Birdman Бёрдмэн (2014)

Casualties of Cool is a project by prolific musician/producer Devin Townsend, who handles vocals, guitars, bass, and keyboards on the album, and Ché Aimee Dorval who handles vocals, and guitars. The duo is helped out by a varity of session musicians.
With Casualties of Cool, Devin Townsend's experimentation with ambient grooves, ghostly beauty, mellow compositions, and mature instrumental performances has reached a grand new height. We heard it as a diversion on Ki, in the empty spaces on Ghost, and sprinkled through out other albums - but Casualties of Cool absolutely sends chills up the spine with elegant class. Not only is it Devin's best "quite" album, it's one of his best albums…

On his third album, Jackson Browne returned to the themes of his debut record (love, loss, identity, apocalypse) and, amazingly, delved even deeper into them. "For a Dancer," a meditation on death like the first album's "Song for Adam," is a more eloquent eulogy; "Farther On" extends the "moving on" point of "Looking Into You"; "Before the Deluge" is a glimpse beyond the apocalypse evoked on "My Opening Farewell" and the second album's "For Everyman." If Browne had seemed to question everything in his first records, here he even questioned himself. "For me some words come easy, but I know that they don't mean that much," he sang on the opening track, "Late for the Sky," and added in "Farther On," "I'm not sure what I'm trying to say." Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well. "The Late Show," the album's thematic center, doubted but ultimately affirmed the nature of relationships, while by the end, "After the Deluge," if "only a few survived," the human race continued nonetheless. It was a lot to put into a pop music album, but Browne stretched the limits of what could be found in what he called "the beauty in songs," just as Bob Dylan had a decade before.

Devin Townsend, possibly more widely known as the frontman for the extreme metal act Strapping Young Lad, began creating solo albums in 1997. Sometimes referred to as the 'Mad Scientist of Metal', Townsend produces a wide variety of music. This ranges from soft ambience designed, as he has stated, to put the listener to sleep, to high levels of thrash and extreme metal reminiscent of SYL. His works often feature a 'wall of sound', built by adding many layers of guitars and keyboards that are playing in unison or harmony. The end result is a number of carefully produced and mixed albums that favor high-end sound systems. Devin Townsend Project is another venture of Devin Townsend, considered separate from the material released as Devin Townsend. The project was originally conceived to comprise four albums of differing musical styles, each with a different set of guest/session musicians backing Townsend, but ended up continuing beyond that.

This is a deluxe box set including: Each individual item (complete opera or recital CD) presented in its original artwork, 136 pages hard-back book containing essays, a biography and chronology, rarely-seen photos and also reproductions of revealing correspondence between Maria Callas, Walter Legge and other EMI executives.

Sun Ra and His Arkestra - In the Orbit of Ra (2014) {2CD Set Strut STRUT109CD}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 668 Mb | MP3 @320 -> 290 Mb
Full Artwork @ 300 dpi (jpg) -> 75 Mb | 5% repair rar
© 2014 Strut | STRUT109CD
Jazz / Avant-Garde Jazz / Experimental Big Band / Progressive Jazz

Arkestra bandleader Marshall Allen presents Sun Ra classics and rarities. Includes previously unreleased track 'Trying To Put The Blame On Me' + previously unissued versions of 'Reflects Motion' and 'Island In The Sun'. As the longest-tenured member of the Arkestra (55-plus years and counting as of 2014), there is no one with a deeper understanding of the music of Sun Ra than Marshall Allen, and that's part of what makes In the Orbit of Ra such a special collection. The Arkestra's long history is often divided into musical/geographic periods or spoken of as a progression from inside to outside playing. This set spans from the late '50s to the late '70s but the non-chronological sequencing shows how artificial those stylistic boundaries are.