[CBASE002] Seamoon – A Twisted Downbeat Adventure (2010)
2nd chillbasement release. Enjoy.
SeaMoon is the solo project of Simon Neumann, born 1986 in south Germany.
At the age of about 10 he started to play the drums and played for about 4 years in a jazz trio.
He slowly started to produce hiphop-beats, dub and downtempo stuff in his youth and always was a big chillout/dub & ambiente lover.
After he discover psychedelic electronic music at the age of about 17, he finally started to produce psy-chill and psy-trance in the year 2005.
In 2007 he studied audio engineering.
He mainly tries to focus on powerful, psychedelic chillout and want to add his vision of psychedelic chillout to the mix.
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Author: Susanto BSc (Xhanch Studio)
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Download: Gramophonedzie – Why Don’t You (Radio Edit)
If you like what you hear, please support the artist
We might try this. Giving you a song for the weekend. You know, to get you started for nights to come, or something to listen to while your cleaning up the place, or doing all the things you didn’t get done during the week cause of your pesky job.
“Why Don’t You Do Right?” was written in 1936 by Kansas Joe McCoy. Although it is not in the twelve-bar blues form (it is more of an aabc form in which the c part is similar to the a part), many still consider the song to be a classic “woman’s blues;” it is really more a “complaint song.”
In 2009, the song was given a house treatment by Gramophonedzie as “Why Don’t You”, off his EP “Swingin’ With The Fishes”. His girlfriend, who is a fan of Peggy Lee (who recorded her version July 27, 1942 in New York with Benny Goodman) , was the inspiration for his update. As of March 18 Gramophonedzie version of the song is number two in the UK Dance Singles charts.
Never mind the project’s odd couple, “He’s got a girlfriend; so does she” marketing shuck. This is a musical love affair in all its splendor. Produced by the seemingly chameleonic producer T Bone Burnett (who previously revived traditional bluegrass with spectacular success on O Brother, Where Art Thou?), the septuagenarian legend and his unlikely contemporary foil affectionately court a dozen songs from the Louis Armstrong repertoire with the warmth and natural grace that have been a deceptively effortless Bennett trademark for 50-plus years. The pair kick proceedings off with a playful, irony-free “Exactly Like You,” then perform a tender vocal waltz across both the ages and the masterful, sympathetic orchestrations of the late Peter Matz, one of Bennett’s longtime collaborators. But it’s on the more melancholy performances, like “If We Never Meet Again,” “I’m Confessin’,” and the Armstrong perennials “Wonderful World” and “Lucky Old Sun,” that the pair tap into something akin to timeless musical telepathy. Her own talents hardly in need of burnishing, lang invests the project with some gratifying new smokiness and is rewarded with a postgraduate course in saloon singing for the ages. It’s an album that begs the best kind of question: When do we get an encore? –Jerry McCulley
"A Wonderful World" (2002), a collection of duets by Tony Bennett and KD Lang, the songs of the legendary trumpeter Louis Armstrong New Orleans inspired, may include "What a Wonderful World," "Exactly Like You" and "You yourself on me. "It 'was almost the legendary T Bone Burnett, trumpet, and includes works by Scott Hamilton. Of course, born in 2002 in New York was 76 years crooner, and his voice was not what it once was, but again, the heat of it with its liquidity,Smoothness, intonation and phrasing are sufficient to cast its light on the world. Howard Garwood critic wrote of him: "His face is like the neighborhood bar owners want – bent, wrinkled, and infinitely good …. E 'the face of a man who stole the life and times, and which proclaims his joy of living through one of the best groups of tubes in the industry. "
And what the voice of kd lang, 2002 or have been in top form. This is a thing of the supernatural, the beauty of silk, a voicecomes only once in a generation: in their case from Alberta, Canada. I remember once on television in the late evening early in her career, she wore a cowgirl most stupid and jumping up and down, I wish I could tell her that it was his voice, does not need to hop to expectations, the Herman's Hermits. Of course I could not, but she seems to understand that out, anyway.
The title of the song to do as this pair has all the colors of the rainbow. And some ofquieter ballads are still waters run deep, indeed. Just listen to say: "La Vie En Rose" and "If We Never Meet Again".
I am lucky enough to have seen this pair personally presenting this repertory in New York's Radio City Music Hall, the most remarkable of circumstances, namely: the end of September 2001, about two weeks after the destruction of 9 / 11 World Trade Center and so much of downtown Manhattan. I already had my ticket and watched anxiously to see if the cardhold the data: they were doing, and I also so have most of the ticket holder, I think: There were empty seats, but not so many. It ages to get through security, of course. One can believe that emotions are high that he ran the theater, on stage and in the audience: It could be described as a love-in. And what the music coming from the stage – it was just blessed, and memorable. Fortunately for us all, the music remains so volatile live shows, with us on this CD.
The Sanchay Home has now moved to http://sanchay.co.in. Also, the Sourceforge UNIX name of Sanchay is now sanchay, instead of nlp-sanchay. Due to this, you might find that some links are not going where they went earlier. I have updated in many places (as have Sourceforge people on their side), but there might still be problems in some places. But if you start from the new Sanchay Home, most of the things should be accessible.
Some secondary data has been lost, e.g. the download statistics about Sanchay, but that won’t affect the users.
If you are one of the users of Sanchay, it would be helpful if you let me know and (even better) send some feedback, list of bugs found, suggestions for new facilities, suggestions for modifications etc.
