Rem Monster

Soft Cell - This Last Night… In Sodom (1984) {Mercury 558 267-2 rem 1998}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 556 Mb | MP3 @320 -> 184 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 1984, 1998 Mercury Records / PolyGram | 558 267-2
Synth Pop / Dance Pop / New Romantic / New Wave

For those whose exposure to Soft Cell has been limited to the glorious and inescapable "Tainted Love," the duo's 1984 swan song This Last Night in Sodom should feature a warning sticker. Singer Marc Almond and keyboardist Dave Ball don't attempt to recapture the Top 40 magic of that hit here.

Pourquoi des architectes, des régimes politiques, des cultures (américaine, européenne, asiatique) complètement différents en arrivent-ils à des configurations similaires ? À travers des questions d’ordinaire délaissées par les architectes : la congestion, la tabula rasa ou le junkspace, Rem Koolhaas s’interroge sur ce qu’est devenue la ville. Ce livre regroupe, pour la première fois, une série de textes – dont le magistral essai Singapour Songlines – qui sont autant de méditations sur la nature de la ville contemporaine et ses métamorphoses radicales au cours des dernières décennies. …

Joe Zawinul - The Rise & Fall Of The Third Stream (1967) {2012 Japan Jazz Best Collection 1000 Series 24bit Remaster WPCR-27124}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 218 Mb | MP3 @320 -> 82 Mb
Full Artwork @ 600 dpi (png) -> 205 Mb | 5% repair rar | 24bit remaster
© 1967, 2012 Vortex / Rhino / Warner Japan / WEA | WPCR-27124 | Jazz Best Collection 1000 Series
Jazz / Hard Bop / Soul Jazz / Third Stream / Piano

Features 24 bit remastering and comes with a mini-description. Although Joe first came to big fame in the US as a funky vamper and soloist behind Cannonball Adderley's big group of the 60s, this early album as a leader has a much more mature sound than Joe's funky work with Cannon – and it rightly earns the "third stream" tag in the title through the use of an enlarged ensemble that includes cello and viola, in addition to the core group of soulful players like Jimmy Owens, Richard Davis, and Freddie Waits. William Fischer's also on the record on tenor, and many of the tracks are his own compositions, with that kind of weird off-kilter, slightly serious approach he used on other Atlantic/Vortex sessions at the time. The mix of soul and serious scoring is actually a pretty darn compelling blend – as you'll hear on tracks like "Lord, Lord, Lord", "Soul Of A Village", and "The 5th Canto".