Muse Will of The People

Grammy Award winning band Muse release their long-awaited ninth studio album Will Of The People via Warner Records. Of the album, Muse frontman Matt Bellamy says, “Will Of The People was created in Los Angeles and London and is influenced by the increasing uncertainty and instability in the world. A pandemic, new wars in Europe, massive protests and riots, an attempted insurrection, Western democracy wavering, rising authoritarianism, wildfires and natural disasters and the destabilization of the global order all informed Will Of The People. It has been a worrying and scary time for all of us as the Western empire and the natural world, which have cradled us for so long are genuinely threatened. This album is a personal navigation through those fears and preparation for what comes next.”

Mostly Other People Do the Killing - Hannover (2015) {Jazzwerkstatt jw146 rec 2014}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 486 Mb | MP3 @320 -> 185 Mb
Full Artwork @ 300 dpi (jpg) -> 28 Mb | 5% repair rar
© 2015 Jazzwerkstatt | jw146
Jazz / Post-Bop / Avant-Garde Jazz

Hard on the heels of their divisive Blue album released last fall this follow up is a live album that plays to their strength as a forward thinking but accessible band that has one thing that lifts them over many of their colleagues: a wonderful sense of humor. This was lost during their atom by atom reconstruction of the Miles Davis Kind of Blue LP, but here they are on home turf, ripping through lengthy medleys of their own original music, as always mostly named after small towns in Pennsylvania. MOPDTK consists of Jon Irabagon on saxophones, Moppa Elliott on bass, Kevin Shea on drums and Peter Evans on trumpet.

Throughout their career, it's always been clear that Muse aren't satisfied to just do the same thing over and over again, as they have evolved from their early days when they were (perhaps unfairly) pigeonholed as a Radiohead imitator into purveyors of some of the most epic symphonic rock since Queen graced the stage. On their sixth album, The 2nd Law, they continue to shake things up, diving deeper into the electronic rabbit hole as they experiment with a sound that's less reliant on Matthew Bellamy's guitar heroics, resulting in an album that's a bit of a mixed bag. Incorporating some of the slickest production the band has ever had with a more synth-heavy sound, the album certainly succeeds in feeling different from Muse's previous work…

Live at Rome Olympic Stadium is a live album by English alternative rock band Muse, which will be released from 29 November 2013 . The album contains the band's performance at Rome's Stadio Olimpico on 6 July 2013, in front of a crowd of 60,963 people. The concert was a part of The Unsustainable Tour, which is a moniker for the band's summer 2013 European leg of The 2nd Law World Tour

Muse - Live at Rome Olympic Stadium (Bly-ray rip) 2013
MP3 320 kbps | Tracks: 18+3 Bonus Tracks | 01:48:28 | 254.31 mb
Genre: Alternative Rock | Label: WARNER BROS

The band has released their third live album: Live at Rome Olympic Stadium, from 29 November 2013 in the CD/DVD and CD/Blu-ray formats. On 5 November 2013, the film will also get theatrical screenings in 20 cities worldwide, in the U.S. and Canada on 6 November 2013, in Europe, UK, Australia and Japan on 7 November 2013, on 12 November 2013 in Austria, Germany, Italy and Spain, on 19 November 2013 in Poland, and 22-24 November 2013 in Indonesia.

John Frusciante kicked it into high gear in 2004, not only releasing Shadows Collide With People through Warner Bros., but also planning to release an album every other month or so through the rest of the year on the Recordcollection label. The first of these releases is Will to Death, a collaboration with Josh Klinghoffer (who also helped out with Shadows Collide With People). Those familiar with Frusciante's other solo work will know that this material will be far from Red Hot Chili Peppers lite: Frusciante definitely has his own (somewhat haunted) muse. The songs are basically nice little pop tunes, with hard-panned oddball production and very personal, introspective lyrics. This album also marks a new personal aesthetic for Frusciante: he wanted these songs to be raw and immediate (as inspired by some of his favorite albums), and to this end there were very few takes involved with any of these songs, and mistakes and elements of chance found their way in as well.

The fourth in a series of comprehensive box sets chronicling David Bowie's entire career: Loving the Alien (1983-1988) covers a period that found Bowie at a popular peak yet somewhat creatively adrift. Once Let's Dance went supernova in 1983, as it was designed to do, Bowie's productivity slowed to a crawl: he knocked out the sequel, Tonight, in a year, then took three to deliver Never Let Me Down. By the end of the decade, he rediscovered his muse via the guitar skronk of Tin Machine, but Loving the Alien cuts off with Never Let Me Down, presented both in its original version and in a new incarnation containing tasteful instrumentation recorded in the wake of Bowie's death…

It’s hard to believe that more than 50 years have passed since Joan Baez first stepped onto the public stage and became the voice of America’s conscience. From her early support of Martin Luther King’s civil rights campaign to the platform she provided to the suffering citizens of Sarajevo, there hasn’t been a major social-justice movement in the past half-century that Baez hasn’t championed. She primarily has been identified with the 1960s, and consequently, some of her recent charitable projects haven’t been at the forefront of the mainstream radar. In her new documentary How Sweet the Sound, Mary Wharton took the steps that are necessary to reverse this trend.