Results for: last regrets single
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Voices Of Silence - Fade Away Voices Of Silence - Fade Away
Pour the raindrops into my soul
Couldn't wash the pain after (More) Voices Of Silence - Fade Away
Pour the raindrops into my soul
Couldn't wash the pain after all
Icons of frost and lost and this dying
Into my heart I've got the crying universe.
Ref. And the feelings of decay
Getting stronger every day
Alone like Noah in his ark
When it's raining in the park.
Seven seas of boiling emotions
No regrets for senseless devotion
We had for real a piece of that wonder
I don't wan let you pull me under anymore.
Bridge : Now my feelings won't betray
Getting further everyday
I feel like Noah in his ark
Now it's raining in the park.
Part two
Hello beauty ! ...Your beast is calling you tonight
You were not supposed to live the tale before the morning's light
Thinking, I'm quilt for the scars on your soul
Don't forget I've got some too after all.
Hello darling! ...I cannot be your dream tonight
I was not supposed to live the game without a single fight
Somewhere inside I knew, there was no chapter two
Still it was the one thing I could do.
Refr. I found it easy when I had to say goodbye
Knowing, this part of me would die
I felt no pain when I had to walk away
We did all to make it fade away.
Hello sweetheart! ... The stage is empty since you' re gone
The crowds went bye, the lights are off and none's hear to turn'em on
Someday I'll start again to play another show
And make it last, till one of us will go!
Goodbye lady! ...I'll walk across the new days light
I am not supposed to reappear and bother you tonight
You set a fire just to quench it my soul
Though you felt the heat to after all.
Refr. I found it easy when I had to say goodbye
Knowing, this part of me would die
I felt no pain when I had to walk away
We did all to make it fade away. (Less)
Anastasija-Passover (Part1) Live in Ohrid 2001 ANASTASIA:
Goran Trajkoski
lead vocal, bagpipes, flute
Zlatko Oridjanski
guitar, mandolin, (More) ANASTASIA:
Goran Trajkoski
lead vocal, bagpipes, flute
Zlatko Oridjanski
guitar, mandolin, flute, back. vocal
Zoran Spasovski
drums, percussions, keyboards, back. vocal
ANASTASIA is a group from Skopje, Macedonia. Existing for 8 years, it is the most successful group in the country and has become widely known on the international stages.
The music is a unique blend combining the Byzantine past, through Eastern Orthodox church music, with a rich gamut of ethnic rhythms. The instruments played are typical for the area where the group comes from and dwells in, s uch as kaval (flute), gajda (bagpipe), and tapan (drum), but modern technology like computers, samplers, synthesizers, etc. is also used.
ANASTASIA has made numerous music scores for movies, theater performances, and TV programs. Its last album, the original soundtrack for the movie "Before The Rain", bearing Polygram label, has been sold in thousands of copies worldwide. In 1996 ANASTASIA wrote the music for the theater performance "Bachanallia" which had its European tour with a remarkable success. In 1997 ANASTASIA released its new single CD, FACE/BURN, for Third Ear Music, as an announcement for the forthc oming new album which will be released for Polygram France.
"The first fascinating trait of ANASTASIA's music that immediately captures our senses is its radical originality, the surprisingly powerful, profound, and suggestive sound, which directly originates from an abundantly rich mus ical tradition. The first shock of fascination is so strong that it momentarily wakes up our curiosity and unlocks the door of our confidence, thus allowing the young masters from ANASTASIA to lead us to the extraordinary world of sounds. Indeed, there are no regrets for our succumbing to their creative magic since there is not even a shadow of delusion in ANASTASIA's music. Everything that these marvelous artists offer us is primordially sane, unspeakably remote in its roots, virginally fresh, and so genuinely modern. An enormous garmut of both the mental and the musical is a clear sign of an emanation of a magnificent talent.
Following their music, from one piece to another, we do not know what exactly should we ascribe our delight to. Is it the little-known, uniquely beautiful melody? Is it the meek, filigree-like lyricism that mesmerizes us with its genuine sincerity? Or is it the epic, or better still, the mythical power of the sound that almost reaches the heavens? Is it due to the ancient, the mysterious, the ingeniusly beauty of polytonality that flows in ANASTASIA's songs? Could it be th e magical lightness of these times which merge the old age music with the sounds of both the Orient and Europe, thus making them recognize one another and be strangers to each other? Should we ascribe this delight to the rhytm that turns some pieces into four-dimensional sound? There seems to be only one key to this: the perception of this authentic polyrhytmical magic is achieved only through devoting ourselves to the music, by admiring it" (Less)
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