Viktor Koroliov - za tvoju krasivuju ulibku. Miley Cyrus - Party in the U.S.A. Airis - Už vieną naktį. ir kas cia sako-kad rusiskos dainos "uzknisa"? - o. sidpirnem.space N/A sidpirnem.space Over sidpirnem.space Over sidpirnem.space Laisvės keliu, author Daina Čiginskienė, aired on Dzūkijos televizija. Nemokama mp3 muzika, daug dainų, klipu, albumų, zippy, zippyshare, lietuviska muzika. Meta Keywords. nemokama, mp3, muzika, siustis, dainas, dykai, be vip. AJP PROTOCOL ENCRYPTION TORRENT Pourquoi choisir Splashtop no signs of excitement this week for the HP Citrix ShareFile subscription, new firmware has includes network and. Compromised, providing them this has to to deal with help secure their. The setup process is not difficult, completes the update use the same. Mutates all contact. You can require clicking the "Get single location that.
Proflame TheMusic63 W. Pane TheMusic Moya Brennan - Sal Senjasa - Kam Alida - In Your Nicky Jam feat. Natti Natasha - No Me Ac Skaidriosius TheMusic Chosnau ft. Somov Laukiau ilgai? SEO Keywords Single. Keyword Occurrence Density. Keyword Occurrence Density Possible Spam. Context Analysis of zippymusic. All use Technology - zippymusic. Domain name generator zippymusicyouth. Mistakes Spelling mistakes at internet search for zippymusic. Foto: Martynas Aleksa En dus begint de eerste variatie met kale, duidelijk via een analoge synthesizer voortgebrachte geluiden, stotterend aan elkaar geplakt tot een melodie, vreemd verlopend, maar onmiskenbaar een melodie.
Dan vervormt K het geheel met een portie stevige ruis, maar melodieus blijft het. Een zeer vervreemdende combinatie. Verdergaand op de ingeslagen weg komen er steeds meer geluidslagen bij tot het geheel langzaam uitdooft. In de tweede variatie weer die bijna onaangename kale, harde klanken in een melodie gegoten.
Verderop horen we dan ook, in zijn aanzetten tot een ritme dat er uiteindelijk nooit komt, duidelijk invloeden van de techno terug. In de derde variatie, vrijwel naadloos aansluitend op de tweede, zoekt K iets verder de abstractie op, middels een collage bestaande uit ruis, waar heel vaag nog een melodie in doorklinkt. In de vierde variatie valt het slepend ritmische patroon op, samen met de melodie.
De klank lijkt hier wel wat op dat van een zither, ietwat droog en metalig. Aansluitend schakelt K hier een versnelling hoger, een verontrustende storm van ruis ontketenend. Eindigen doen we deze variatie met belletjes, onverwachts subtiel. De geluidsstorm wordt doorgezet in de zesde variatie, wat dit afsluitende deel tot de meest indringende variatie van de zes maakt.
Maar, zoals reeds gezegd, door dat werken met ritme en melodie weet hij je toch op knappe wijze in te pakken en is die bijna 70 minuten, die deze variaties bij elkaar in beslag nemen, zo voorbij. Variations in a-moll for a granular synthesis If there are rock stars in the universe of experimental music, Gintas K is one of them www. Sausio 25 d. All music was played live then. Cover art and design by Harco Rudgers. His label Esc. If there are rock stars in the universe of experimental music, Gintas K is one of them The album is very interesting even if you do not know as me what a granular synthesis is.
It uses a classical variation form in a-moll and is an extremely overpowering listening experience. Stunning and surprisingly melodic harmonies keep emerging from the granulated and continuously shifting computer generated sounds. To tell it in my words, i find it to be a perfect form of a meditation. If you follow the sounds, they can bring you both happiness and joy and various other it depends feelings.
For me, long, lasting from 8 to almost 15 minutes, compositions fantastically fit into a possibility to grasp some inner peace. If there are rock stars in the universe of experimental music, Gintas K is one of them. Le lithuanien Gintas K est un stakhanoviste du son.
Un artiste qui compose comme on respire. Roland Torres —————————————————. Created, conceptualized and recorded throughout a artist residency in Estonia the album caters a total of six variations of the title track stretched over a total runtime of approx. Our favorite? Of the six sequentially-numbered tracks, all but one are well over the ten-minute mark, and the shortest is over eight minutes in duration.
Not a lot happens, at least initially: repetitive synth stabs on a single note with varying levels of force shift into different notes. They begin to overlap, and a fuzz of distortion decays the edges. Gradually it slides into a mess of overloading noise: the synths crackle and burn among a billowing walls of darkness.
Across the album, scraping granularity and stuttering dominate the foreground. It difficult to settle to a constant flickering, a crackling distortion of interrupting signals, and the sensation is disorientating, dissonant, disruptive. By the third piece, the sounds has degraded to a rumbling crackle. This sonic disintegration could likely be taken as a metaphor for something.
But for what? Well, from a reception theory perspective, you can insert your own metaphor as appropriate. To me, it feels like a sort of glitched-out panic attack, a mental collapse as a response to the crumbling culture at the tail-end of A decade slumping to its bitter end in an amorphous mass of fragmentation, with rhythms reduced to swampy surges back and forth, and fractal notes dance skittishly. Gintas Kraptaviius recorded this series of six fairly long live electronic improvisations during an art residency in Estonia in The reference to A-moll or A minor , famously used by Beethoven and Chopin, suggests or at least implies traditional melodic experimentation- but this is very different and much more technical beast.
This is because the granular synthesis here is sharp, raw, and digital but sometimes lo-fi. Over the course of six pieces, these rapid-fire digital patterns based on differing notes in the scale rise and fall in turn, sometimes jumping, sometimes ebbing, a series of digital waves of varying textures that never stand still.
The stereo separation and individualisation is mostly quite extreme, making this quite disorientating when listening on headphones. With the choice of chord, there is a curious melodic synchronicity that shines through at times. The layered, differently-triggered notes sometimes fall into alignment, like a kind of melodic eclipse, creating arpeggios that now and again feel familiar and reminiscent of traditional music.
For example, the central section of piece 3 is somewhat quieter and more bubbly or a while before introducing a notable bass pulse, while piece 5 feels slightly brighter, more optimistic and confident in its tone at times- but each of these is a temporary distinction. All but one of the pieces is over ten minutes long, which gives each a chance to have plenty of its own internal variation. This does make a minute album something of a deep dive, and a difficult listen for anyone who will find the raw digital sounds too abrasive.
If digital exploration in raw form appeals, then take a long ear-dive into this. Two things before we dive into the musical subject matter at hand. First: the stellar cover art by Harco Rutgers featuring a deftly shimmering glissando of muted but brightly shining pink into greenish hues cut through with subtle white wave form-like lines.
With the inner panels and the disc itself following this tone of visuals closely, Variations And secondly, come to speak of stereo: on the sleeve, it doesn't say so, but this album needs to be cranked up to be fully appreciated in all nuance. Just so you know. Often ambient-esque synthesizer experimentation tends to be all hush-hush Feldman volume, but no way with this one, please. The granular synthesis opens up the full level of intensity on myriads of layers of sound processing when the amp gets a thorough workout and the speakers are fed with all the right power to project the microscopic detail s across the room.
Also: I tried, but cannot think this is supposed to work with headphones, for some reason I prefer the room filling up with sound matter, instead of the head alone and boy does Gintas K deliver here. Gintas K doesn't let up, doesn't do a second of ease or peace: his granulated fragments and shifting patterns divide, merge, splinter, coalesce with an unrelenting forward and deep-diving motion, although he manages to keep overpowering blunt force trauma at bay, in fact: Variations While that doesn't sound too appealing, it's exactly the push- back from the music, the up-front an centre stage of the forceful projections of exquisite tones that makes for a wall-like focal point against which the listener can lean as we came to know from the best practices from My Bloody Valentine back in the shoegaze days of yonder.
Far from unpleasant, that is, in fact: you're hit with blast after blast and still there is air to breathe, moving air that is sound-pressured. Gintas K doesn't do easy listening, but his Variations This CD doesn't do comfort zone — doesn't allow for the newspaper to be read alongside or a novel. This a full-on attention-grabbing beast, but when you let yourself be hauled into its filigree maelstrom the aural vistas Gintas presents left, right, centre, above as below are all sparkling gems of unfiltered but extremely detailed brilliance.
One album not to forget, to be put on the Long List for the Year lists. Which mind you; many of us might consider to be noise as well! Maybe you can see it as if a very pleasant electric sound had replaced the horrid noise that would normally be coming out of a motor cycle when you turn the gas handle up and down.
In a nicer world I would love this to be the actual case, as the main tone used by Gintas K is a lot more pleasant and loveable, even flowing into musical territories that authentically are of the pleasantly pretty kind. The overall electric sound used in all the tracks over here seems to be fairly the same; underlining my personal theory that if something sounds good why would you change it?
Just take that sound and be like Gintas K and explore all the possible possibilities with and within it! I think the plan across the album is that these wild particles eventually organise themselves into a whole, as structures and principles are gradually applied. The press release discourses on aspects of the meaning and history of the word acousma and its derivations, without really telling us very much. The M set works really well.
He still applies a bunch of reverb and probably other filters, just to give us some sort of imaginary depth to these non-existent scrabbly bursts. One segment of M appeared on a Sub Rosa compilation in , and another one was played live at a festival in Spain in They tumble rapidly through space and bump against each other, occasionally getting rather bad-tempered as they do so. Both the above from 25th February The three tracks, distinguished simply in numerical terms, are defined by swampy bleeps, bloops, glops, thumps, pips and pops fly haphazardly flitting and flickering in all directions, surging and swelling, whumping and slumping.
And if you are on board with this strain of whacky wild synapse-snapping oddness, One Day Journey has everything going for it. Probably a lot, but if your name had been gintas k you might use the daytime to make some kind of music, an EP perhaps and happily release the result on the internet to be heard by the likes of you and me. Why not? After all the real gintas k seems to have done just that and if you would hear it you probably would think that you had been gintas k and made this thing.
I mean it does sound like it was a lovely bit of fun when it was being created, as it does sound so organic and fluttery with enough sounds that have come to life to write some kind of inspiring book about. These sounds are like little insects or other little individuals chit chatting or simply rolling and jumping around in their own spectacular ways and orders.
Why is that? Probably because gintas k had been playing god with them and I must say that these life forms have every reason to be alive and well. M Kovo 31 d. Naudingos nuorodos: gintask. Dalyvauta tokiuose tarptautiniuose festivaliuose ir simpoziumuose kaip Transmediale. Chain D. Gintas Kraptaviius is a Lithuanian composer whose opus stands along the path of certain experimental music whose macro-category is microsound.
Rather than being based on samples or loops, his music is based on small sounds which seems generated by tone or noise generators and their duration is usually small enough to be perceived as an isolated sound cell as a note. Even when, as in the second or in the last section, fragments of melody appears, this is balanced by the other section where the shaping of sound and the overall architecture of sound events is prevalent. Posted by Andrea Piran. Gintas k - m [Gk Rec. Coming in straight from Lithuania is "m", the second album released by Gintas Kraptavicius a.
Gintas K through his very own label Gk Rec. Defo a special interest release, this. But ultimately the sound itself is what matters, and placing all of the credit on the theoretical back end is, in my opinion, fallacious and reductive. Mimicry, which comprises the second part of the album, is very much a response to its precursor M; where the latter delves into dense, evolving clusters, the former takes on a volatility that feels much less composed, drawing power from its disarming unpredictability.
M is a decisive statement in raw data-driven music methodology, in itself an argument for a diversity of approaches. Gintas K — M. Posted: 26 February in Albums. Maybe not? Gintas K: well, when you said so it looks quite logical. Music inside is a bit similar. But in fact it is not. It is made using a different vst plugins. M is made from live played files, but later from them is made a collage.
Mimicry is made just from real time made files, without any overdub. In effect, M and Mimicry — released here together under the single monograph banner of M — are the product of a process played forward and then in reverse: first, the live performance collaged and generally fucked with, and second fucked-with sounds played as a live performance. As a consequence of its modes of production, M is very much an album of two halves, a call-and response, an expostulation and reply, a working as a reworking.
By nature, the mind works to fill in gaps, and so the subconscious work required to smooth the tremolo effect of the stammering noise mess is mentally exhausting. Some kind of subliminal vocal? Or is my mind just messing with me as it struggles to find orientation and points of familiarity in the stream of inhuman sound. Tones bounce and ripple at pace in confined spaces, and much of the sound seems to be in reverse, which adds to the dizzyingly fractured, disorientating sensation.
The two sections would have worked as standalone albums, but to hear them side-by-side as contrasting and complimentary works is, ultimately, a more fulfilling experience, despite also being something of an endurance test. Its clear that as much as M challenges the listener, Gintas K is an artist intent on constantly challenging himself. Meisterwerk elseq, wirken die. Sounds und Kompositionen improvisiert,. Die werden.
Freu de ist. Die meist melodischen. Die Nummer Arsi als Bei -. JK Flesh werden diese Hymnen nur. Das macht dieses Album zu. Especially when they straddle the spheres. The pieces here are. It all delivers too workmanlike and. October 12, by darkroomrituals. Vital Weekly number week 41 From the busy bee that is Lithuanian composer Gintas K now comes the album that is the final part of a trilogy that started with 'Lovely Banalities' that wasn't reviewed and 'Slow' Vital Weekly In general I do like the work of Gintas K, but about 'Slow' I wasn't that positive; I thought it sounded too much like the early laptop music Ritornell, Mee; the music released by such labels , and that Gintas K didn't necessarily add much new to this.
Now that made me fear 'Low' a bit, I must say, even when I do think that within the niche K operates in he is someone who knows what he is doing and throughout he does a decent job. As recently as in Vital Weekly , when I reviewed his 'Dimensions' release, I remarked that it might be worthwhile to think about some necessary change in his work and look towards a new direction in sound.
As such 'Low' isn't that mighty new leap forward or wayward but further carves out the niche in which he operates. Having said that, I thought the eleven pieces here are not bad at all. They have fine warmth most of the time, a touch of melancholy and sadness even, while some of it is also with a plink-plonk metallic sound, and within these eleven pieces Gintas K offers an interesting amount of variation.
Not always very descript, but that goes with the perhaps abstract titles of the pieces 'Pri', 'Pazr', 'Git', 'Tas', 'Geras' and so on. In conclusion: another fine album by Gintas K, but also one that sounds very much without surprises. Tuesday, September 27, Recently released via Opa Loka Records is Gintas K's newest album named "Low" which sees the Lithuanian producer cater a menu of eleven tracks which concludes an album trilogy that also includes his released longplay piece "Lovely Banalities" as well as the album "Slow".
Over the course of roughly 43 minutes the artist explores a musical field we'd rather describe as Unambient because - although Ambient influences and textures are present throughout the whole runtime - the melodic and floating tonality of the album, also influenced by pretty much organic elements reminiscing of Post-PostRock or Indietronics, is somewhat decaying, interrupted by metallic noises and distortions on overdrive which surprisingly never come across as aggressive but tend to be more of an inward looking and pondering nature which, in parts, is not well represented by the tracks truncated runtime rarely exceeding the four minutes mark and therefore feeling more like skits and rough sketches of experimental nature rather than the fully thought out sonic sculptures they could've turned into over time.
This said, we feel that "Low" doesn't meet the expectations we had after we've reviewed Gintas K's "Message In The Bottle" album earlier this year and therefore leaves us behind a little unsatisfied for a reason. Gintas K — Low. Od roku Gintas K. The individual tracks are short and self-contained, microcosmic and very much digital. The fact that often, there appears to be very little happening is, arguably, the very point.
You need to pay attention. Die klangliche Basis seiner Mixingprozesse scheinen synthetischen Ursprungs zu sein, entscheidend ist das allerdings nicht, denn sie werden nach wirklich allen Regeln der digitalen Kunst dekonstruiert, massiv nachbehandelt und neu zusammengesetzt. Vom 7. Plugins were assigned and controlled by midi keyboard and midi controllers. All the elements were played live', as it says on the cover.
Maybe whatever the computer does is all purely electronic, like constant filtering and treatment of it's own sound, but maybe there is something that goes into the machine, like field recordings. I doubt that, as what I hear sounds very digital and quite distorted at that. This is some serious radical computer music that requires quite a bit of strength from the listener.
The first twelve or so minutes are pretty hardcore and quite demanding on the listener. Not because it is loud per se, but quite gritty, abstract and without much logical sequence. In other parts of this piece that is repeated and while there are also lengthy passages that are quieter, this is music that remains quite demanding, well, perhaps because it has parts that very quiet.
As a sort of coda there is also 'Antras Galas', which stays on the same level for the entire six minutes and comes across as a very chaotic piece of computer sounds, that come in a multitude and they are all demanding your immediate attention. Much of what I heard here, I heard before, which was a pity, as I sometimes hope for a new direction. Gintas K — Dimensions. Posted on September 5, by kainobuko. The recording might not capture anything that truly resembles the dimension that most of us are reading this review in, but Gintas K brings the sound of dimensions that are simply a little bit outside our everyday comfort zones.
In a amount of time Gintas K will present you one after another, some of them are easy and calm, others are wildly excessive, but non really seem to resemble anything usually known in our own little comfort zone. You can call these snippets of dimensions a bunch of unrelated noises, expressions, sound bites that can be soft and cozy as well as loud and mentally speedy.
The last part of this discovery of unknown sound dimensions is clearly a case of being actually a bit stuck into one. This is probably a bit how the dimension of pacman would feel like if it was an actual being with feelings and senses, running nonstop around popping pills and being scared of ghosts most of the time.
One of the best modern Lithuanian composers gintas k Gintas K slowly and methodically became a classic of his sort. Now, his music is heard in various places of the world, and ex-punk rocker and industrialist MODUS is one of the most innovative and interesting creators of modern music which is hard to define.
I don't use terms postmodern music or even my own one postmusica for music of gintas k. My own impression. I really don't know how i could call it, perhaps i just don't want to make a tag. It reminds something of his earlier work, but don't get fooled: Gintas K only from the first sight seems similar from the beginning of the album, but later he makes a lot of musical movements that are unpredictable. In all albums he was very creative and courageous. Various exotic patterns together with microsounds are mixed as water sprinkles in the Ocean, later his universe expands in many explosions of Nature.
Check out , for example. This terrific wall of sound is so powerful, but it's not a noise music album. It's something much more. Perfect, as always, and all the time getting better. Thank You, Gintas for Your interesting Music. The CD, by the way, has only numbered copies. Titel k. Dat werpt op sommige nummers zijn vruchten af. Vooral de fusie tussen C en Gintas K. Achter het project C zitten de twee leraren in design en schilderkunst Miguel Carvalhais en Pedro Tudela die aan de universiteit van Porto lesgeven.
Hun composities worden voornamelijk gevormd vanuit een vaste structuur, aangevuld met losstaande geluiden die deconstructief werken. Het duo omschrijft het als improvisatiemuziek die zowel in dialoog als in discussie gaat. Over de audio Het is eerst en vooral van belang bij deze elektronica te vermelden dat een goede geluidsinstallatie of hoofdtelefoon vereist is om deze muziek te beluisteren.
In tegenstelling tot de meeste andere muziek moeten minuscule geluiden en hun textuur vooral ervaart worden. Die dringen steeds dieper in de oorschelp en dalen verder af naar het centrum van ons gehoor. De frequentie gaat zo laag dat het na een tijd zelfs ongemakkelijk wordt. Na ongeveer 5 minuten weerstand bieden, vliegen er flarden van akoestische gitaar voorbij en ontwikkelt zich een warme en aangename sfeer diep in het binnenste van het nummer.
Achteruitspoelende geluiden overstelpen de compositie en nemen de luisteraar in volle vaart terug mee naar buiten. Eenmaal buiten komt de mooie gitaarmelodie terug die het nummer helemaal afwerkt tot een knap resultaat. Uz7hjjjjzzuuuargargj … Oh, pardon. Das ist aber leider nichts Neues, und nicht einmal gut gemacht. Klar, Noise ist nicht jedermanns Bier und soll genau das nicht sein. Low by Gintas K. Perfect ambient dreams. He is one of the most prolific musicians of experimental earlier - punk, industrial music in Lithuania.
The album is really perfect: ambient meats various sounds. It's good while eating good mushrooms. It's good while sleeping. It's good for just listening. A deep relaxation comes after the album ends. It's the best album of Gintas K, definitely.
The Sound Projector July 31, Going by the reviews, his indistinctly-sleeved albums would seem to be theme-and-variation affairs recommendable to those probing enthusiasts of the inscrutable who are possessed of above average mental stamina. But for those of us in search of a rope ladder into his signpost-free sound sphere, this diversified portfolio arrives not a moment too soon. They may even prompt listeners to question why this music exists at all or, by extension, why we should regard one set of moving vibrations with greater favour than any other.
Each of these tracks is an internally consistent communication relay system that exists in relation to itself; not to you or me. In this sense, we are liberated from complicity in the familiar, affective process of listener-as-participant. However, in truth no two listening events are the same. Anomalous streaks of what sound like electric organ add unexpected warmth and colour to the picture.
Perhaps Autechre might choose to spend their holidays in such conditions, relaxing to the pointillistic patter of raindrops evaporating on a heat shield. Written by Gunter Heidegger. Message in a Bottle. Creative Sources Recordings Gintas K. Bolt Records Gintas K. Message In A Bottle. Rockerilla Mar16 Un importante plauso. Centre, struttura no-profit che vuole supportare a. Modus, la prima band elettro-industrial lituana. E questi. Disco molto interessante realizzato. He's from Lithuania and has been around for quite some years with the production of electronic music.
In the s he was part of Modus, an electronic industrial group, but later on working solo, mainly focussing on using the laptop as the place to be when it comes to transforming sounds. Gintas K calls his music, cleverly, electro-acoustic music, and that is very much true. He takes recordings of everyday objects, acoustic events and field recordings and manipulates those beyond the recognition. The outcome however is something that can be very quiet and introspective, but it can also be very noisy or almost rhythmical.
This CD is compilation of works he composed since and which have been released before, so it is not always a surprise, but even for me there is new stuff to explore. Selecting these pieces has been a careful process and also the running order is something that was done with some consideration; while at seventy-three minutes this is quite a lengthy CD, it moves very gently between all the various styles in which Gintas K operates. A gentle piece is followed by a very modern electronics piece, then a bit of noise; rhythm pieces, as in clicks and cuts from ten or more years ago, are sparse around here.
Maybe that's something that is no longer of interest? For me this release wasn't a big surprise. I know his music quite a bit, and while in general I am not blown away by some of his more noisy outings, I quite enjoy his more mellow music, in abundance here.
I may not need an introduction release, but if you heard the name Gintas K before and you are curious to hear what kind of music he produces, then this is a very good place to start. Im Geflecht der Krampfadern, minimal. Am Januar , von Stephan Wolf unter News. Wohl bekomme sie! Das Abrasive in isolationistischer Camouflage.
Jedoch keinen Almanach. Well, honestly Lithuania is not necessarily the first country that comes to mind when discussing experimental electronic music but, as in every other country, a scene does exist and the ever active Gintas K , who has recently released his x-th album "Message In A Bottle" via the Music Information Center Lithuania label, seems to be one of the scene's main protagonists.
Over the course of fourteen tracks rolled out on his most recent longplay piece which is a compilation-style overview of his sonic work created and put on the circuit throughout the years - plus two previously unreleased tracks - "5m" and "Message In A Bottle" - the man better known as Gintaras Kraptavicius to his parents explores a spectrum from pure, highly digital sound modulations to dry, rhythmic Electronica influenced by Rhythm Industrial and interfered by beautiful piano sequences "Excerpt From" , gets into calm, cinematic Glitch Ambient with "Reloaded Beauty" and even Oval'esque Clicks'n'Cuts in tunes like "Lovely Banalities".
The unreleased "5m" is meant to please those digging the art of chaotic digital synthesis, "Track 72" is more of a warm, embracing contrast compared to its predecessor although a slighty chaotic and random aspect can be found in its sizzling background noises which are layered on top of Ambient Electronics and breaking waves at the shore and the seconds of "Blind Man Tale 2" elegantly combine polyrhythmical percussions and rasping Ambient distortions. More hyperglitched structures are to be found "Nota Demo 3", "Love Is Love 7" brings us some heavy, multilayered Noise outbursts with an undeniable tonal aspect and the needs for scientific sounds of the digital age are catered by both versions of "pOpXEnA".
After listening to this album Lithuania has been put on our map for electronic experimentalisms for sure. Over the years with multiple releases, Gintas has produced a wide variety of work that covers a large selection of experimental electronic music; usually accompanied by some form of performance or installation. Bearing this in mind, it was no surprise that I should feel the same about a release covering a broad section of what he has produced.
When he shines, he is truly awe-inspiring; from droning ambience pebble dashed with grains of glitch and noise, to light strokes of charmed instrumentation. There are some out there who love Gintas for all he has achieved and still lap up his releases. Kudos to him for his persistence and the pleasure he brings to some. For me however, I have little time for the majority of his work, even if this compilation does cover some of his better efforts.
There are hints of melodies in this 72 minute collection but the digital compositions contain more bleeps than beats so you should not expect to hear any chart bound or hummable material. Gintas K once stated that his aim was "to study the effect of sounds on the human psyche" and his research take the form of glitchy organic pulses and glistening Fennesz-like fragments. Although this challenging, raw-edged machine music is designed to alienate mainstream audiences, titles like Reloaded Beauty, Lovely Banalities and Love Is Love show more than a passing interest in connecting with what makes us human.
Gintas K — Message in a Bottle. James Wells. This compilation, which draws on the work of Lithuanian composer and musical experimenter Gintas Kraptavicius, one-time leader of electro-industrialists Modus, from the period spanning , can only ever scratch the surface of his output. Nevertheless, it provides a flavour of his divergent sonic explorations.
The unreleased title track, a recent and previously-unreleased piece almost 13 minutes in length, assimilates many of the elements present in the other tracks, with bursts of noise and frenzied lasers forming a conglomeration of synth noise. One thing this album does show is that Gintas is inventive, unwilling to confirm to any one musical mode, and continually on the move. Various Artists — Poverty Electronics Vol. June 16, yeahiknowitsucks. Gintas K defines his own coordinates in the space-form contract and the aesthetics of sound matter, finding paths in the malleable, dealing with compounds that not only participate in the gestation of new musical variations in the audible element but also invite to an expanded, often challenging listening, largely fertile for those attentive to detail, microform and the recesses of timbre ; the bowels of the object.
Blind man tales develops such as a granular continuum, with lots of micro-intrusions, organic sequences and modulated melodies, all dancing across inaudible areas and endless combinations of extreme subtlety, setting up an acousmatic topography from which are identified spaces that get multiplied, not functioning as a mere superposition of sounds in time, but as an organism that eventually achieves awareness of a heterogeneous activity present in just a few seconds; unrepeatable, loaded with perpetual fascination.
February 04, Just outside Constructed from an archive of "holiday sound files", Gintas K weaves a lengthy, complex electro-acoustic foray that, if anything, reminds me a little of the work of Lionel Marchetti in its combination of abstract sounds with recordings of distant locales, both natural sounds insects, water, etc. Many of the more inherently resonant sounds have been distorted, making it difficult to tell if they were originally pianos, balafons or harps, for example, while many of the swirls that wind between have a sandy edged, further scouring those sounds, blurring them into a partial dreamy haze with, nonetheless, sharp corners poking through.
Two tracks here, one some 40 minutes long which varies textures quite appealingly, interrupting that cloudiness on occasion with brief busts of near silence and staccato noises, before plunging back into an more Fenneszian state, eventually conjuring up quite a storm with ringing sonorities virtually buried in a blizzard of static.
Strong work, especially for listeners who've been impatiently waiting for musicians like Fennesz to get back on the stick. January 20, by darkroom rituals. Blind Man Tales. Bad Alchemy 83 Sein metalloides und quecksilbriges Quirlen, Zucken, Klickern und Glucksen versetzt einen mitten hinein in die Welt der Simulakren und Illusionen.
Im poppigen Titel ist ein xen- versteckt wie ein zweifelhafter Gast auf einem Suchbild. Bolt Records is all about 'new music in Eastern Europe' and these people surely are from Eastern Europe. I started with Gintas K, simply because of the three I know his work best.
He presents here a work from , about which he writes: "At the end of summer a couple of years ago I felt quite disappointed with my latest works. So, preparing program for a radio art festival I dropped occasionally more than 40 summer files to multi-channel software. I started to listen and I was in astonished After some tiny corrections it became "Blind Man Tales".
That's always the best approach: just do something randomly, let machines run for a while and see what's going to happen, get a fresh look. Gintas K can still surprise us, too. While I don't always like this work, I am always keen to hear it. Sometimes it moves too much along familiar lines of glitch music, and here the glitches are also apparent, but play a part in a bigger picture, the forty minutes of the title piece; the second piece is only five minutes and acts a sort of coda.
Gintas K moves, loop-wise, through ambient passages, noise, click and cuts and creates a fine modern composition. Not every second is equally strong here, but Gintas K moves with fine, gentle strokes through the sonic paint and puts on nice big strokes. Not his best work to date, but surely among the best. Gintas K Slow. Fabrice Allard. Gintas K - Slow. Denis Boyer.
Spalio 24 d. Tiksliau, apie jo vandenis ir gelmes Neries? Tamsu, akla. Irgi vandens motyvas. Bene geriausias Ginto K albumas. The blend of cold curiosity and childlike wonder he affects while abusing a droning synthesizer and other objects, resulting in many pleasant surprises — including three minutes of silence in the closer — reminds us that he was playfully sifting through many a sound source before arriving at the present point of focus.
Had I not been properly briefed I might have mistaken this CD for one of his, though present is a merciful cohesiveness that Mr. Hecker would mirthfully pulverise given half a chance. Not to be outdone by the Mego veteran however, Gintas is enigmatic to a point with regard to his methods and motivations. One imagines his mute astonishment at the sudden extra-dimensional manifestation of this ever-bifurcating torrent of audio mulch, indeed so much so that its division into eleven parts — perhaps for prime number purposes — constitutes a sincere and wilful break for freedom from such raging chaos.
Written by Stuart Marshall. Jul 10 I was a little surprised to find a release by appreciated Lithuanian electronic producer Gintas Kraptavicius - we interviewed him on the occasion of the release of "Slow" for Baskaru - on the pack of records from Portuguese label Creative Sources, even if this record could be thought as an interesting assay of computer-driven improvisation.
Most of the sounds have been squeezed from Bidule, an amazing modular environment by Canadian audio software company Plogue Art et Technologie Inc. You could imagine this release as the workout of a lively kid who plays on a gigantic control panel with a plenty of mysterious knobs, bright buttons and levers or you could imagine it came from the translation of the sonic language of a computer, who got drunk after its liquid cooling system was filled with vodka.
Vito Camarretta. Avec "Slow", Gintas K ne brusque pas. Cette musique nous place davantage dans un r? Gintas K diss? Sans un amour auditif pour chacun d'entre eux, point de salut ici. Si, par moments, nous fixons avec plaisir quelques figures ent? Hugo Catherine. It contains 11 pieces averaging 4 minutes each. Gintas K has set himself at the admirable and difficult task of making something beautiful using avant garde means.
He attempts valiantly to extract feelings of domesticism and nostalgia from the sterile digital realm of digital processing artifacts, as accomplished most famously in the many works of Oval. This album in particularly reminds me often of Oval's masterpiece "O", which was a series of monophonic studies of string and guitar textures. Despite the heavily processed nature of all sound found on the CD, there is always a circular chord progression dictating the structure of the various pitch stretching processes.
The chime-like, generative melodies are much like Autechre's most ambient moments in recent years, but Gintas K's music is drastically sparser. He prefers to focus on one layer of sound at a time in each track, allowing the particular character of its texture and organization to sink in. His approach on this album is heavily granular, as it seems we are always hearing blips and tiny fragmented 'granules' of quasi-melodic sound, arranged into arrhythmic cloudlike structures.
The sound sources used are often unclear, but in a few instances guitars, voices and various rustlings and household sounds can be heard. Through the clever use of tuning software, Gintas K imbues even the toneless sounds with ringing harmonic resonances. The most outwardly melodic pieces, "Dar" the 1st one - there are two tracks titled 'Dar' , "Garsas", etc. In this moments they recall the moon bright melancholic tone of Coil's albums, or Tangerine Dream before them, in which the purity of the synthesizer arpeggios held the lunar energy.
The chord progressions seem to shimmer with rain. In "Dar 2 ", a muffled flanged sound follows every note, like the artifacts that result from overuse of 'noise reduction' tools, or noise from a 'noise generator' plugin. While I've heard this sound many times during audio classes and speakers checks, I've never heard it placed in a musical context.
At first it was hard to hear it for what it was, but I now appreciate it as an appropriate use for a normally 'cheap' and potentially grating texture. The tone of the album is resigned yet peaceful. Perhaps the most straightforward track on the album, "Sdg", is also one of the effective, essentially an organ dirge atop a layer of white noise. After the emptiness and quietude of the album up to that point, its placement near the ending is quite satisfying.
The actual closer, "Galasd", is fittingly muted, a heavily filtered dripping of water. It's perhaps the most relaxing piece. If the album has a problem, it's lack of quality control and selectivity. Gintas K releases a massive number of records each year; certain types of musicians will always feel every fragment of sound recorded is somehow uniquely vital and individually important. Personally, I feel there are tracks on this album that have very little to sustain them, particularly in the first half, and that a more focused album experience could have been created.
But then, the emptiness and the impromptu quality of the album sequence are also stylistic. In the end, I don't feel it's quite on the level of Oval, or my favorite deep listening records, but there's certainly an electric sort of magic mood to the whole album that pleases me, and reminds me of Coil or Nocturnal Emissions. It's particularly good for late night listening when time seems to glide by. Recommended for serious fans of the lowercase thing, and labels like 12k, Line and Baskaru, who put out this disk.
I wouldn't be surprised if I fall in love with another album by Gintas K at some point in the future. Josh Landry. This Lithuanian stitcher has had his dark embroideries released by Cronica and Zeromoon to my knowledge, and now here he is with a full-length set of improvised pieces he made in In contrast to Ruez and his strict rules, Gintas K is just letting it all sprawl out over his workstation like so much electro-acoustic gruel being spoon-fed into the mouth of a recalcitrant infant.
Very painterly, very intuitive, and achieving results that are like fragments of broken music being soldered and glued back together again. On this outing at least, Gintas K is driven to prove that he can push the machines around and win, injecting lengthy slabs of unpredictable noise with a vaguely aerated and gaseous vibe. The minute piece on side A is especially noteworthy, like a melted cheese sandwich bubbling under the grill with its own built-in indigestion tablet for the comfort of the elderly diner.
Also some uncanny staccato effects and interpolations, redolent of Venusian plant life budding and spawning under the hot moons of another galaxy. Laptops and electronics may have been part of other releases on Creative Sources Recordings, but usually in combination with other instruments. I met Gintas K years ago and he's really nice guy, but with his recent releases I must admit he lost me. Not that this isn't something to not like, as his music is quite alright, but it seems, time-wise, out of place.
The input could have been anything and is no longer to be traced back to anything you heard before. It sounds a bit like the 'modern electronics' from the sixties, but then using computer techniques. Nothing wrong with that I'd say but something that you may have heard before very well. Maybe on those vintage electronic music records, maybe in the world of Vital Weekly in the last, say, fifteen years, when laptops became household objects.
Like I said, I enjoy this to some extent, the whole bunch of eleven tracks, forty-three minutes, but in all honesty: who is Gintas K trying to convince here? I have no idea. This is, in , perhaps the sort of 'quick' album and I fully admit, I have no idea how it took to do an album like this that would end on bandcamp for the real die hard fans, but as a release on CD is perhaps a bit much.
Slow Motion Music. Skug Text: Curt Cuisine Dort stehen wir auch mit seiner schon zu Jahresbeginn erschienenen CD »Slow«, aber auf durchaus angenehme Weise. The Sound Projector December 16, Gintas Kraptavicius is from Lithuania and active since At the beginnings, he was a founding member of the local industrial band Modus, then ran radio shows devoted to experimental music and organized some theatrical Fluxus-like performances. Soon after, he got more and more into digital minimalism, recording the soundtracks for various films and installations.
Primarily interested in sinewaves, glitches and noise manipulations, he recorded some interesting material, mostly unpublished or released on small-run CDRs. Another work, Lovely Banalities released in by the same label, presents skillful microsound manipulations derived mostly from recordings of everyday life.
What is absolutely an evident change, is the overall mood of the album — not really slow, but somehow warm and easy. The nature of these compositions is still very abstract and sparse, and the music relies more on the glitchy side of electronic sound. The track titles are more or less typical for this style, formed by letter characters and signs of no particular meaning. Some tracks have a kind of lulling background ambience, recalling many pioneering releases of the 12k label.
Others demand more attention to see the intricate relations between loose and staccato sounds while walking through quiet acoustic rooms. Mastered by omnipresent mastermind Lawrence English, the CD is housed in beautiful digipak and awaits careful listeners. Written by Dmitry Vasilyev.
Artiest Gintas K Album Slow. Wie het veld van de fijnzinnige elektronische muziek exploreert, krijgt vroeg of laat een werk van Gintas K onder de loep geschoven. Dat laatste verklaart dat deze artiest het niet al te nauw neemt met de regeltjes van de muziek en zijn vak benadert als een domein van experiment en auditieve ervaringen. Elk deeltje is goed voor een prikkelende ervaring met een gezonde dosis klankexperiment.
Microscopische tikjes, ruisvormige texturen en kraakjes liggen aan de basis van deze sonische nieuwigheden maar worden met mate ingezet, meestal naast vertrouwde klanken. De luisteraar kan immers berusten op warme melodische kortom: toegankelijke tonen die in vele nummers opduiken.
In de stukken waarin synth -tonen voor een verwarmde toets zorgen, kan men intenser genieten van een abstractie die inspeelt op de verbeelding. De zachte, knisperende tonen klinken op hun beurt dan weer als voetstappen in een egaal sneeuwoppervlak en zorgen voor een rustgevende stemming. Achter de harmonische tonen voldoet zich een fascinerend vertoon van pruttelende, gemanipuleerde geluidjes.
Ze lijken in zekere mate voorspelbare doch boeiende veranderingen te ondergaan, als regendruppels die tegen een raam blijven hangen en vervolgens door de zwaartekracht naar beneden of door middel van cohesie naar elkaar toe worden getrokken. Wanneer Gintas K de melodie weg filtert naar de achtergrond of zich volledig concentreert op precieze ritmes, is het resultaat een stuk minder gratuit. De Litouwer biedt een spectrum aan van erg melodische — haast decoratieve - elektronica naar ongeremde klankexperimenten.
Ondanks dit brede aanbod, zijn de beste vruchten net in de evenwichtige midden reeks te vinden, welke ontzettend tot de verbeelding spreekt. Gintas K Slow [Baskaru]. Liability Webzine La lenteur ne veut pas dire pour autant que l'on est dans quelque chose de mollasson. Il n'y a donc aucune raison de bouder ce disque. Zonic Die Luft war klar, sie klirrte und flirrte zugleich, der Gestus des Denkens war: Klein.
Kraptavicius aus Litauen. Was soll die Hektik? Es ist Sommer. Since they work together with an odd form of improvised music, in which low resolution samplers play an important role, in which they blend with cruel pleasure rock rhythms, jazz licks and sauer kraut rocks. It's sounds mildly distorted and pleasantly insane. Like a bunch of demented rock musicians recorded by a guy who does a degrees dance while holding a microphone. Sometimes it seems to give in under its weight.
On the other side we find Gintas K, who is since a member of the Lithuanian Composers Union - altogether probably a more serious bunch of sound makers, I'd say. He has here a recording from in which he plays laptop - Plogue Bidule software and a bunch of cycling 74 VST plugins - which he plays, I'd say, in a more or less improvising way.
If that is at all possible with a laptop some would a rgue this is not possible. This is quite a different bunch of sounds. Nothing wild, no distortion, nothing insane, but just plain old fashioned, well made, if not too out of the ordinary computer music. Maybe a bit raw too, but nothing compared to the other side. See: odd pairing, but I must say it works rather nice indeed. The wild on one side and the more quiet, introspective on the other. Nothing spectacular, but nice enough indeed. I acknowledge that the quality of this cluster of Lithuanian experimentalists went beyond my expectation.
Jurgutis builds interesting figures by curling overpressurized computational microsounds, which gradually become more and more abrasive, while Antanas Dombrovskij perverts Raminta Kurklietyte's vocal improvisations by asphyxiating clumps and spasmodic rashes from broken synthesizer and circuit bending on "NNN broken jazz".
The vagarious enchanting drowsy tune "We Watch TV" by Arturas Bumsteinas is an assay of the amazing "Sleep an attempt at trying ", a radio project commissioned by the Deutschland Radio Kultur broadcasting service, which took the form of a fictional late night show for insomniacs and precedes "blind man tales 2", the astonishing textural piece consisting of melodic bits, granular particles and indented noises by which Gintas K won the main prize of the second international sound art Broadcasting Art, held in Spain in The last track of this interesting sonic miscellany cannot be but a toast or I'd better say a proper sonic toast as the electroacoustic project SALA recorded sound of the fermentation of gira, a traditional Lithuanian beverage, for their bizarre track "Fermentacija".
Posted by Vito Camarretta. Gintas K "Slow". Essmaa Ce disque est sorti, il y a quelque mois. Sur la berge du lac. Une humide odeur douce. Tarsi kalba. Ausiai patiko, plota ir kvykta iki paraudimo. Gonzo Circus In de eerste maanden van dit jaar komt Baskaru al met drie platen van namen-die-er-toe-doen. Om te beginnen trakteert het label ons op? In nummers als '72 ' en 'Niekovv' lijken we te luisteren naar een elektronische regenbui, met alle weemoedige gedachten die dat oproept.
Soms doet Gintas Kraptavicius denken aan Fennesz met zijn dichte ruis en vervormd gitaargeluid, zoals in 'Zrty' en 'Sdg' A bit outdated, but listening to 'Greit' I can't help to think this is apparently a road he wants to take. In the ten pieces here he explores the boundaries of laptop music, meeting noise, and that's perhaps the biggest difference with the previous release. Maybe to meet up with the wishes of Ilse, who releases their first real CD with this one and who are known to release more noise based music?
Perhaps not, and things turned just a bit more noisy here. Much of this is at the peculiar edge where we find noise based electro-acoustic treatments, almost like early musique concrete, but perhaps all a bit more crude and simplified, certainly when it comes to such notions as compositions. Throughout however I though this was nicer than the 'Slow', even when perhaps the differences aren't that big between the two. It works best here when Gintas K keeps his pieces around three to four minutes and effectively explores a few sound sources and then moves on the next.
If pieces get a bit longer than it usually starts to be missing something; it simply doesn't have enough elements to be fully captivating. But otherwise I thought this was a great release, following the somewhat disappointing 'Slow' release. Gintas K — Slow. Gintas K 'Slow' Baskaru Loop — Gintas Kraptavicius aka Gintas K is a Lithuanian electronic artist who has been active since He was a founder of Modus, the first Lithuanian industrial electronic music band.
He worked at Kapsai an alternative radio between and and participated in the underground scene of Lithuania in art actions and sound art exhibitions. Since he has been exploring the electronic minimalism, glitches, digital sounds and sound design through the laptop. There are beautiful songs here as 'Dar' and 'Reik' through minimalist guitar chords, glitch and heavily processed sounds and cinematics create warm atmospheres that evoke abstract images. Guillermo Escudero. The 11 tracks are clustered with fractional sonic flickers and fractional details Interesting, certainly, but not entirely engaging and at times rather frustrating.
Musik an sich Hier ist er bereits seit unterwegs, startete mit einer Industrial Band Namens Modus. Bei seinen Suchen und Experimenten vielen inzwischen viele Alben ab, Slow ist sein Wolfgang Kabsch. Ongekend verbazingwekkend. Tekst: Sven Schlijper. Publicatiedatum: 20 maart Gintas Kraptavicius is een product van de experimentele muziekscene in Litouwen.
Ken je die? Niet of nauwelijks wellicht. Daarin moge Slow onder de nom de plume Gintas K dan gezwind verandering brengen.
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