes at www. Butlerian dancehall stomp. Bengal barbershop. Hybrid forms you didn't know were missing, didn't know were possible; a world music not of smash-and-grab or cut-and-paste, but of warp and weft.

Newly transplanted to London, Bright as hummingbirds needed like a fresh kidney, Juha brings his extravagantly gonzo take on hip-hop to clubland, right, NOW. Y'know those dreams when yr teeth fallout? Listening to this music will make them almost ten percent more common. That's an overnight neurosis boost. Don't get left behind in Normsville, Normo.

A piano resonates in a small room, and percussion splashes around in the air above. The sun sets outside, bright as hummingbirds, bleeding bubbling gum over the horizon, and everything's sliding off the earth; the dancefloor tips into the open mouth of night, and a warm breath, the mirror-reflection of screaming, coos over the sea. The wayward arcs these numbers inscribe on yr attention span are compulsive enough to return to, even if you're not sure what the hell you're ultimately hearing. Difficult to decrypt lyrics from the invasive screams, but the music may well have been frankensteined entirely from metallic offal.

Songs are axe attack quick and conclude with the extreme relaxation only offered by a nice long hospital stay, www. Dowsing for the 'rad' within 'trad', this music is so entirely, happily out of the contemporary multimedia marketplace that you'd do as well to measure tracks with sundial as MySpace player.

Of course, she has the latter; she's from and of today, but knows that looking to yesterday can be as far-sighted as tomorrow. It comes from the title of Theodor Fontane's 1 9th Century German novel, where teenage bride Effi has an affair and is shunned by the same society that had pushed her into a loveless marriage.

But why dwell upon melancholy tales of adultery when there's music like this? Leave the book on the shelf and the words seem far more potent. Whisper them: Effi Briest. A shimmering portal opens, into a world where a six-strong band from Brooklyn rides through the darkness. Theirs is a far-reaching quest, one of shadows and evening light, where multiple phoenices soar and mirrors repeat words back at you.

It's a name for heroines. Like warriors summoned by an unheard horn, Effi Briest's members came from all corners of the USA, converging upon Brooklyn, where they first practised in the basement of a vintage clothing store. In the past, they numbered up to 1 2, but now there's six. Guitarist Sara Shaw and percussionist Jessica Stathos are elsewhere today; of the other four, Kelsey and drummer Corinne Jones are most talkative, with interjections from bassist Elizabeth Hart and Rebecca Squires, whose instruments include clarinet and accordion.

Jet-lag spacey, they're still operating on Brooklyn time - it's late afternoon, but they're still only finishing breakfast, nursing Bloody Marys. But they laugh a lot, aware that lines spoken sincerely might sound pretentious in print.

It sounds like a lot of fun being in Effi Briest, giving life to songs that writhe and flex in their hands, shape-shifting through winged psychedelic rock, gaunt post-punk and wolfish freak-folk before blurring into another form. At times the bass and drums lock into a Can-like groove. At others they're detached, floating away from each other into a void where Sara's arcing, flaring guitar and Jessica and Rebecca's flinching, rattling, sighing instruments just underline the unknowable space surrounding them.

There's a sense of transcendent ritual, yetshe's not the shaman: it's the band as a whole who are both guides and seekers, retreading their collective creations and improvising new paths together. That is, when something seems most right, when everything can fit together. It becomes an anchor, a quintessential part to the song - but then something can be like a little addition as well.

With songs that twist and weave their way collaboratively through several incarnations, are Effi Briest tapping into the same revival of traditional 'women's crafts' - braiding, knitting, crochet-that can be seen as both feminist expression and anti- consumerist statement? It's valid. We're women and it's part of our history. I think there is an interest in eco-feminism right now, with ecology being such a big news point.

People are looking for examples of past societies or cultures that have been able to flourish and not be destructive, and a lot of those are feminine-based. I'm also wary of conflating women with 'nature', in the wake of thousands of years of feminist struggle to assert that we're not ruled by moon goddesses or wandering wombs, that we can choose our mates based upon more than whether they have a chiselled jaw and that we can pick up guitars without giggling at the thought of penis envy.

But I'm curious whether the band have personal experiences of nature that have made an impression. Every time, I'm like, 'Why am I so shocked that these things are here? It's a pretty unique place; there's a primitivist ideal that's generally accepted. And there's tons of sea otters, and they're cute. One of an early batch of words penned byCorinne, lastyear's single 'Mirror Rim' was composed of palindromes, an exercise in formal rigour whose clipped non-sequiturs and backwards guitar hint at a Rorschach test's worth of unconscious associations waiting to spill out.

There was something really strong about them, like everything that was in it was essential," says Kelsey. So I went back and listened to a lot of music from when I was younger, to get inspired to sing something with such conviction, but also, there's a little bit of volatility to it. Recently I've been listening to a lot more free jazz for inspiration and I'm trying to make my voice sound more like an instrument.

And that's been really fun with the clarinet, doing a call and response". Their newsingle 'Long Shadow', meanwhile, is inspired by an impressionistic experience of a cemetery. We try to stretch out the song like it's a long shadow, just holding it down and taking it out as far as we can. Sara wears: Grey marl vest by Von Sono, vintage striped waistcoat by Hurwundeki London, turquoise jeans by American Apparel, green lace-up boots by Greenshoes, wooden beads necklace stylist's own, all other jewels model's own.

Corinne wears: Cotton top with rainbow print by Milena, grey pencil skirt by American Apparel, belt model's own, net tights by Pamela Mann, shoes model's own, all jewels model's own. Jessica wears: Vintage multicolour patchwork vest by Hurwundeki London, chiffon skirt by Wildlife Works, eco- tanned corset belt by Greenshoes, tights with holes by Pamela Mann, black sandals by Shofolk, peacock earrings stylist's own, all other jewels model's own.

Rebecca wears: Hand knitted dress by Milena, net slip dress with cherry motif worn underneath by Milena, shell necklace stylist's own, spider web tights Pamela Mann, boots model's own. Elizabeth wears: Pinafore dress with rainbow patchwork by Milena, black vest worn underneath Elizabeth's own, spider web tights by Pamela Mann, sandals by Shofolk, feather necklace stylist's own, all other jewels model's own.

Kelsey singing them has really transformed them. So I feel like it's a song I sing in different voices. I think sometimes when I write my own lyrics, it's a way to understand complicated ideas in my own head, or complicated emotions or experiences. Sometimes having an outside lyric I find it easier to pull out the main themes or emotions, or it's easier to understand how to place myself in it.

Are the band aware of the crowd when playing live, or are they more self- contained onstage? We want to be truthful and honest about our energy and how our whole collective being is. You just play better. I could tell he was right there with me, and I was, like, 'Yeah!

Right on! Not on purpose, or pre-meditated - like many musicians, he is resistant to pigeonholes or categories. But there indicators are many, and too uncanny to avoid. His music is both ethereal and visceral, two apparently contradictory qualities which coincide when ghosts appear. Although his sound evolved on the other side of the world, in his hometown, Los Angeles, it shares many of the sonic sensibilities of dubstep - a genre that, in the hands of producers like Burial, has become a repository for the "hauntological",an idea that's sprung into being to describe cultures that have been forgotten or excluded from the mainstream.

And most compellingly. Flying Lotus has his own stories of paranormal encounters, including episodes of lucid dreaming and sleep paralysis. Sometimes you can wake yourself up from it, other times you fall right back into it. I don't know how it is for other people but when I have that shit it seems like the third eye is open -you're seeing ghosts and spirits and all sorts of weird shit.

Before he could act, the figure fled. Born Steven Ellington, he is the great nephew of John and Alice Coltrane, a connection which he is sick of talking about already. Suffice to say he played the saxophone at school, but " had to give that shit up [because] when your uncle is John Coltrane it puts you under a lotof pressure". He hasn't severed the link entirely- 'Auntie's Harp', on his new LP Los Angeles, features a sample of Alice playing the harp - but Ellington went to art and film school, and draws cartoons.

Lotus makes synthesised hip-hop of the kind that people have begun to call 'wonky', a sound characterised by warmth, lots of filtering, and an off-kilter feel that derives from rhythms that start or finish just before or after where the beat should be. His tracks feel like they float in seas of static, or drift on currents through the famous Los Angeles traffic smog. On 'Tea Leaf Dancers', the opener to 'Reset', Andrea Triani's sultry vocals are filtered so they fade in and out of the mixdown, as if the record is being played off bendy old vinyl a hauntological nostalgia for pre-commercial soul, perhaps?

Los Angeles, meanwhile, is more exotic, layers moving like liquid, or objects of marvel suspended in deep sea or outer space. It's impossibly dreamy. I listentoitfora week on the bus on the way to work and forget about the newspaper on my lap: I drift all the way off. He's pleased when I tell him this: "That is something I really strive for while I'm listening to it- 1 wanna be taken someplace as well.

It's my meditation. He test-drives his stuff in the car, riding around with no destination in mind and the bass pumped way up. When he doesn't want to talk about something, he becomes louder and abrupt. But it still has to be cohesive, it still has to have that frame in your mind like you're trying to tell a story.

This doesn'ttell me why he is called Flying Lotus, I point out. Ellington explains the character was not originally conceived to be him. He's this pudgy Italian guy- kind of like Super Mario with a different hat on. I became him later. But I think maybe he was always me in the back of my mind. I suggestthere are also sonic parallels. It is also one of the best rap songs ever made. Written immediately after an incident with the police the song is full of anger and venom that touched off a firestorm of controversy when it was released.

Gangsta Gangsta has a really simple hook and instrumental to it but Ice Cub really gets to shine. The instrumental has a cool use of the guitar and this could be the best song from the second album. The title track from that album and it starts with about a minute of people complaining about their lyrical content.

Fad, Snoop Dogg, The D. A an acronym for Niggaz Wit Attitudes [1][2][3] was an American hip hop group from Compton, California, widely considered one of the seminal acts of the gangsta rap and west coast hip hop sub-genres,[4] sometimes credited as the most important group in the history of rap music.

The group was subsequently banned from many mainstream American radio stations. In spite of this, the group has sold over 10 million units in the United States alone. Dre, Eazy-E, and Ice Cube. MC Ren joined in , with Arabian Prince leaving the group later that same year. Ice Cube left in December of over royalty disputes. Several members would later become platinum-selling solo artists in the s. Their debut album Straight Outta Compton marked the beginning of the new gangsta rap era as the production and social commentary in their lyrics were revolutionary within the genre.

A were nominated for induction into the Rock and Roll Hall of Fame. Initially, N. A consisted of Eazy-E and Dr. Dre, who in turn brought DJ Yella on board. Dre, and Ice Cube. A released their debut studio album, Straight Outta Compton, in With its famous opening salvo of three tracks, the group reflected the rising anger of the urban youth. While the group was later credited with pioneering the burgeoning sub genre of gangsta rap, N. However, the taboo nature of N. Media coverage compensated for N.

Music was handled by Dr. The album was another double platinum success for Ruthless[17] in addition to girl group J. His album was essentially a collaboration with Dr. Ice Cube left in December [18] over royalty disputes;[3] having written almost half of the lyrics on Straight Outta Compton himself, he felt he was not getting a fair share of the money and profits.

A together in a jail cell, while an Ice Cube look-alike is released. The G-funk style dominated both the West and East Coast hip hop music scene for several years to come. The album is considered by many Dr. It also showed a clear animosity towards their former member, and derogatory references to Ice Cube are found in several songs. Think about it, punk muthafucka, spoken by MC Ren.

The N. A—Ice Cube feud eventually escalated, both on record and in real life. He also responded to members MC Ren, Dr. According to Rolling Stone reporter Alan Light:. After Dre tried to throw her down the stairs and failed, he began kicking her in the ribs and hands.

I just did it, you know. After Dr. Dre, The D. The photos dated back to Dr. All bad blood finally ceased within the rest of the group. Dre eased on the other hand. Ice Cube made a cameo appearance in Dr. However, due to busy and conflicting schedules as well as the obstacles of coordinating three different record labels Priority, No Limit and Interscope , obtaining the rights to the name N.

A and endorsing the whole project to gain exclusive rights, the album never materialized. Both songs would appear on N. Dre and DJ Yella were present in the studio for the latter song. A Legacy, Vol. The success of the album prompted a second volume, The N. It emulated the format of its predecessor, containing only three genuine N. A tracks and many solo efforts by the crew members. In , a new greatest hits package was released, entitled The Best of N. A: The Strength of Street Knowledge.

According to the Internet Movie Database, the script was researched and written by filmmaker S. Wright, Ice Cube, and Dr. Dre will act as producers of the film. As of September , John Singleton[26] was selected as director. The cast also has yet to be disclosed. Casting calls began in the summer of Although the group disbanded in , it left a lasting legacy on hip hop music in the following decades.

In Dr. Also, the rapper Game has a tattoo that says N. A on the right side of his chest. Main article: N. His moniker is derived from his first name Lorenzo. Patterson was born and raised in Compton, California. He and fellow N. Before N. But he changed his mind when he saw Full Metal Jacket, and then he met with Eazy-E and started his career. He contributed vocals on the N.

A album Straight Outta Compton as well as co-writing several tracks after Ice Cube left the group in A became the first gangsta rap group to gain mainstream success. However, as their album Niggaz4Life reached the 1 spot on the Billboard in , financial conflict between Dr. Dre and Ruthless Records led to the group disbanding. He also personally cited the inevitable tension of a close knit group.

Dre left to form Death Row Records. It reached platinum. Shock of the Hour in was released the next year. The album sold relatively well for a brief period. Before leaving Ruthless Records, Ren released Ruthless for Life which proved a small comeback, selling moderately well. He joined the Up In Smoke Tour that same year just to rap this verse on this track. Paris stated in an interview with Rapstation. As of late , Ren was supposed to be in work with Long Beach-based rapper RBX alongside Big Rocc on the group Concrete Criminals and although a debut album was promised, nothing came out of it.

In , MC Ren finished his fourth studio album entitled Renincarnated which was released under his own record label Villain Entertainment on October 31, Renincarnated was only released in the US. He converted to Sunni Islam a few years later. Chad Lamont Butler[1] December 29, — December 4, , better known by his stage name Pimp C, was an American rapper, singer, and producer.

In January , Pimp C was sentenced to eight years in prison for violating his probation by ignoring his sentence to community service stemming from an earlier aggravated assault charge. Pimp C spent the later portion of his sentence at the Terrell Unit in Brazoria County, Texas and was transferred to the Huntsville Unit a week prior to his release. Pimp C was found dead in his hotel room in Los Angeles on December 4, According to the Los Angeles County Coroner, Butler suffered respiratory depression due to an overdose of promethazine and codeine coupled with a preexisting sleep apnea condition.

John R. UGK 4 Life had been recorded, for the most part, in the time frame between their previous album and the passing of Pimp C. YearTitlePeak chart positionsCertifications U. YearTitlePeak chart positionsAlbum U. YearSongPeak chart positionsAlbum U. A, DJ Yella, Dr. Fyne, Ice Cube, Brownside. After dropping out of high school in the tenth grade, he supported himself primarily by selling drugs before investing in Ruthless Records and becoming a rapper.

When Ruthless artists Dr. A released N. In , they released their most controversial album, Straight Outta Compton. The group released two more albums and then disbanded after Eazy released Dr. Dre from his contract. No one survived on the streets without a protective mask. No one survived naked. You had to have a role. He was a small guy. However, he decided that he could make a better living in the Los Angeles hip-hop scene, which was growing rapidly in popularity.

The original idea for Ruthless Records came when Wright asked Heller to go into business with him. I take twenty, you take eighty percent. You own the company. I work for you. A was formed when Ruthless signees Dr. It included Wright, Dr. It was labeled as West Coast hip hop, Gangsta rap, and Golden age hip hop. It has sold over 2. A and the Posse. After the release of Straight Outta Compton, Ice Cube left due to internal disputes, and the group continued as a four-piece ensemble.

A diss war started between N. He played the divide and conquer game. Instead of taking care of everybody, he picked one nigga to take care of and that was Eazy. Dre asked Eazy to release him from the Ruthless Records contract, but Eazy refused.

The impasse led to what reportedly transpired between Knight and Eazy at the recording studio where Niggaz4life was recorded. After he refused to release Dre, Knight declared to Eazy that he had kidnapped Heller and was holding him prisoner in a van. The feud with Dr. Klein, a former Ruthless Records director of business affairs, said this provided Ruthless Records with leverage to enter into negotiations with Death Row Records over Dr.

Dre, the JDL and Ruthless Records management negotiated a release in which the record label would continue to receive money and publishing rights from future Dr.

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