Maro - Rejects Remixes - VINYL LP
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About this product
Album Tracks 1. Throwback Boogie (Havoc Remix) 2. Never Give Up (E-A-Ski Remix) 3. Body Parts (Evidence Remix) 4. Throwback Boogie (DJ Eprom Remix) 5. Gumdrops (Madlib Remix) 6. Throwback Boogie (True Master Remix) 7. Way Up Here (Joker Remix) 8. Kagome Kagome (DJ Q Remix) 9. What You Want (Goblinator X Remix)
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- GenreDance and electronicDescriptionAlbum Tracks 1. Throwback Boogie (Havoc Remix) 2. Never Give Up (E-A-Ski Remix) 3. Body Parts (Evidence Remix) 4. Throwback Boogie (DJ Eprom Remix) 5. Gumdrops (Madlib Remix) 6. Throwback Boogie (True Master Remix) 7. Way Up Here (Joker Remix) 8. Kagome Kagome (DJ Q Remix) 9. What You Want (Goblinator X Remix)ArtistMaroTitleRejects RemixesFormatVINYLLabel1332 Records
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Album Tracks 1. Throwback Boogie (Havoc Remix) 2. Never Give Up (E-A-Ski Remix) 3. Body Parts (Evidence Remix) 4. Throwback Boogie (DJ Eprom Remix) 5. Gumdrops (Madlib Remix) 6. Throwback Boogie (True Master Remix) 7. Way Up Here (Joker Remix) 8. Kagome Kagome (DJ Q Remix) 9. What You Want (Goblinator X Remix)
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Atra Vetosus - Voices From The Eternal Night [COMPACT DISCS] UK - Import date 05/10/2019

Limited 180gm vinyl LP pressing of the final album from the Metal maestros, originally released in 2000. All songs written and arranged by Pantera and produced by Vinnie Paul and Dimebag Darrell. Comes housed in tip-on heavy board gatefold jacket. Album Tracks 1. Hellbound (LP Version) 2. Goddamn Electric (LP Version) 3. Yesterday Don't Mean S*#t (LP Version) 4. You've Got to Belong to It (LP Version) 5. Revolution Is My Name (LP Version) 6. Death Rattle (LP Version) 7. We'll Grind That Ax for a Long Time (LP Version) 8. Uplift (LP Version) 9. It Makes Them Disappear (LP Version) 10. I'll Cast a Shadow (LP Version)

When Anton Diabelli, wishing to promote himself as a , commissioned many of the best-known composers of his time to write a variation on a theme composed by himself in 1819 in order to publish a score with all of them, he couldn't possibly imagine that the greatest of them all, Ludwig van Beethoven, was going to write not one, but thirty-three variations, probably encouraged by his wish to keep his name apart from his minor colleagues or, who knows, by his eagerness to undertake an in-depth search of the possibilities of a theme that, initially, he scornfully mocked for it's 'Schusterfleck' ('cobbler's patch'). In the end, in his Diabelli Variations Beethoven turned the banal (that tiny waltzlet serving as the starting point) into transcendent. From hardly nothing he built a whole which overwhelms us with it's greatness. It's a work full of paradoxes, winks, double meanings, but it's also a contested work, not easily understandable, complex and experimental. Planned as a building with superimposed layers, seemingly heterogeneous and without an apparent connecting thread, it looks the perfect testing ground for a creative artist - like Uri Caine. In his hands you forget the quasi-monotonal character of the piece, and we remain drawn and surprised by it's continuous feinting.
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