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Category Archives: Hard Rock

Genuflect-The End Of The World-CD-FLAC-2007-FORSAKEN

Genuflect-The End Of The World-CD-FLAC-2007-FORSAKEN Download

Genuflect-The End Of The World-CD-FLAC-2007-FORSAKEN

Description :

Artist : Genuflect
Album : The End Of The World
Label : Independent
Genre : Hard Rock
Source : CD
Street Date : 2007-01-01
Quality : 1092kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 385.61 MB
Time : 47:05 min
Url : http://https://www.facebook.com/GenuflectBand

1. Bloody Murder 4:31
2. Potent 3:04
3. Masquerade 3:22
4. Dead Right 3:38
5. Here And Now 3:38
6. Epinephrine 2:15
7. Insurrection 4:08
8. Looking Glass 3:18
9. Open Up 4:05
10. Dark As Night 4:14
11. Kill Shot 3:46
12. Afterlife 3:43
13. Revelation 3:23

GENUFLECT lashes out against social, political and economic
corruption, with contentious vocals and aggressive guitars over
pounding beats. It’s the new project from the lead singer and the
guitarist from the band Reveille, Drew Simollardes and Greg
Sullivan, who toured on Ozzfest with Pantera, Soulfly and
Disturbed, and who also toured nationally with Sevendust,
Static-X, Godsmack, Powerman 5000, Kid Rock, Machinehead, and
many more.

Genuflect is currently writing a new album, set to be released in
2014. Their debut record “The End of the World” was released in
2007, and was followed by “The Shadow Side” in 2009. Genuflect
headlined national tours in 2008 and again in 2009 promoting
their first two albums to a loyal underground fan following. Both
available albums can be purchased online through CD Baby for
distribution to anywhere in the world. Genuflect tracks are also
available on iTunes.

Genuflect Reviews:

“Genuflect is wired for political and social agitation. Song
after song (Genuflect) picks a target and unloads. The misleading
politicking that set the stage for the war in Iraq, the sex
scandals involving members of the clergy, the idea of terrorists
killing in the name of God, and the social decay brought on by a
culture overfed on celebrity news but starved of meaningful
discussion are some of the topics raised on “The End of the
World.” … a relentlessly hard-sounding album.” -The Worcester
Telegram and Gazzette

“Genuflect … is less rap and more metal than Reveille, but
stays true to the hardcore sound that gave Reveille its edge.
Street-smart songs such as “Potent” and “Kill Shot” delve into
societal ills like crime and drugs with genuine passion and
explosiveness. Could a rap-rock resurgence be upon us?” -The
Boston Herald
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White Lion-Hits-CD-FLAC-2000-FORSAKEN

White Lion-Hits-CD-FLAC-2000-FORSAKEN Download

White Lion-Hits-CD-FLAC-2000-FORSAKEN

Description :

Artist : White Lion
Album : Hits
Label : Flashback
Genre : Hard Rock
Source : CD
Street Date : 2000-00-00
Quality : 960 kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 316.65 MB
Time : 43:58 min
Url : https://en.wikipedia.org/wiki/White_Lion

1. When The Children Cry 4:20
2. Wait 4:03
3. Tell Me 4:31
4. Radar Love 5:57
5. Broken Heart 4:08
6. Love Dont Come Easy 4:11
7. Dont Say Its Over 4:06
8. Baby Be Mine 4:09
9. Dont Give Up 3:17
10. Its Over 5:16

Greatest hits collection for White Lion.
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New York Dolls – Studio Discography (1973-2011) [FLAC]

New York Dolls – Studio Discography (1973-2011) [FLAC]
flac – lossless | 2.91 GB | Hard Rock

The New York Dolls created punk rock before there was a term for it. Building on the Rolling Stones’ dirty rock & roll, Mick Jagger’s androgyny, girl group pop, the Stooges’ anarchic noise, and the glam rock of David Bowie and T. Rex, The New York Dolls created a new form of hard rock that presaged both punk rock and heavy metal. Their drug-fueled, shambolic performances influenced a generation of musicians in New York and London, who all went on to form punk bands. And although they self-destructed quickly, the band’s first two albums remain among the most popular cult records in rock & roll history.

All of the members of The New York Dolls played in New York bands before the band formed in late 1971. Guitarists Johnny Thunders and Rick Rivets, bassist Arthur Kane, and drummer Billy Murcia were joined by vocalist David Johansen. Early in 1972, Rivets was replaced by Syl Sylvain and the group began playing regularly in Lower Manhattan, particularly at the Mercer Arts Center. Within a few months, they had earned a dedicated cult following, but record companies were afraid of signing the Dolls because of their cross-dressing and blatant vulgarity.

Late in 1972, the Dolls embarked on their first tour of England. During the tour, drummer Murcia died after mixing drugs and alcohol. He was replaced by Jerry Nolan. After Nolan joined the band, the Dolls finally secured a record contract with Mercury Records. Todd Rundgren — whose sophisticated pop seemed at odds with the band’s crash-and-burn rock & roll — produced the band’s debut New York Dolls, which appeared in the summer of 1973. The record received overwhelmingly positive reviews, but it didn’t stir the interest of the general public; the album peaked at number 116 on the U.S. charts. The band’s follow-up, Too Much Too Soon, was produced by the legendary girl group producer George “Shadow” Morton. Although the sound of the record was relatively streamlined, the album was another commercial failure, only reaching number 167 upon its early summer 1974 release.

Following the disappointing sales of the Dolls’ two albums, Mercury Records dropped the band. No other record labels were interested in the group, so the Dolls decided to hire a new manager, the British Malcolm McLaren, who would soon become famous for managing the Sex Pistols. With the Dolls, McLaren began developing his skill for turning shock into invaluable publicity. Although he made it work for the Pistols just a year later, all of his strategies backfired for the Dolls. McLaren made the band dress completely in red leather and perform in front of the U.S.S.R.’s flag, all of which meant to symbolize the Dolls’ alleged communist allegiance. The new approach only made record labels more reluctant to sign the band and members soon began leaving the group.

By the middle of 1975, Thunders and Nolan left the Dolls. The remaining members, Johansen and Sylvain, fired McLaren and assembled a new lineup of the band. For the next two years, the duo led a variety of different incarnations of the band, to no success. In 1977, Johansen and Sylvain decided to break up the band permanently. Over the next two decades, various outtakes collections, live albums, and compilations were released by a variety of labels and The New York Dolls’ two original studio albums never went out of print.

Upon the Dolls’ breakup, David Johansen began a solo career that would eventually metamorphose into his lounge-singing alter ego, Buster Poindexter, in the mid-’80s. Syl Sylvain played with Johansen for two years before he left to pursue his own solo career. Johnny Thunders formed the Heartbreakers with Jerry Nolan after they left the group in 1975. Over the next decade, the Heartbreakers would perform sporadically and Thunders would record an occasional solo album. On April 23, 1991, Thunders — who was one of the more notorious drug abusers in rock & roll history — died of a heroin overdose. Nolan performed at a tribute concert for Thunders later in 1991; a few months later, he died of a stroke at the age of 40.

In 2004, former Smiths vocalist Morrissey — who was once the president of a British New York Dolls fan club — invited the surviving members of The New York Dolls to perform at the 2004 Meltown Festival, a music and cultural festival that was being curated that year by the singer. To the surprise of many, David Johansen, Syl Sylvain, and Arthur Kane agreed to the gig, with Steve Conte (from Johansen’s solo band) standing in for Thunders and Gary Powell from the Libertines sitting in on drums. The group’s set was well received by critics and fans (and was recorded for release on DVD and compact disc), which led to offers for other festival appearances, but only a few weeks after the Meltdown show, Kane checked himself into a Los Angeles hospital with what he thought was a severe case of the flu. Kane’s ailment was soon diagnosed as leukemia, and he died only a few hours later, on July 13, 2004, at age 55.

With Sam Yaffa (of Hanoi Rocks) on bass, the remaining Dolls played a hometown tribute to their fallen brothers at Little Steven’s International Underground Garage Festival in New York City on August 14, 2004, reuniting again (this time with Brian Delaney on drums) in 2006 for the all-new CD/DVD One Day It Will Please Us to Remember Even This. The Todd Rundgren-produced ‘Cause I Sez So appeared on Rhino in 2009. A fifth studio album, Dancing Backward in High Heels, featuring both Johansen and Sylvain and produced and mixed by Jason Hill, appeared from 429 Records early in 2011.

Contents:

1. New York Dolls (1973) [Original & 2009 Japan Remaster]
2. Too Much Too Soon (1974) [Original & 2009 Japan Remaster]
3. One Day It Will Please Us to Remember Even This (2006)
4. Private World: The Complete Early Studio Demos 1972-73 (2006)
5. ‘Cause I Sez So (2009)
6. Dancing Backward in High Heels (2011)

Album artwork and audiochecker logs are included. Enjoy!!

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Cheap Trick – The Complete Epic Albums Collection (2012) [FLAC]


Cheap Trick – The Complete Epic Albums Collection (2012) [FLAC]
flac – lossless | 4.03 GB | Genre: Classic Rock, Hard Rock, Power Pop

THE COMPLETE EPIC ALBUMS COLLECTION gathers Cheap Trick’s seminal recordings in one essential, exhaustive package.

Besotted by the British Invasion, Cheap Trick took the music of their UK heroes and transformed it into something uniquely American. While lead guitarist Rick Nielsen has humorously described the band as “four great guys with three great chords,” they are much more than that. From their hometown of Rockford, Illinois, Cheap Trick has taken their inventive, high-energy brand of rock to every corner of the globe, selling over 20 million albums and amassing devotees from Kurt Cobain to Homer Simpson. The Complete Epic Albums Collection gathers their seminal recordings in one essential, exhaustive package. After all, songs like “I Want You to Want Me,” “Surrender,” “The Flame” and “Dream Police” don’t just live on the radio—they live inside of your head as well.

At Budokan: The Complete Concert—the expanded 2-CD version of their breakthrough 1978 live album.

The rare Found All the Parts EP, on CD for the first time in the U.S.

The “Authorized version” of Next Position Please, available here for the first time on CD.

Newly mastered versions of One on One, Standing on the Edge, The Doctor, Lap of Luxury and Busted available exclusively within this box set.

Albums Included:

Disc 1: Cheap Trick (Expanded)
Disc 2: In Color (Expanded)
Disc 3: Heaven Tonight (Expanded)
Disc 4 & 5: At Budokan: The Complete Concert (2 CDs)
Disc 6: Dream Police (Expanded)
Disc 7: Found All the Parts EP
Disc 8: All Shook Up
Disc 9: One on One (newly remastered for this box)
Disc 10: Next Position Please (Authorized Version)
Disc 11: Standing on the Edge (newly remastered for this box)
Disc 12: The Doctor (newly remastered for this box)
Disc 13: Lap of Luxury (newly remastered for this box)
Disc 14: Busted (newly remastered for this box)

Enjoy!

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Letters From The Fire-Letters From The Fire-CDEP-FLAC-2014-FORSAKEN

Letters From The Fire-Letters From The Fire-CDEP-FLAC-2014-FORSAKEN Download

Letters From The Fire-Letters From The Fire-CDEP-FLAC-2014-FORSAKEN

Description :

Artist : Letters From The Fire
Album : Letters From The Fire
Label : Independent
Genre : Hard Rock
Source : CDEP
Street Date : 2014-08-19
Quality : 1022kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 132.96 MB
Time : 17:18 min
Url : http://lettersfromthefire.net/

1. Zombies In The Sun 3:32
2. Eleanor Rigby 2:50
3. This Moment 3:21
4. Waiting 4:12
5. Zombies In The Sun (Acoustic) 3:23

In 2003, Metallica brought their Summer Sanitarium Tour to the
Candlestick Park. It was this day that Mike Keller, founding
member of Letters From The Fire, realized what he wanted to do in
life. He wanted to rock. “Watching Metallica, along with Limp
Bizkit, Linkin Park, the Deftones and Mudvayne up on that stage…
it just hit me that I wanted to be doing that one day,” Keller
admits. Keller’s high school buddy, Grayson Hurd, had the same
epiphany a few months later watching Linkin Park’s Meteora World
Tour. Being two of the only people in their circle of friends
that played guitar, the pair found a garage and started spending
time between school and football practice jamming together.

After a few years of casually playing, Keller and Hurd decided to
give their dreams a real shot. In January 2007, they played their
first show under the name of Park Lane. From here on out, the two
began to recruit other musicians and worked to find their sound.
To help with the process, they were able to jump into the studio
with Mike Boden (Mudvayne, Joe Satriani, Carrie Underwood).
Although the tracks were ultimately not released, the experience
helped the band become who they are today.

In 2009, Clayton Wages responded to a Craigslist “Bassist Wanted”
listing. After a meeting and an audition, he became the newest
member of the band. “Who says you can’t find a bad ass musician
on Craigslist?!” Hurd asks. With the addition of Wages, three of
the four current band members had come together.

Also in 2009, Park Lane began touring. Beginning with dates
around their hometown in California, the band ended the year
playing over 30 shows in six states. A summer tour in 2010
followed, and a national tour as main support to FUEL began in
August of 2011. “There’s nothing like finally being able to play
the music that we write in front of people that we’ve never met.
Sometimes, we would get to a city and play a show where people
already knew our songs. Considering we jumped on the tour less
than a month before, that was really awesome,” Keller exclaims.

In the midst of the tour with FUEL, the band released their first
full-length album on September 20. This twelve track album was
produced by Michael Rosen (Papa Roach, Rancid, AFI, Santana) and
was the band’s first taste of a full-fledged production. Hurd
explains what it was like working with Rosen: “Before we jumped
into the studio for that album, a lot of songs we had written
were covered in ‘teenage angst.’ Rosen showed us how to tear our
songs apart to put them back together better than before. In the
end, I think working on that record with him is when we really
learned how to write music.”

Due to a lack of confidence that Park Lane was a “cool enough
band name to carry forward with” and multiple trademark issues,
Park Lane officially became Letters From The Fire in July 2012.
The new name originally came from the working title of a song
that was on Park Lane’s 2011 release. It later became the actual
title of that record and, more importantly, the band’s new name.

For the first release as Letters From The Fire, the band enlisted
help from industry veterans. Rebirth was released in 2012 and
featured five new tracks. The EP was produced by Evanescence
co-founder Ben Moody. Other accomplishments of Moody’s include
work with Celine Dion, Avril Lavigne, and Daughtry and
songwriting credits like Kelly Clarkson’s smash hit “Because of
You.” In addition to Moody’s expertise, Josh Newell engineered
the EP. Former bass player for In This Moment, Newell’s engineer
credits include Linkin Park’s A Thousand Suns and the band’s
Summer 2014 release The Hunting Party. Dan Certa (Kelly Clarkson,
The Fray, Celine Dion, Seether, P.O.D) also joined the project
and mixed Rebirth.

To support this release, Letters From The Fire joined the Around
The World…Beneath The Scars Tour with 12 Stones and The Letter
Black. As this tour wrapped, the departure of Letters From The
Fire’s lead singer opened up a new search for the next voice of
the band. Keller, Hurd, and Wages found the sound they always
envisioned for the band in May of 2013. This was the voice of
Elliot Weber.

Since adding Weber, Letters From The Fire has been working on
their next full-length album with TRAPT lead singer, Chris Taylor
Brown.

Here’s what Brown says of the band and what fans can expect from
the new album: “Letters From The Fire is a band years in the
making and I’ve been fortunate enough to see their progression
from the beginning. The new album has some of the sickest guitar
riffs I’ve heard in a long time. Elliot’s vocals are the perfect
complement to a band that can only be described as melodic metal.
As ferocious and heavy as their music can be, the vocals add a
beautiful and sincere tone to the dark ambience present in the
band’s music. Lyrical themes touch deeply on personal conflict,
dreams, aspirations and the hidden tragedies that go on all
around us that so few have the insight to write about. Be
prepared to see (and most importantly hear) a lot from my friends
in Letters From The Fire.”

Dan Certa is mixing this project as well. The new release from
Letters From The Fire is slated for Summer 2014.

In the meantime, you can hear Letters From The Fire’s rendition
of The Beatles’ popular track “Eleanor Rigby” on Active Rock
Radio beginning Spring 2014.
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Guns N’ Roses – Discography (1987-2008) [FLAC]

Guns N’ Roses – Discography (1987-2008) [FLAC]
flac – lossless | 4.28 GB | Hard Rock

At a time when pop was dominated by dance music and pop-metal, Guns N’ Roses brought raw, ugly rock & roll crashing back into the charts. They were not nice boys; nice boys don’t play rock & roll. They were ugly, misogynistic, and violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit, “Sweet Child O’ Mine,” showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city. Meanwhile, bassist Duff McKagan and drummer Steven Adler were a limber rhythm section who kept the music loose and powerful. Guns N’ Roses’ music was basic and gritty, with a solid hard, bluesy base; they were dark, sleazy, dirty, and honest — everything that good hard rock and heavy metal should be. There was something refreshing about a band that could provoke everything from devotion to hatred, especially since both sides were equally right. There hadn’t been a hard rock band this raw or talented in years, and they were given added weight by Rose’s primal rage, the sound of confused, frustrated white trash vying for his piece of the pie. As the ’80s became the ’90s, there simply wasn’t a more interesting band around, but owing to intra-band friction and the emergence of alternative rock, Rose’s supporting cast gradually disintegrated, as he spent years in seclusion.

Guns N’ Roses released their first EP in 1986, which led to a contract with Geffen; the following year, the band released its debut album, Appetite for Destruction. They started to build a following with their numerous live shows, but the album didn’t start selling until almost a year later, when MTV started playing “Sweet Child O’ Mine.” Soon, both the album and single shot to number one, and Guns N’ Roses became one of the biggest bands in the world. Their debut single, “Welcome to the Jungle,” was re-released and shot into the Top Ten, and “Paradise City” followed in its footsteps. By the end of 1988, they released G N’ R Lies, which paired four new, acoustic-based songs (including the Top Five hit “Patience”) with their first EP. G N’ R Lies’ inflammatory closer, “One in a Million,” sparked intense controversy, as Rose slipped into misogyny, bigotry, and pure violence; essentially, he somehow managed to distill every form of prejudice and hatred into one five-minute tune.

Guns N’ Roses began work on the long-awaited follow-up to Appetite for Destruction at the end of 1990. In October of that year, the band fired Adler, claiming that his drug dependency caused him to play poorly; he was replaced by Matt Sorum from the Cult. During recording, the band added Dizzy Reed on keyboards. By the time the sessions were finished, the new album had become two new albums. After being delayed for nearly a year, the albums Use Your Illusion I and Use Your Illusion II were released in September 1991. Messy but fascinating, the albums showcased a more ambitious band; while there were still a fair number of full-throttle guitar rockers, there were stabs at Elton John-style balladry, acoustic blues, horn sections, female backup singers, ten-minute art rock epics with several different sections, and a good number of introspective, soul-searching lyrics. In short, they were now making art; amazingly, they were successful at it. The albums sold very well initially, but while they had seemed destined to set the pace for the decade to come, that turned out not to be the case at all.

Nirvana’s Nevermind hit number one in early 1992, suddenly making Guns N’ Roses — with all of their pretensions, impressionistic videos, models, and rock star excesses — seem very uncool. Rose handled the change by becoming a dictator, or at least a petty tyrant; his in-concert temper tantrums became legendary, even going so far as to incite a riot in Montreal. Stradlin left by the end of 1991, and with his departure the band lost its best songwriter; he was replaced by ex-Kills for Thrills guitarist Gilby Clarke. GNR didn’t fully grasp the shift in hard rock until 1993, when they released an album of punk covers, The Spaghetti Incident?; it received some good reviews, but the band failed to capture the reckless spirit of not only the original versions, but its own Appetite for Destruction. By the middle of 1994, there were rumors flying that GNR were about to break up, since Rose wanted to pursue a new, more industrial direction and Slash wanted to stick with their blues-inflected hard rock. The band remained in limbo for several more years, and Slash resurfaced in 1995 with the side project Slash’s Snakepit and an LP, It’s Five O’Clock Somewhere.

Rose remained out of the spotlight, becoming a virtual recluse and doing nothing but tinkering in the studio; he also recruited various musicians — including Dave Navarro, Tommy Stinson, and ex-Nine Inch Nails guitarist Robin Finck — for informal jam sessions. Remaining members were infuriated by Rose’s inclusion of childhood friend Paul Huge in the new sessions when both Stradlin and Clarke were excluded from rejoining the band. And a remake of the Rolling Stones’ “Sympathy for the Devil” was essentially the straw that broke the camel’s back, as Rose cut out some of the other members’ contributions and pasted Huge over the song without consulting anyone else. By 1996, Slash was officially out of Guns N’ Roses, leaving Rose the lone remaining survivor from the group’s heyday; rumors continued to swirl, and still no new material was forthcoming, though Rose did re-record Appetite for Destruction with a new lineup for rehearsal purposes. The first new original GNR song in eight years, the industrial metal sludge of “Oh My God” finally appeared on the soundtrack to the 1999 Arnold Schwarzenegger film End of Days. Soon after, Geffen issued the two-disc Live Era: ’87-’93.

The year 2000 brought the addition of guitarists Robin Finck (of Nine Inch Nails) and Buckethead, and 2001 was greeted with Guns N’ Roses’ first live dates in nearly seven years, as the band (which consisted of Rose plus guitarists Finck and Buckethead, bassist Stinson, former Primus drummer Brian “Brain” Mantia, childhood friend and guitarist Paul Huge, and longtime GNR keyboardist Dizzy Reed) played a show on New Year’s Eve 2000 in Las Vegas, playing as well at the mammoth Rock in Rio festival the following month. On New Year’s Eve 2001, the band played almost the exact same set as the year before.

An appearance at MTV’s 2002 Video Music Awards helped garner interest in the new lineup, but a rusty performance from Rose and an interview where he said his new album wasn’t coming out anytime soon didn’t do much to further their cause. That summer, GNR started on their first tour in almost eight years, and they managed to fulfill all of their commitments in Europe and Asia. Sadly, they caused a violent and destructive riot in Vancouver when Rose failed to show up for the first date of their North American tour. While he was up to his old shenanigans with the retooled lineup, former Stone Temple Pilots vocalist Scott Weiland, Slash, Sorum, and McKagan formed the successful Velvet Revolver in spring 2002.

And so years passed and still no new GNR album, to the point where it became one joke too many. The album was long billed as Chinese Democracy, and occasionally session recordings would leak and make their way onto Internet file-sharing networks. A fascinating article written by Jeff Leeds for The New York Times, published in March 2005, revealed how tangled and costly the making of the album had become. According to the article, titled “The Most Expensive Album Never Released,” Rose began work on the album in 1994 and racked up production costs of at least $13 million dollars. Producers involved with the album at one time or another included Mike Clink, Youth, Sean Beavan, and even Roy Thomas Baker. (Curiously, Moby claimed to have been offered the job as well.) Marco Beltrami and Paul Buckmaster were allegedly brought in for orchestral arrangements, and there was a revolving door of guitarists. In 2006, the album seemed closer to release, as Rose began surfacing in public and even took his band on the road for some shows. The music industry’s biggest boondoggle finally bore fruit in 2008 when Axl unveiled a record that was well over a decade in the making. While Chinese Democracy received many rave reviews, and the critical response was positive overall, the record underperformed (its almost impossible) expectations, debuting at number three on the Billboard 200 when it came out in November. A worldwide tour followed.

1987 – Appetite for Destruction [1997 MFSL Remaster]
1987 – Guns N’ Roses [EP] (also known as ‘Live from the Jungle’)
1988 – G N’ R Lies
1991 – Use Your Illusion I
1991 – Use Your Illusion II
1993 – “The Spaghetti Incident?”
1999 – Live Era ’87-’93 [Japan Edition]
2004 – Greatest Hits
2008 – Chinese Democracy

Full album artwork and rip logs are also included. Enjoy!

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Charisma-Roots Rock Deep-CDEP-FLAC-2005-mwndX

Charisma-Roots Rock Deep-CDEP-FLAC-2005-mwndX Download

Charisma-Roots Rock Deep-CDEP-FLAC-2005-mwndX

Description :

Charisma-Roots Rock Deep

Artist : Charisma
Album : Roots Rock Deep
Label : self-released
Year : 2005

Genre : Hard Rock Source : CDDA
Encoder : FLAC 1.2.1 Bitrate : 1043kbps
Playtime : 12:31 min Size : 93,27 MB

Tracks:

01 Painted 03:00
02 Passed Away 03:39
03 I Shed 03:11
04 Kolmen kuusen kyl 02:41
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Electric Mary-The Last Great Hope-CDEP-FLAC-2014-OUTERSPACE

Electric Mary-The Last Great Hope-CDEP-FLAC-2014-OUTERSPACE Download

Electric Mary-The Last Great Hope-CDEP-FLAC-2014-OUTERSPACE

Description :

Information:
Source : CDEP
Artist : Electric Mary
Album : The Last Great Hope
Genre : Hard Rock
Year : 2014
Street date : 2014-00-00
Rip Date : 2014-08-13
Encoder : FLAC1.2.1
Quality : 999 kbps avg
Size : 154.75 megs

Tracklist:
1. Sweet Mary C 3:04
2. Welcome To The Otherside 3:28
3. Nicotine 4:05
4. Already Gone 6:23
5. So Cruel (2014) 3:41
——
20:41

Notes:
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Devotion-Videostreet-CD-FLAC-2013-OUTERSPACE

Devotion-Videostreet-CD-FLAC-2013-OUTERSPACE Download

Devotion-Videostreet-CD-FLAC-2013-OUTERSPACE

Description :

Information:
Source : CD
Artist : Devotion
Album : Videostreet
Genre : Hard Rock
Year : 2013
Street date : 2013-00-00
Rip Date : 2014-08-22
Encoder : FLAC1.2.1
Quality : 989 kbps avg
Size : 298.00 megs

Tracklist:
1. Wolf Theory 3:53
2. Double Dragon 4:49
3. Delay 2:52
4. Candle of Life 4:56
5. Ghost 3:21
6. The Sound of Voices 4:17
7. Apartment 3:18
8. Icarus Wings 3:47
9. Envy 3:48
10. Traditional Skin 4:58
——
39:59

Notes:
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Devotion-Sweet Party-CD-FLAC-2010-OUTERSPACE

Devotion-Sweet Party-CD-FLAC-2010-OUTERSPACE Download

Devotion-Sweet Party-CD-FLAC-2010-OUTERSPACE

Description :

Information:
Source : CD
Artist : Devotion
Album : Sweet Party
Genre : Hard Rock
Year : 2010
Street date : 2010-00-00
Rip Date : 2014-08-22
Encoder : FLAC1.2.1
Quality : 990 kbps avg
Size : 213.21 megs

Tracklist:
1. Calendula 2:42
2. Teen Diary 2:56
3. Paper Boy 3:44
4. Asian Fantasy 2:07
5. Last Coffee Motel 3:59
6. Bubbles 2:59
7. Pain (T) 3:17
8. Palpebra 2:18
9. Manga Football 2:46
10. Peignor Vert 1:55
——
28:43

Notes:
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