Clava7 - No Artist - Sound Pool (Deep House / Progressive House) (CD)
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Digital recorders. Guitar accessories. Studio accessories. GBP My Language. Wishlist Log in to view your wishlist. Sam Hunt established himself as an undeniable hitmaker on his debut Montevallo. Indeed he does.
With soft vocals laid over string beds, Stevens immaculately explores the gut-wrenching details surrounding the death of his mother -- providing an in-depth account of his extremely tumultuous relationship with her -- and his subsequent coping methods on this hushed masterpiece. Through deeply personal tales of longing, heartbreak, reflection and self-destruction, Carrie and Lowell thrives in its hardship.
While other DJs have prided themselves on putting unlikely artists together to forge hits in a lab, none did it more effectively, or with more unexpected pizzazz, than Harris on this star-studded collection. Bon Iver is geography. Forget about the log cabinBon Iver seems to suggest.
In itinerant revelry, Vernon established himself as one of the most singular artists of the decade. Inblues-rock duo The Black Keys Dan Auerbach and Patrick Carney were personally at odds with each other, and with both launching side projects, it looked like a sixth album was maybe never going to happen.
Fortunately, they set their personal differences aside for the sake of the band, and set out to record the career-making Brothers at Alabama's famous Muscle Shoals Sound Studio, which had been defunct for 30 years. If Frank Ocean is Odd Future's biggest breakout star and Earl Sweatshirt its most consistent, Tyler, the Creator is certainly the most fascinating, challenging artist to emerge from the outsider hip-hop collective.
Serving up a simmering stew of vulnerability, audacity, desire and fear over a bed of satiating synths and hearty, clipped beats, Tyler continues to buck the top 40 trap trends while charting a path into a more idiosyncratic odd, even future for hip-hop. What does it mean to take responsibility for your actions, really? Is an apology ever enough? As a mea culpa, is as real as they come. Oxnard crooner Anderson. Paak created a major splash inwith a six-song seal of approval courtesy of Dr.
But he officially made landfall inbeginning with the genre-blending and Grammy-nominated declaration Malibu. From the wide-eyed saxophone riff of "Run Away With Me" to the thumping, haunting beats on "Warm Blood" to the jumpy bass of "Boy Problems," every note is meticulously plotted — but with CRJ's eternally optimistic ebullience on the mic, there's a looseness to this '80s synth sundae that keeps you dipping the spoon back in for one more taste… and okay, maybe just one more after that.
Released on his 69th birthday, just two days before cancer claimed his life, David Bowie knew full well Blackstar would be his Clava7 - No Artist - Sound Pool (Deep House / Progressive House) (CD) song. Even if the music -- which gently veers from warm synths to skittering percussion to avant-jazz cacophony -- is as chameleonic as ever, Bowie isn't role-playing on the mic: There's a tender joy in the latter half of epic opener "Blackstar" and an unusually sweet candor on closer "I Can't Give Everything Away.
And somehow, that makes it even more heartbreaking. ByKendrick Lamar had essentially Clava7 - No Artist - Sound Pool (Deep House / Progressive House) (CD) the industry's mouthpiece for struggling black artists.
After being exalted on previous albums for his fearlessness and social conscience, Lamar dressed his fourth album, DAMNas the project where his conflicting thoughts about success and spirituality took center stage. On "Feel," Kendrick is a wounded soul looking for reassurance from his loved ones, while "Fear" showcases the Compton lyricist's biggest worries from ages 7, 17, and With his fifth album, J Balvin made good on his promise to make Latin music universal, regardless of language.
Inelectronic music was bigger than ever in the United States, but the house genre -- foundational to the DNA of the scene -- was largely forgotten amidst the big room, confetti blast madness. Then two babyfaced brothers from Surrey dropped their debut LP, Settleand with it elevated dance world consciousness, with 16 effervescent tracks that were at once an homage to the roots of electronic music and the furthest, freshest iteration of the sound.
Settle made the Lawrence brothers, just 19 and 22 when the album was released, stars -- and with the mega-hit "Latch" which hit No. The title to Drake's third official LP describes its creator's career in pretty much any year of the past ten -- his style and musical core shifted as consistently as his narrative, with the only constant being undeniable, world-beating stardom. Still, you could do much worse than Nothing Was the Same for one flashbulb moment to remember Young Aubrey's decade by: a sonically rich, melodically lush set of personal transmissions that feels like it's being shared in confidence, despite being beamed to untold millions of fans worldwide.
Origin story "Started From the Bottom" comfortably shares space with family-business airing "Too Much," pillow talk whisper "Wu Tang Forever" and crowd-pleasing crossover smash "Hold On We're Going Home," all seemingly coming from the same late-night whims of the s' most prolific "U up? The debut album for the London singer-songwriter spawned three big hits, all ballads of uncommon poignancy.
The gospel-infused "Stay With Me" hit No. In the Lonely Hourwhich won a Grammy for best pop vocal album, is one of the best mainstream explorations of late-night loneliness since Frank Sinatra's classic In the Wee Small Hours. Somehow it all meshes — perhaps only as Claire Boucher could allow.
His dark thoughts were amplified by Clava7 - No Artist - Sound Pool (Deep House / Progressive House) (CD) production from Metro Boomin and Southside, and the resulting full-length, which included a Drake feature, found the notoriously prolific rapper with his stickiest, most crowd-pleasing songs yet. Gucci flip-flops have never been the same.
Electronic dance-punk collective LCD Soundsystem -- led by Brooklyn stalwart James Murphy -- heralded their third album This Is Happening as their last, and yet it fittingly doubles as the closing dispatch from the once-burgeoning indie scene in New York.
Three studio albums into her career, Ariana Grande had yet to hone a personal sound aside from her trademark showbiz-flavored soprano. She found herself -- and graduated to a new level of pop superstardom -- with Sweetenerher first album since the bombing at her Manchester concert and, at the time, her most honest, cohesive, and commercial successful work yet.
As subtly joyful as its title implies, Sweetener is a radiant, pure snapshot of what stumbling upon happiness sounds like. For their first half-decade of stardom, Paramore were often dismissed as bratty rock for the Warped Tour set, despite frontwoman Hayley Williams quickly showing herself one of her generation's most evocative songwriters and commanding performers.
But the group's ambitious, self-titled third set -- after some intra-band drama and ensuing lineup changes -- made it obvious that everyone needed to pay attention to Paramore. The power-punk mash note of "Still Into You" and synth-soul finger wag of "Ain't It Fun" gave the now-trio their two biggest crossover hits, but just as undeniable were the tender goodbye "Hate to See Your Heart Break," the Blondie-quoting escapism plea "Daydreaming," the near-apocalyptic headbanging closer "Future" -- even the ukulele interludes, really.
Rarely has an artist exploded on the scene as fully formed as Chance The Rapper did with Acid Rap in the spring of With his trademark ad-lib, hybrid rap-sung delivery and a truly psychedelic worldview, Chance painted a whirlwind of colors across a landscape as diverse as the poverty and crime riddling his native Chicago, the ups and downs of love and his adventures and Clava7 - No Artist - Sound Pool (Deep House / Progressive House) (CD) with a variety of drugs across a dozen infectious tracks.
Along the way, he helped introduce the world to a new wave of Chicago talent like Noname, Vic Mensa, Saba and the musicians and producers that would form his Social Experiment band. Acid Rap was one of those projects that became a defining touchstone for a generation of hip-hop fans, blowing the doors open for experimentation in hip-hop in a way that few have done before.
It had been seven years since Fiona Apple released an album when she returned with another singular set, her fourth full-length effort, which suggested a resurgence from rumination into a mature ground of awareness -- in a moment the world needed more awakening and less conflict. In came The Idler Wheel From an artist who flew largely under the mainstream's radar for the last decade, who watched others own their truth and find pop success, this message of defiant free expression permeates her stunning third studio album -- one which saw her finally break free from the ties that bound her, and announce in no uncertain terms her sexual, political, social and musical revolution.
For all its pretensions to psychedelia, Currents is remarkably lucid. Freed from the stifling haze of their first two albums, Tame Impala found new life in the sublime clarity of their third.
Born made Del Rey a household name, peaking at No. Justin Bieber followed up his hugely successful first two albums with a digital-only compilation album titled Journals in Joy, summer; rain, glitter; pink-gold lemonades.
The feeling of going wherever, being whatever. Across the second half the s, teenager Billie Eilish expanded her sphere of influence from the SoundCloud charts to Billboard's Alternative charts, and by the time she released her massively-hyped debut, pop culture at large.
Part trap without the Clava7 - No Artist - Sound Pool (Deep House / Progressive House) (CD), part ASMR-core whisper-pop, the sound Eilish's early releases hinted at arrived fully realized on her debut LP, and then some. The "some" could refer to the shockingunits it moved in its debut week, "Bad Guy" unseating the longest-reigning No.
It's hard to imagine any album of the s shaping the sound of pop entering the s more than this one. ByArcade Fire had emerged as the torchbearers of indie rock, with two acclaimed albums and a growing following. The album is a fully-formed body of work filled with such a strong narrative that more than one song requires a part two. El Mal Querer underscores how niche genres can garner mass appeal when excellence and distinctiveness come together.
Despite the messy breakups within the Roc-A-Fella organization in the s, inJay-Z and Kanye West proved that diamonds were indeed forever with their masterful performance on full-length collab Watch the Throne.
An ode to black excellence, WTT was lathered with decadence. From Jay's boastful brags about the Nets bailing on the regular-season "Nz in Paris" to Ye's love for "sophisticated ignorance" "Otis"to see two all-time great MCs team up while still in their prime made LeBron and D-Wade's time together in Miami look like child's play.
One listen to her first album, however, made it clear that the teenage singer-songwriter from Auckland, New Zealand was not just influencing American pop music for a little over three minutes.
Mother Monster dug her pointy claws deep into her inspirations and pulled out the weirdest, most nostalgic and erotic elements from basically every genre she could muster with third album Born This Way. Maybe, but the primary feeling of listening to House of Balloons is already one of dizzying vertigo, the exciting but heavily unsettling sensation of having gone too far and ending up somewhere you know in your stomach you probably shouldn't be.
WithTaylor Swift succumbed completely to pop -- and it was big, bright and fun, even in her more lovelorn moments. Swift flirted with a non-country sound on her previous album Redbut in her roots were finally nowhere to be found: Gone were the guitars and twang of old, here are the synths and sing-speaking of the new Taylor.
Her experiment proved fruitful, as shedding her younger skin and going for broke with a new identity would lead not only to her best opening sales and biggest pop hits to date, but her second Grammy for album of the year. Swift also learned to embrace her detractors with tunes like "Shake It Off" -- something she'd use to great effect in follow-up Reputation -- but it was never better than "Blank Space," where she took criticisms of her public persona and turned them on their head, constructing Clava7 - No Artist - Sound Pool (Deep House / Progressive House) (CD) delightfully psychotic version of herself in one of her best songs ever.
AfterSwift would declare "the old Taylor" dead; arguable, but dead or alive, though, we won't forget this Taylor anytime soon. Vampire Weekend had already proven far craftier than the precocious punching bags their late s naysayers made them out to be; on their third album -- the last under the Rostam-Ezra Koenig creative braintrust -- the one-time buzzy blog band delivered a certified classic behind Rostam's kaleidoscopic indie pop arrangements and Koenig's winking existentialism.
Lyrics about dying young went incognito as the giddy single "Diane Young" and a daydreamy deep cut called "Ya Hey" turned out not to be a riff on one of the century's most ubiquitous pop songs, but the Hebrew God. The mortals responded strongly as ever: the album sold more first-week copies than either of its predecessors one of them a fellow Billboard No. For decades, mainstream society has perceived black women as being too angry, too loud or too aggressive -- all while attempting to co-opt our culture.
These stereotypes overshadowed our multi-faceted personalities and in turn, silenced our voices. Our community pent up so much frustration that flowed from the soles of our feet to the tips of our coifed afros. Interwoven with commentary from Master P and her parents about their experiences, the singer created a safe haven where we could vent, cry and heal.
The album may be called A Seat at the Tableyet we never really needed one -- we always had the power to build our own. After a modest debut in with first full-length Thank Me LaterDrake paddled his way into superstar territory with sophomore effort Take Care in Even when Drake took the mic solo on his track expedition, the Toronto polymath had dozens of stories to tell, dishing heart-aching love tales bonus track "Hate Sleeping Alone" or dropkicking rap foes for questioning his hip-hop merits "Lord Knows".
With Take CareThe Boy stomped his way to the top of rap with his most complete body of work.
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