felt albums download Felt albums download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67acc04b880e15f4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. MQS Albums Download.

Mastering Quality Sound,Hi-Res Audio Download, 高解析音樂, 高音質の音楽. Felt – Ignite The Seven Cannons (1985/2018) [Qobuz FLAC 24bit/44,1kHz] Felt – Ignite The Seven Cannons (1985/2018) FLAC (tracks) 24 bit/44,1 kHz | Time – 32:46 minutes | 387 MB | Genre: Alternative Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Cherry Red Records. Felt is a late 1970s British indie-rock cult band founded by the mononymous individual Lawrence. The Splendour of Fear is the fourth album that Felt has released. Their unique rock sound can be heard on tracks like My Darkest Light Will Shine, Textile Ranch, and Elegance in D. On Ignite the Seven Cannons, Felt brings in Cocteau Twin Robin Guthrie to produce. While Guthrie brings along bandmate Elizabeth Fraser to add her typically ethereal vocals to “Primitive Painters” – earning Felt a minor U.K. hit – the collaboration doesn’t work as well as one would hope. John Leckie’s clear, simple production on the group’s previous album, The Strange Idols Pattern and Other Short Stories, highlighted the shimmering guitar work and infused the album with odd yet breathtaking beauty. However, the guitars are deeper in the mix here, at times buried beneath Guthrie’s atmospheric production and the addition of keyboardist Martin Duffy (later of Primal Scream). Lawrence Hayward has noted that this album sounds different than other Felt albums because Guthrie simply did what he did with the Cocteau Twins. And, while there is a new urgency to Hayward’s singing – bringing him even closer to the anti-vocals of his hero Tom Verlaine – and some gorgeous guitar moments from the classically trained Maurice Deebank, this album falls short of the high-water mark set by the group’s previous effort. Tracklist: 01 – My Darkest Light Will Shine 02 – The Day the Rain Came Down 03 – Scarlet Servants 04 – I Don’t Know Which Way Turn 05 – Primitive Painters 06 – Textile Ranch 07 – Black Ship in the Harbour 08 – Elegance in D 09 – Caspian See 10 – Southern State Tapestry. MQS Albums Download.

Mastering Quality Sound,Hi-Res Audio Download, 高解析音樂, 高音質の音楽. Nils Frahm – Felt (2011/2014) [FLAC 24bit/44,1kHz] Nils Frahm – Felt (2011/2014) FLAC (tracks) 24 bit/44,1 kHz | Time – 43:14 minutes | 431 MB | Genre: Ambient, Modern Classical Studio Masters, Official Digital Download | Front Cover | © Erased Tapes. Berlin-based pianist Nils Frahm is already a firebrand in the modern classical world, collaborating with contemporaries such as Peter Broderick, Ólafur Arnalds and Anne Müller. His unconventional approach to an age-old instrument, played contemplatively and intimately, has won him many fans around the world. As announced by Drowned In Sound, he finally returns on October 10th 2011 with the successor to his highly acclaimed solo piano works Wintermusik and The Bells. Having recorded his last album live in a large, reverberant church, Nils Frahm now invites you to put on your headphones and dive into a world of microscopic and delicate sounds – so intimate that you could be sitting beside him. Recorded late at night in the reflective solitude and silence of his studio in Berlin, Frahm uncovers a new sound and source of inspiration within these peaceful moments: ‘Originally I wanted to do my neighbours a favour by damping the sound of my piano. If I want to play piano during the quiet of the night, the only respectful way is by layering thick felt in front of the strings and using very gentle fingers. It was then that I discovered that my piano sounds beautiful with the damper.’ Captivated by this sonic exposition, he placed the microphones so deep inside the piano that they were almost touching the strings. This brought a host of external sounds to the recordings which most producers would try their hardest to hide: ‘I hear myself breathing and panting, the scraping sound of the piano’s action and the creaking of my wooden floorboards – all equally as loud as the music. The music becomes a contingency, a chance, an accident within all this rustling. My heart opens and I wonder what exactly it is that makes me feel so happy.’ FELT creates its own personal microcosm, offering a refuge of tender and honest beauty. 4 stars out of 5 — “FELT’s highlight is the nine-minute ‘More, whose dusky, undulating melody re-emerges transformed by electronic filters at its end.” Tracklist: 01. Keep 02. Less 03. Familiar 04. Unter 05. Old Thought 06. Snippet 07. Kind 08. Pause 09. More. Crumbling the Antiseptic Beauty. Felt's first album, 1982's Crumbling the Antiseptic Beauty, is skeletal and mysterious, equally influenced by the intellectual New York City scene of the '70s and the gloomy psychedelia of the '60s while laying out in very clear terms the vision of the band's frontman, Lawrence. The songs are built around the dueling guitar interplay of Lawrence and the very skilled Maurice Deebank, whose silvery filigrees dart around Lawrence's strums like flashes of baroque lightning. The two guitarists build intricate structures of sound that jangle like bells, cut like knives, and are buffered perfectly by Gary Ainge's muffled tom-toms and Nick Gilbert's simple basslines. The instrumentals that make up a chunk of the album are majestic and strange, with the guitars twinning together in epic cathedrals of sound, the drums thundering, and the bass wandering about below. They are lovely moments of atmosphere between the songs that feature Lawrence's pain-wrecked, buried-in-the-mix vocals. He's not the assured vocalist that he became later, but his barely audible vocals fit the subdued mood and cloudy melancholic drama just right. Most of the songs are structureless and loose, with the band repeating chords and parts while Lawrence mutters bitter poetry under his breath, but occasionally a clear melody escapes ("Cathedral") or the band works up a head of steam that Lawrence matches with some strong vocal work (the almost poppy "I Worship the Sun"). Crumbling the Antiseptic Beauty is an auspicious debut that's very much a band effort, with each member pulling his weight and turning in exciting, expressive performances. The record showed Felt standing pretty much alone as sonic innovators and as a band that could break one's heart with an arpeggio, a sad melody, or a well-turned phrase. The Splendour of Fear. By the time they released their second album, 1984's The Splendour of Fear, Felt had begun to move on from the claustrophobic, sparse sound of their debut, where Lawrence's vocals were buried in the mix. The 1982 single "Trails of Colour Dissolve" brought his desperately angst-filled vocals to the fore and dialed back Maurice Deebank's guitar work just a bit. It was still primitive and a little raw, but when they went into the studio to record Splendour, producer John A. Rivers and the band went for a bigger, more fully realized approach that made the drums pound like thunder and the guitars fill the screen all the way to the furthest edges. Most importantly, Lawrence's vocals are up front and strong; he sounds fully in charge of the band and the songs like he hadn't up to that point. When his vocals come in for the first time, on the album's second song, "The World Is as Soft as Lace," it's a revelatory moment that's charged with emotion, and as the song rises to a close, it's clear that Felt have taken a huge step forward. There's only one other vocal track of the six that make up the album, "The Stagnant Pool," and it too is an impressively dramatic adventure that shows some new skills at arranging their sparse sounds and packs a blinding punch. The instrumentals are lovely as well, especially the rollicking "Mexican Bandits," which romps like a chase scene as the two guitarists duel and the drums and bass carry them along, and "A Preacher in New England," which is a fine showcase for Deebank's baroque acrobatics and adds some subtle synth wash to the mix. The Splendour of Fear is a fine follow-up to Felt's dramatic debut, and points the way forward to their first classic era.