| | Jim Yoshii Pile-Up Homemade Drugs CD Jim Yoshii Pile-Up Discography of CDs
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Our Price: $13.05  CDFor Sale Usually ships in 1-2 days
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2nd Rel;Indie Rock From Oaklan
Recorded between December 2001 and February 2002.
The Jim Yoshii Pile-Up: Paul Gonzenbach (vocals, guitar); Ian Connelly, Noah Blumberg (guitar); Frankie Koeller (bass); Ryan Craven (drums); Sikwaya Condon (spiritual guidance).
Jim Yoshii Pile-Up Homemade Drugs Songs Homemade Drugs Review
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Purchase Homemade Drugs CD To buy, Click on price to add to cart | Interpol Turn On The Bright Lights CD (2002)
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Vocals which fall somewhere between Ian Curtis's plaintive, edge-of-oblivion wail and the winking, laconic drawl of James's Tim Booth, ripping uncompromisingly through unpredictable, unforgettable lamentations from the reflective ("NYC") to the imploring ("PDA"). When the darkly etched, implosive, mournful lyrics poke out as they do on the unrelenting "Obstacle 1" ("she puts the weights into my little heart and she gets in my room and she tears it apart"), the hook is set for an important debut by a band that portends to be around a ...
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The fourth full-length album by Omaha-based indie band Cursive--the second after their 2000 reformation following an extended breakup--THE UGLY ORGAN continues with both the dark lyrical themes and more acoustic sound of its immediate predecessor, DOMESTICA. Where that album was explicitly about Cursive frontman Tim Kasher's apparently emotionally devastating divorce, THE UGLY ORGAN is both more ...
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As one of the seminal college-rock ...
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| | N Rajam Radiant CD (2005)
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The ability to successfully absorb external influences and at the same time retain one's own unique cultural identity has been a feature of Indian music history. Violin has played an active role in Indian music culture since the eighteenth century. Until N.Rajam first burst onto the music scene in the 1960's, it was employed mostly as an accompanying instrument, played in ensembles and orchestras or providing instrumental support for singers. She was responsible for introducing the vocal style, known as 'Gayaki ang' into the violin repertoire. Since then, this style of playing has become a great favourite with Indian classical music audiences.Dr.N.Rajam hails from a family, which boasts generations of great violin players, her brother; T N Krishnan is a well-known South Indian violinist. Her technique was inherited from her father Sr. Narayana Iyer, who encouraged his daughter to absorb influences of vocal music and the ancient string instrument the 'Veena' into her playing.Later, her yearning for self-development took her to the holy city of Benares, on the banks of the River Ganges, where she embarked on fifteen years of rigorous musical training under the guidance of legendary singer Omkarnath Thakur. As a devoted disciple, N.Rajam served out an invaluable apprenticeship, regularly accompanying her teacher on stage, echoing all of his subtle vocal nuances. Her guru encouraged her to approach music with utmost tenderness, love and humility; virtues which have characterised Rajam's playing for the last thirty years. Those who were lucky enough to have experienced the performances of Omkarnath Thakur speak of music of a high emotional intensity.She has been able to successfully adapt many varieties of vocal styles into her playing, namely khayal, thumri, tappa and bhajan, vocal styles with distinctive characteristics and traditions. It is the combination of these forms gives her music a sense of completeness. Her technique is the envy of violinists worldwide, and in India, as well as a popular performer, she is regarded as a musician's musician. In 1984, The Indian government recognised her service to music by honouring her with the 'Padmashree', one of the highest awards bestowed on any artist.This recording features a live performance given at the 2002 Saptak Music Festival.It begins with a rendition of the popular evening raga, Malkauns; which is stated in ancient texts, has being one of the six original ragas of Indian music. Deep, peaceful and sublime in character, it is a melody traditionally associated with the late night. Technically, it offers a particularly stiff challenge to violinists because it consists of only five ...
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