"World of Sleepers" remastered in 6-panel digipack on professionally glass-mastered CD. Limited to 2000 copies worldwide.
Carbon Based Lifeforms is blessing us with a soft and hypnotic album "World of Sleepers". Swedish duo Carbon Based Lifeforms aka Daniel Ringstroem and Johannes Hedberg composed a strong sonic introspection mixing sub-marine perceptions with metropolitan climax. "World of Sleepersis" a deep and gentle album, where warm crunchy rhythms and ethereal pads contrast with interference frequencies and organic echoes. Groove and smooth are the foundation of this album which will send you drifting into other perspectives.
This disc consists of two major parts: a documentary by Miguel Vallecillo (51 minutes), consisting of songs from Paris concerts and an extended interview with Camarón; and a complementary programme (35 minutes) of other songs from the same concert series. Extras include a video clip of "Como el agua" (5 minutes), and a gallery of photographs.
Most listeners will never have heard the name Ivan Khandoshkin (1747-1804), but violinist Anastasia Khitruk has admirably undertaken to bring this little-known solo-violin repertoire to wider attention. Published in the early years of the 19th century, Khandoshkin’s Op. 3 sonatas show the influences we might expect, given the composer’s exposure to a court musical environment that included musicians from Italy, Germany, and France.
One of the great decade-long singles runs is straightforwardly documented on Respect M.E., a compilation distributed throughout Europe and, unfortunately, not released in the States. From 1997 through 2006, Missy Elliott's work – often the product of a partnership with producer Timbaland – was in steady rotation on the radio and on video programs. Nearly every time out, she came up with something fun, inventive, out of this world, and lasting, charting alternate paths for pop music while also projecting the image of a fully empowered plus-size woman in a mainstream populated by females who tended to be anything but. Although each one of Elliott's albums is well worth owning, nothing can deny the need for this release, which includes almost every noteworthy track she released during the period, from "The Rain (Supa Dupa Fly)" through the underappreciated "Teary Eyed." The most significant omissions are "Lick Shots" and "Take Away": hardly deal breakers. An ideal companion release would contain the hits Elliott wrote and/or produced for other artists, such as Aaliyah's "One in a Million," SWV's "Save Me," 702's "Where My Girls At," Nicole's "Make It Hot," Total's "What About Us," Monica's "So Gone," and Tweet's "Oops (Oh My)." During these years, there was no greater force in popular music.