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Intermezzo - Gebrüder Teichmann* - The Number Of The Beat (CD, Album) download full album zip cd mp3 vinyl flac

Download Intermezzo - Gebrüder Teichmann* - The Number Of The Beat (CD, Album)
Label: Disko B - db 149 cd • Format: CD Album • Country: Germany • Genre: Electronic • Style: Techno

Modern, cool and elegant in the style of Daft Punk. Ideal for comedy soundtrack, lifestyle Instagram content, tv show intro, YouTube vlog, summer videos, or short video Clips. Starting with a tight confident intro and building up to a winning successful feeling.

A perfect choice for corporate videos, presentations, digital marketing, innovative videos, websites, tutorials, explainers, slideshows, YouTube videos. It's suitable as a background music for travel videos, projects related to food, cooking shows, country lifestyle videos, projects related to farms, farmers, pets, animals and much more.

A percussive, groovy and powerful track featuring heavy cinematic drums, claps, stomps, and stomp effects. Works great for catchy intro, urban scenes, action sports, X-sports, movie trailers, video games. Inspiring and motivational corporate music. You can use this track as a background in your projects, technology videos, slideshows, TV or advert, music for podcasts intros and phone hold music, music license for small business.

This hip-hop trap royalty free energy music track. Excellent and powerful low bass and drums beat, rhythmic percussion, atmospheric elecronic synths. This track is perfect for sport videos, workout, gaming, fighting without rules video.

Futuristic and incredible stomp music with an intense energy drive. Perfect for motivational video content, sport videos, and x-games adventures, action chase scenes. Upbeat, exciting, and uplifting stomp track with percussions, claps, stomp effects, and drums.

Perfect for presentations, action trailers, intros, commercials, and any project that needs a clean, dynamic, and energetic mood with a touch of exotica and oriental vibes. An ominous, dark, scary horror theme. Perfect for introductions to scary films and games, but can also be used in other parts as well.

Epic Intense Trailer intro Indent is a short, powerful, epic trailer intro that conveys intensity and drama. It has Taiko drums, electric cymbal swells, deep horns, epic percussion rhythms and an awesome climax. Driving and uptempo retro '80ss grunge rock track will be a powerful addition to your media production. Gives a sense of determination and confidence. Perfect for accompanying any sports videos, scenes with movement and purpose, action movies, transitions.

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Modern, fresh, energetic, motivational indie pop for incredible projects such as: youtube videos, sport, fitness, racing, fight, workout videos, beauty blogs, festivals, openers, intros, presentations. Piano chords play a repetitive melody at the start whilst gradually being introduced with synths and electronic bass to create a modern track designed to inspire, motivate and provide a simplistic element of quality.

Very useful track for corporate or business use. Analog sound in the atmosphere of the 80s, with warm analog pads and 80s-style beat. Ethereal chillhop music with lo-fi sensibilities. Charming and captivating, yet neutral sound.

Great for creating a lounging, sexy vibe. Possibly use as intro or transition music, hold music for phone systems, voice-over, studying process and various business productions, etc. Bright and provocative urban track, with some hip-hop elements. Highly suitable for various types of presentations: intro-screen, splash screens, or on-screen.

Also good for urban scenes including the city at night, gangsters life, empty streets, so on. A Album) acoustic track for projects which need a warm and tranquil background sound. Good choice as commercial background music, music for radio ads, podcasts intro music and phone on hold music.

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News music for news, intros, broadcasting, news openings, business report, Tv, network, news videos and news countdown or timer. Powerful hard rock with overdrive guitars and punchy drums. Perfect for extreme videos, sports games, motivational backgrounds, powerful intros, tv advertisements, Album), action movies trailers, catchy commercials, and visuals.

True Colors is a folk acoustic guitar track with a warm sound perfect for any type of projects. Chill, relaxed and cool hip-hop instrumental background music for your videos. This track is featuring instruments such as lead synth, rhodes, piano, funky guitars, hip-hop beat and playful bass. Useful in TV, movies, vlogs, YouTube videos, video games and more.

Stylish, energetic and upbeat percussion music track, featuring human stomps, claps, snaps and drums only. This percussive clip is useful in a nowadays advertising, commercial, promotional video, as well as animation movie, sports events, or Youtube opener and intro visual, chase scenes, underwater hunting and traveling in the wilds.

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Also, it can be used as a logo and intro. The powerful and aggressive blend of pumping trap beats with Hip-Hop. Perfect for extreme sports action, badass guys enjoying life and living it to the fullest, serious scene that is building in momentum, fast cars, urban club scenes.

Sweet, lovely and heartwarming rustic acoustic guitar melody with carefree human whistling. Download unlimited short music intros with royalty free license and use them in commercial and business projects. How to download.

TunePocket is a royalty free stock music library. Get unlimited download access to thousands of music tracks, loops, and sound effects with an affordable subscription plan. Use our music in personal and commercial videos, films, games, and other projects. New music added daily. Why Choose TunePocket. Login to download Not a member? Get access to thousands of royalty free music tracks, loops, and sound effects. It is unclear why Bartlett's work remains unknown.

Perhaps it is because it remained largely inside the academy. Perhaps his commitment to live performance and community activity means it was more transient than the work of others.

Perhaps his openness about his sexuality played a part in his music not receiving much recognition -- one can only speculate.

But correspondence in his archive shows that rejection from labels was a source of great personal discontent, leading to Bartlett working with the Western Front to release his final opus "Pythagoras' Ghost" shortly before his death. Bartlett died young, of AIDS-related causes, inbut his music is characterized by an irresistible and unselfconscious charm that renders his sound unique.

How does music resonate through other music? What happens when the game of Chinese Whispers meets a dynamic feedback loop? But definitely not in the sense of "Beatles go Classic": they do not simply echo the melodies and harmonies, rather, inspired by the energy and playfulness of the tracks, Intermezzo - Gebrüder Teichmann* - The Number Of The Beat (CD improvise a resonant response, transforming and filtering the electronic sound they hear through their traditional instruments and musical expressions.

They reverse, enhance, re-compose the improvisations of the Extrakte musicians, finding new connections in their sounds. Iterationen is an ongoing project, a creative love affair between traditional and electronic music making -- this album is the second step. The idea was to carefully discover the mechanisms how this music works and translate them into playing techniques for the ensemble.

Where debut album Abyssinia Afterlife and Artifacts bathed in an atmosphere of psychedelics, mythical figures, ancient sounds, and modern cultures, Future Flora refers to the power of plants and their importance for the future. Future Flora is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. Daems developed his own arrangements where Western, Oriental, and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore, and experimentation grows. Songs like "Hora de Aksum" combine modern western rhythms with doses of Balkan eccentricities while "Future Flora" takes you on a psych-delicious, 21th century, Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

He is Brazil's most authentic, varied and inspired guitarist. His musical style as well as his range are unmatched. Lula Galvao deals with music in a very particular way. No matter which genre or rhythm, he enriches the music with his inspired arrangements and performance, thereby adding that certain something which makes all the difference.

Performed by him, even the compositions of well-known musicians appear fresh, almost as if they had just been composed. The repertoire of Alegria De Viver is a true treat for the ears. It combines technical perfection with an excellent taste of music. His interpretations of classic and Brazilian music are elegant and creative, in a sophisticated way they are simple but still unique. On Alegria De Viver, the music of the dark-skinned Brazil finds an expression, with an added touch of cheerfulness paired with a whiff of yearning.

Without losing its Brazilian roots, the recording also incorporates inspirations from the world of international jazz. Like the previous volumes in this series, listening to this record takes you on a journey across the geography of Peru, as the majority of the groups on this collection were from different regions of the country, or had close links to them, although all of the artists recorded in Lima.

Most of the bands emerged during the perioda time of deep political and social change implemented by the nationalist military dictatorship. Los Demonios Del Mantaro, Los Intermezzo - Gebrüder Teichmann* - The Number Of The Beat (CD De Corocochay, and Los 5 Palomillas are the exceptions to this, as they recorded between and and produced a hybrid of cumbia and huayno called huaycumbia, a genre which achieved high sales figures during those years.

Despite the characteristics of huaycumbia, the early composers of Peruvian cumbia didn't consider it a direct source of inspiration. They admit to being more influenced by Colombian cumbia, Cuban guaracha, beat, and psychedelic music from the UK and US that they had played since the end of the '60s, in their 'own style', as a part of a musical appropriation process that quickly led them to forge a singular sound. Largely ignored by the elites, it steadily won over audiences and created its own market, establishing its own broadcast channels and distribution channels.

As Enrique Delgado stated in 'We've defined a typically Peruvian cumbia which, strange as it might appear, people also like in Colombia and several other countries. Jon Povey has given a significant contribution to this album as vocalist, composer and keyboard player.

In addition, William Breeze, head of the Ordo Templi Orientis, the lodge presided by Crowley through most of his life, has provided the recently discovered manuscript scores of two unpublished songs by Crowley that Twink and the Technicolour Dream are presenting for the firsttime in their original form piano and soprano and a rock version.

Page, presented in their original score and in a rock arrangement. First ever released on CD. Produced by Marco Conti and Fabio Porretti. Digipack; includes page booklet. Only two long-out-of-print compilations have ever emerged to profile Ireland's rock roots, making this anthology doubly inviting. Let's Freak Out reveals a wider account of the beat scene, and its transition into psychedelia and blues rock. While Ireland has never been given equal acclaim to that of its neighboring England, it nevertheless produced some of the most iconic and influential bands of the period.

As Van Morrison and Them were leaving Belfast for London, a slew of new hopefuls arrived to establish their own niche under the nose of the dominant showband scene. Compiled here, are original recordings featuring various groups from Eire and Northern Ireland, some of whom went on to huge success in the s.

Let's Freak Out is a fascinating account of Ireland's more obscure and vibrant music scene of the s. Spanning five discs with rare and previously unreleased recordings, a plethora of memorabilia and expansive liners housed in an page, full-color booklet, People! This book has been conceived as both a prism and a manual.

Following the "traditional" arc of electroacoustic composition listen-record-compose-deploy-feeleach of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation.

Although the term "experimental music" may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed.

The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands. Sonny's classic final album swings between deep, lyrical melodicism and passages of pure fire music and features jazz legends Pharoah Sanders on tenor saxophone and Elvin Jones, member of the John Coltrane Quartet, on drums.

The album was produced by Bill Laswell and originally released in on his Axiom label. Available on vinyl for the first time in 40 years. The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people.

And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early s, Tapscott always wanted his group to be a community project.

The group was renamed the Pan-Afrikan Peoples Arkestra inand soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax.

Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early yielded enough material for two albums, and the first release was Flight From the surging avant-gardism of Herbie Baker's title track to the laidback summertime groove of Kamonta Lawrence Polk's "Maui", or Roberto Miranda's up-tempo Latin jam "Horacio", Flight 17 showcased the radical voices of the Arkestra's members.

Led out by Tapscott's hard-swinging piano, this is the first flight on wax of the West Coasts' foundational community big band -- energized, hip, and together. Fully licensed from Nimbus West founder Tom Albach. Over the last 25 years no group has been more prolific or dedicated to pushing psychedelic rock to its limits than Japan's Acid Mothers Temple.

Their maximalist technicolor vision was first revealed on this, their now legendary self-titled debut released by P. Led by Makoto Kawabata, the album contains some of the group's most cosmic, hypnotic and over-the-top material; it kick-started and set the tone for a journey that has included countless releases and performances around the world -- a freaked-out trip that continues to this day.

Deluxe Edition housed in ten-color heavy tip-on gatefold jackets, featuring soft touch and spot gloss finishes and full color interior pockets.

Includes full-color, spot glossed inner sleeves and a 24"x24", full-color poster. Remastered and pressed to high quality vinyl at RTI; Digital download included. Their raucous, face-to-face approach to duo dynamism is as weirdly aggressive as anything that's ever come out the dag end of Brooklyn or Providence, and that's saying something.

Using homemade electronic devices that generate vast heaps of splutter and careenage, employing a percussive technique that would make Fred Flintstone proud, and singing into a microphone that makes everything sound like someone howling curses through an elevator's intercom, Sea Moss have arrived at a modus operandi that will makes weaklings poop eggs. The wildness of their approach is most evident in live concert, where they spend all their energy hurling figurative rolling p[ins, frying pans and glottal pronouncements directly into each other's faces.

But on vinyl, it's possible to ponder the structural and lyrical gambits they use to attack each other. The lyrics, at least what I think I can make out of them, explode like strings of haiku written during a particularly hectic game of Exquisite Corpse. And the instrumental portions of the tunes often sound as though they were written for a Chrome tribute concert to be performed by lighthouse foghorns.

The other day, while I was playing this in the store, someone commented that the vocals reminded them of very early Guerilla Toss. I pointed out that while there might be some small surface similarities, the utter weirdness of the underlying music pretty Intermezzo - Gebrüder Teichmann* - The Number Of The Beat (CD negated comparison. Then I threw them out.

Sea Moss is doing some crazy shit. Don't beggar them with comparisons. Listen with all your holes open and pass the goddamn drool cup. FTR LP, New to us is electronics-and-tapes-shuffler Stephanie Germaine, but she proves to be a dab hand at making sonic events wiggle in the air like some many Chinese ash-snakes. Phurnne is around five years old at this point, but they have kept a low profile until now, thinking perhaps that the long-form pieces they create are better suited to live performance than passive homebound listening.

From my own personal viewpoint that's a crock of whale shit. The music Phurnne invents is so texturally subtle in spots you really need to be able to examine it inside a dark and quiet safe space. Their sound really only achieves its true stature when you actively listen to it something that's not always possible in a live setting.


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  1. Dijinn   Kazratilar
    Oct 10,  · Vinyl and CD Discography; 16 Releases Gebrüder Teichmann* The Number Of The Beat (Album) 4 versions: Disko B: Japan: Sell This Version: 4 versions Gebrüder Teichmann* Lost On Earth (Album) 2 versions: Noland Records.
  2. Dazahn   Vudok
    Listen to The Number of the Beat on Spotify. Gebrüder Teichmann · Album · · 21 songs.
  3. Mezinris   Diktilar
    The Number Of The Beat, an album by Gebrüder Teichmann on Spotify We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes.
  4. Vumuro   Shakakree
    Check out Intermezzo (Album Version) by Various artists on Amazon Music. Stream ad-free or purchase CD's and MP3s now on
  5. Mezik   Kazirg
    The Number of the Beat 表演者: Gebrüder Teichmann 介质: Audio CD 发行时间:
  6. Mezira   Juran
    Listen to music from Gebrüder Teichmann like Dance and More, Morgen & more. Find the latest tracks, albums, and images from Gebrüder Teichmann.
  7. Zoloramar   Dazahn
    cd version of this album included. Techhouse. Techno. DB () Disko B. Grey Gardens. Rise and Fall. Future Back. THE NUMBER OF THE BEAT (2X12) 2x12" Vinyl D pretty & versatile album by the t bros. Techno. Electro. DBLP. Gebrueder Teichmann. YESTERNIGHT EP. 12" Vinyl D moderner und frischer techhouse der.
  8. Tojall   Yozshugar
    Gebrüder Teichmann: "transinstor vamp/t.v. edit, micro". 12". tt3 Gebrüder Teichmann: "time's up / hands up". 12". teichtracks. tt2 Gebrüder Teichmann: "the number of the beat" japanese version. cd. leitfaden schallplatten

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