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Explore releases and tracks from Renata Przemyk at Discogs. Shop for Vinyl, CDs and more from Renata Przemyk at the Discogs Marketplace. Renata Przemyk discography and songs: Music profile for Renata Przemyk, born February 10, Genres: Poezja śpiewana, Alternative Rock. Albums include Ya Hozna, Rzeźba dnia, and Family Front. Listen free to Renata Przemyk – Przemyk Akustik Trio (Alice, Babę zesłał Bóg and more). 13 tracks (). Discover more music, concerts, videos, and pictures with the largest catalogue online at luhost.xyz Renata Przemyk - AKUSTIK TRIO - luhost.xyz Music. Skip to main content. Try Prime EN Hello, Sign in Account & Lists Sign in Account & Lists Orders Try Prime Cart. CDs & . Aug 25, · Fragment akustycznego koncertu Renaty Przemyk w podwarszawskim Konstancinie, sierpieńII Renata Przemyk. In she moved to Cracow, and at the end of she decided to lead quiet life in the country near Cracow, away from the fuss of a big city, which enabled her to compose, make arrangements of her own songs and bring up her daughter in a peaceful atmosphere. Her career as a singer started when she was a teenager, by singing with local rock bands. However, the real calling for music she developed during her studies when she was inspired by the music of Tom Waits, Talking Heads and Frank Zappa. As a result of it, she started a band named 'Ya Hozna' in Renata Przemyk Akustik Trio - koncert - Kłodzko - 2018 Skip to main content. Renata przemyk akustik trio a problem loading this menu right now. Learn more about Amazon Prime. Get free delivery with Amazon Prime. You have exceeded the maximum number of MP3 items in your MP3 cart. Please click here to manage your MP3 cart content. Renata Akusyik.
Europe is in the midst of an economical crises and the situation in Greece is even worse since the country might go bankrupt in the near future. You may wonder what this has to do with this new album release. Well, after listening to this 2cd album two or three times, I cannot but feel that the national crisis also has affected the creative output of Haris Alexiou and Dimitra Galani. In fact, this release offers nothing relevant and is substandard for these two iconic artists.
Haris Alexiou and Dimitra Galani are the most popular female voices in Greece today. Both have been recording since the beginning of the seventies and they have sold millions and millions of records.
Both of them have succeeded in maintaining high quality standards throughout their career. The album was very successful and became part of the musical canon in Greece. Thirty years later, Alexiou and Galani got together again to perform some live shows together, now released on this double cd.
My disappointment continued when I learned that approximately half of the 36 songs were performed only partly ca. The most shocking fact for me was hearing Alexiou singing in a very poor way.
Not only does this release give the impression of two artists singing on autopilot, it almost sounds like Alexiou has either major problems with her voice and timing or is just drunk. Galani seems to sing every note correctly, as ever, yet even her singing lacks inspiration.
But even then we are aware that she has released other live albums of much higher quality. It is all very professional and stylish but the arrangements never become fresh or innovative. There are moments that the musicians, especially the electric guitarist, who plays way too loud for the singers.
It sounds out of balance and lacks nuance. Although I highly respect both these ladies and their artistic achievements, this live album is only a pale shadow of what these ladies are were?
I recommend to buy one of their earlier individual live albums and enjoy the fantastic song material and high quality singing.
And if you really want to listen to Alexiou and Galani as a duo, than play the original record 'Ta tragoudia tis hfthesinis meras'. The result is that the number two is almost to easily forgotten. Not completely fair as Arisa shows with her third album. And Arisa writes all her material herself together with Giuseppe Anastasi. She sings the ballad with power and precision, less playful then during the live-shows, but more intimate and emotional. Most songs feature a round sound consisting of piano, guitar, strings, and a theremin here and there to give it a nocturnal atmosphere.
The first part of the album stays close to that structure and is faithfull to traditional Italian ballads. A bittersweet song about the fear that a relationship will eventually turn sour. With this album Arisa wanted to prove she was able to make a more mature album. With this album Arisa puts herself in line with great Italian bards like Cocciante. A bit more diversity in mid en uptempo would make this a perfect album but Arisa has enough artistic character to create that in the future.
A new rising star in Greece. Although rising…this album is already her third but it is her debut for a major record company she signed to Sony recently. The new thing about Natassa is that she seems to gap the bridge between international pop and local Greek music.
Not much Greek singers are able to pull both genres off but Natassa makes a convincing effort. She split the album in two to make it easy for us listeners. CD 1 features more wordly alternative pop starting of with the title track. An excellent piece of Eurorock that completely won me over.
Starting with a tingling bazooka or is it piano? With a voice that sometimes reminds me of Shakira Natassa powerfull sings this hymn to the sun.
Following the rules of Eurorock the song holds at threequarters flowing into a semi psychedelic interlude before Natassa pulls the whole song back for a final burst. Great track, one of my favourites of this summer.
The first six songs all following the same melodic role. It all breathes a sort of live-vibe and that is no surprise when you consider that Natassa took the whole of February to rehearse the material live at the Gazoo club in Athens before starting recording. The process pays off because due to this extensive rehearsing the songs sound natural like a well fitting coat.
But over to CD 2 were Natassa stays closer to Greek musical tradition. Also here the album closes with a ballad, this time accompanied by bazookies and violin.
Although both sides of Natassa are musical different she has the voice to convince both ways. Natassa shows with this strong album that all is still not lost for Greece.
But Miquel decided otherwise because this year a returns with virtually the same project, re-recording his old songs with guests, but now a double album. So Alejandro Sanz lends his voice to the track "Te comeria el corazon," Juanes appears on "Partisano" and his niece Bimba Bose returns on "Shoot me in the back. There is in fact no added value to the songs with them joining in.
Added with the fact that he definitely wrote some classic and very strong material over the years it is not the quality of the songs that form the problem here. Like any part 2 in the movies and books it is just less interesting then the first one.
It is all in respect for the master but personally I prefer the maestro alone and with new song material. But till then we have to make do. The constitution of pleasure. I assume Greece can definitely do with such a law since there is much to laugh about in that part of Europe. Poetry over house music has been done before but leave it to the Greek to not limit themselves to mere samples. What can be heard are complete recitals of the poems by the artists themselves under which the CoP created a swaying soundscape.
It is as classy as it is alluring. In case of Embeiricos that is actually true since he died in Both poets have in common that they were both very social critical, hinting towards surrealism and using themes like erotic passion, humiliation and loneliness.
The whole concept is somewhat compelling, menacing and hypnotic. Like a snake charmer's music bringing you into a drugged trance.
CoP follows in the footsteps of Lena Platonos , a poet that build an entire career on setting Greek poetry to popular music. Maybe they should meet up. Both albums can be downloaded for free on the website of the CoP of which in our humble opinion the one based on the poetry of Embeirikos is the strongest.
Although released in spring the debut album by Gabrielle Leithaug breathes summer breeziness. But there is obviously more where that came from. Well, yes and no. The first half of the album is not bad but does not rise above the average Eurodance song. Some tracks have some nice ideas but feel half finished. With their half finished bleeps and beats it has no deeper layer then …well bleeps and beats.
It will be no surprise that both singles are in this half of the album the titletrack being the second single of the album. It is maybe not very credible yet but there are enough hints that miss Leithaug has just a classic pop album inside of her.
One track reveals a preview of what that could be. Stomping, ruthless, without concession and still commercial. Back in the Belgian rap crew of the Hof van Commerce or Chamber of Commerce if you translate the bandname introduced rap in West Flemish dialect.
A novelty at the time and one that found following from other rappers in the region like Fixkes. It is striking that the output of HvC relies heavily whether Kowlier feels like it or not. The only bling in their lifes nowadays is the reflection of sunlight in a rattler. Kowlier as the soft guy, Buyse as the surly more distant grumbler. But because the lyrics are incomprehensible to people outside Flanders the album is highly dependend on the beats of Kristof Michiels aka DJ 4T4.
The DJ had is own career going in the previous decade under the name Ultrasonic but parked that project due to high pressure. He then worked as a producer and radio deejay. Bare repeating electronic beats with a funky ornament here and there.
It is definitely no coincidence, since Jippu has never made a secret of being a very religious person. The songs on her album sounds more celestial than on her former two albums, but the lyrics deal not only with celestial matters, but also with issues from live here on earth, with all its ups and downs. In she released a successful album together with popular Finnish singer and actor Samuli Edelmann. Despite the fact that Jippu is a practicing Christian, she seems to have quit an open mind on the world around her.
It obviously refers to the biblical woman, responsible for the original sin. But the song turns out to deal with the love between two women. In the second verse, Jippu sings about Eva Dahlgren, Swedish long time lesbian pop legend. Jippu explained in an interview that she is not only musically inspired by Eva Dahlgren, but also by her strength and courage to just be what she wants to be.
The title song is about the intense pain one can experience when love remains unanswered. It can become a destructive force, that actually might drive you crazy. Once again a fantastic song:. The sweet, soft melody does not really express that for me. Melodically this is one of the lesser songs on the album.
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