Sepultura – Discography (1986-2017) [Vinyl Rip FLAC 24bit/192kHz]

Genre: Thrash Metal
Year: 1986-2017

Sepultura is a Brazilian heavy metal band from Belo Horizonte. Formed in 1984 by brothers Max and Igor Cavalera, the band was a major force in the thrash metal and groove metal genres during the late 1980s and early 1990s, with their later experiments drawing influence from alternative metal, world music, nu metal, hardcore punk and industrial metal. Sepultura has also been credited as one of the leaders of the second wave of thrash metal in the late 1980s and early-to-mid-1990s.

The band has had several lineup changes throughout its existence, with Max and Igor Cavalera departing in 1996 and 2006, respectively. Sepultura’s current lineup consists of vocalist Derrick Green, guitarist Andreas Kisser, bassist Paulo Jr. and drummer Eloy Casagrande. Since Igor Cavalera’s departure in 2006, there have been no original members left in the band. Paulo Jr., who has been a member of Sepultura since 1985, is the only member to appear on every release. Kisser, who replaced Jairo Guedz in 1987, has played on all of the band’s studio albums, except for their debut Morbid Visions (1986) and the split Bestial Devastation (1985).

Sepultura has released fourteen studio albums to date, the latest being Machine Messiah (2017). Their most successful records are Beneath the Remains (1989), Arise (1991), Chaos A.D. (1993) and Roots (1996). Sepultura has sold over three million units in the United States and almost 20 million worldwide, gaining multiple gold and platinum records around the globe, including in countries as diverse as France, Australia, Indonesia,United States, Cyprus and their native Brazil.

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Iggy Pop & James Williamson – Kill City (1977) [USA BOMP 1st press] [Vinyl Rip DSF DSD128]

Iggy Pop & James Williamson – Kill City (1977) [USA BOMP 1st press]
Vinyl |  DSF DSD128  1bit/5.6MHz | 00:33:14 | 2,62 Gb | Genre: Rock
Label: Bomp Records | Release: 1977

To say Iggy Pop had hit bottom in 1975 is an understatement; after the final collapse of the Stooges, Iggy sank deep into drug addiction and depression, and he eventually checked himself into a mental hospital in a desperate effort to get himself clean and functional again. At the same time, James Williamson, his guitarist and writing partner in the last edition of the Stooges, still believed their collaboration had some life in it, and he talked his way into Jimmy Webb’s home studio to record demos in hopes of scoring a record deal. Iggy checked out of the hospital for a weekend to cut vocal tracks, and while the demos they made were quite good, no record companies were willing to take a chance on them. The tapes sat unnoticed until 1977, when Bomp! Records issued the 1975 demos under the title Kill City after Iggy launched a comeback with the David Bowie-produced The Idiot. Kill City never hits as hard as the manic roar of the Stooges’ Raw Power, but the songs are very good, and the album’s more measured approach suits the dark, honest tone of the material. The sense of defeat that runs through “Sell Your Love,” “I Got Nothin’,” and “No Sense of Crime” was doubtless a mirror of Iggy’s state of mind, but he expressed his agony with blunt eloquence, and his sneering rejection of the Hollywood street scene in “Lucky Monkeys” is all the more cutting coming from a man who had lived through the worst of it. And in the title song, Iggy expressed his state of mind and sense of purpose with a fierce clarity: “If I have to die here, first I’m going to make some noise.” Considering Iggy’s condition in 1975, his vocals are powerful and full-bodied, as good as anything on his solo work of the 1970s. The music is more open and bluesy than on Raw Power, and while Williamson’s guitar remains thick and powerful, here he’s willing to make room for pianos, acoustic guitars, and saxophones, and the dynamics of the arrangements suggest a more mature approach after the claustrophobia of Raw Power. Kill City is rough, flawed, and dark, but it also takes the pain of Iggy’s nightmare days and makes something affecting out of it, and considering its origins, it’s a minor triumph. Continue reading

Iggy Pop – Blah-Blah-Blah (1986) [England First Press] [Vinyl Rip WavPack 32bit/192kHz]

Iggy Pop – Blah-Blah-Blah (1986) [England First Press]
Vinyl | LP Cover (1:1) | WavePack + cue | 32bit/192kHz | 00:42:00 | 2,32 Gb | Genre: Rock
Label: A&M Records # AMA 5145 | Release: 1986

In 1983, Iggy Pop’s career was in shambles, but an unexpected windfall arrived thanks to Iggy’s frequent benefactor David Bowie. Bowie recorded “China Girl,” a song Bowie and Pop co-wrote, for his album Let’s Dance, earning Iggy some large (and much-needed) royalty checks. Wisely realizing he was running out of second chances, Iggy decided to make the most of his good fortune; he steered clear of drugs, learned to cook his own meals, started putting money in the bank, and used his savings to bankroll a new album. David Bowie offered to help, and together they came up with Blah Blah Blah, the most calculatedly commercial album of Iggy’s career. Like The Idiot, Blah Blah Blah was heavily influenced by Bowie’s input; however, while The Idiot was made by a man creating intelligent and ambitious art rock, Blah Blah Blah is the work of a popmeister looking for hits and not afraid to sound cheesy about it. In the liner notes, a member of Duran Duran is thanked for the loan of a drum machine, and that speaks volumes about the production; Blah Blah Blah is slick in a very ’80s way, dominated by preprogrammed percussion and swirling keyboards. And in the four years since Zombie Birdhouse, Iggy hadn’t come up with much in the way of material; the only truly memorable tracks are “Real Wild Child (Wild One),” a neat bit of electro-processed rockabilly (previously a hit for Australian rocker Johnny O’Keefe), and the moody “Cry for Love,” co-written by former Sex Pistols guitarist Steve Jones. Both of these songs were minor hits, so Blah Blah Blah succeeded on its obviously commercial terms, but that doesn’t change the fact it’s one of Iggy’s least interesting albums, and has dated worse than almost anything he’s ever recorded.

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David Gilmour – Live At Pompeii (2017) [Columbia ‎– 88985464971 , 4Lp) [Vinyl Rip DSF DSD128 + FLAC 24bit/192kHz]

Genre: Rock
Media: 4LP
Year: 2017
Label: Columbia – 88985464971
Country: UK

Audio Codec: DSD 128
Type of rip: tracks
Recording format: 1 / 5.64
Distribution format: 1 / 5.64
Duration: 2:29:00
Size: 11.81 GB

Audio Codec: FLAC
Rip type: tracks + .cue
Recording format: 32/384
Distribution Format: 24/192
Duration: 2:29:08
Size: 5.73 GB

On July 7th & 8th 2016, David Gilmour performed two spectacular shows at the legendary Pompeii Amphitheatre in the shadow of Mount Vesuvius, 45 years after he first played there for Adrian Maben’s classic film Pink Floyd Live at Pompeii.
The concerts were the first-ever rock performances played to an audience in the ancient Roman amphitheatre, which was built in 90 BC and entombed in ash when Vesuvius erupted in AD 79. David Gilmour is the only performer to play to an audience in the arena since the time of the gladiators, almost 2,000 years ago.
The concert performance film, David Gilmour Live at Pompeii, was shot in 4k by director Gavin Elder and includes highlights from both shows. The concert is a spectacular audio-visual experience, featuring the famous huge circular cyclorama screen as well as lasers, pyrotechnics and stellar performances from an all-star band.
The film includes songs from throughout David’s career including the title tracks of his two most recent No. 1 solo albums: Rattle That Lock and On An Island. Also included are other solo and Pink Floyd classics such as Wish You Were Here, Comfortably Numb and One Of These Days, the only song that was also performed by the band in 1971. Both concerts also saw extraordinary performances of The Great Gig In The Sky from The Dark Side Of The Moon, which David rarely plays as a solo artist.

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