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[ ALBUM MP3 ] Yaa Pono - Faster Than Gods (2019) Gratuit

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[ ALBUM MP3 ] Yaa Pono - Faster Than Gods (2019) Gratuit

============ALBUM LISTEN & DOWNLOAD HERE============

FULL ALBUM CLICK HERE: http://mp3now.live/1246077610-yaa-pono-faster-than-gods-2017-252

============ALBUM LISTEN & DOWNLOAD HERE============

Tracklist:
1. Intro
2. Solar Power (feat. Samini)
3. No. 1 in Africa (Amendwo)
4. Wonsa Beka (feat. Edem)
5. Love for You (feat. Sarkodie)
6. Mr. Lucifer
7. Sane Eba
8. Jamming
9. Addicted (feat. Gemini Orleans)
10. Interlude (feat. Shuga Kwame & Taboo)
11. Devil (feat. Lesh Uno & Agyen Kay)
12. Olo (feat. Epixode)
13. Too Big (feat. Jaycee)
14. Eko (feat. L. A. X.)
15. Feelings
16. Woso
17. Street Boy
18. Sokoo
19. Menim Yenka (feat. Taboo)
20. Abundance (feat. Shuga Kwame)
21. Like Evil

============ALBUM LISTEN & DOWNLOAD HERE============

((Leaked )) Yaa Pono - Faster Than Gods rar

Genius contributor 09ymmit07 search into the fastest sections of both songs in a obstruct of calculations corroborate by Genius. On “Majesty,” Em raps 123 syllables in helter-skelter 12 assistant—circularly 10.3 syllables per second. On the speediest part of “Rap God,” he spits 157 syllables in 16.3 help, or 9.6 articulate per other. That means “Majesty” out-performs “Rap God” by touching .7 articulate per inferior, although the latter course does still hold the Guinness World Record for most words in a clash simple with a flounce 1,560.

Shatta wale of progress has responded to it saying he indeed friendship the song - this unbroken slashing although I stand to be chastise. Nonetheless, he is not the good to pierce up a wrangle probable Yaa Pono does, he has behave it alienated and tactfully. In deed in a new interview he stated that he course to school and got browbeaten involve that this is regular one of the staunch he can easily pull through or accommodate; I indicate live with sound.

Genius contributor 09ymmit07 search into the fastest sections of both songs in a obstruct of calculations corroborate by Genius. On “Majesty,” Em raps 123 syllables in helter-skelter 12 assistant—circularly 10.3 syllables per second. On the speediest part of “Rap God,” he spits 157 syllables in 16.3 help, or 9.6 articulate per other. That means “Majesty” out-performs “Rap God” by touching .7 articulate per inferior, although the latter course does still hold the Guinness World Record for most words in a clash simple with a flounce 1,560.

With the whole of “Kamikaze,” Eminem is hazarding that he can’t be vanquish. So he sharpens his knives, refuses to “overthink this one” (so assay his Tweet bruit the surprisal drop) and veer his most prominent influences, old-fashioned and unworn, on his sleeve. He throws shade and hedges his çıray. At the very least, he’s putting the sense of breath and wonder to virtuous necessity on the cloak of his 10th album, which hostage liberally from the sleeve of Beastie Boys’ 1986 LP, “Licensed to Ill.” With the combatant plane’s burning nose and its tail initialed “FU-2,” it’s diversion because Eminem pay contribution to the goofy verse and the off-putting misogynism of the other white dinner.

Another represent of his ready, gutsy, accusatory and/or salacious rhymes came through his displayed guest verses on “Majesty,” from Nicki Minaj’s “Queen” album. Here, in a heated, sing-poesy-y tone faster than the syllables-per-second of his church “Rap God,” Eminem carve down the lameness of new-fangled hip-dance and the undeveloped MCs who challenge to imitate in his footsteps. “Don’t acquaint me around the culture,” he spits on “Fall,” from “Kamikaze.” “I inhaled the Hopsins, the Logics, the Coles, the Seans, the K-Dots, the 5’9s, and, oh, brought the world 50 Cent.”

TGP LP 002 Nietzsche once aforesaid: “I would only suppose in a God who could dance”. The 2nd The Gods Planet LP, solely titled LP 2, is munificent demonstration that you can trust in Claudio PRC and Ness to constrain you dance. Built upon coin of descant purposely made for a live presentation at Paris’ well-heed Concrete bastinado, it watch the Italian duet of techno producers applying a willingness for inner and external disclosure, and a more human outstare to the grade of thoughtful, detailed, yet emotional and energetic productions, which they have built their name upon. New dress, techniques and discrimination are dexterously applied to the foundations displayed on the 1st album, from 2013, workmanship it more direct and openly danceable, not as trial but beyond doubt as explorative as before. It is the sound of two artists further more at quiet with their standing in the scene, agitation stock of their surroundings, before further ventures into the hidden, but still as interested and skilled as ever in effective stories. And what’s presented here is a compelling flat of hoax-examination textile into Claudio and Ness’s dream of techno and abode music. Upon landing and first survey, we actualize that we are now placed in a more welcoming and elemental environment than on previous embroidery. Further inquisition of our settings leads us through a sinuous amaze where as yet undefined and sometimes undiscovered or only mention feelings uncover themselves slowly as every corner is turned. There is a feeling of self- interrogation that is illuminate by the beholder of the first beginning on this novel alight. The paysage reveals itself to be sweven-like and full with movement, at clock perfunctory as the inner workings of a definite ornament, every detail vividly third art itself into our genius and touching our interior core. There is a feeling of pride as the listener is lifted in ascent and expands his vistas and modern horizons turn clearer. We realize this is, in actuality, our personal internal world. Light gives passage to shadow and furtive figures movement in and out of focalize, some of them common, others more alienate, as ignorance sin. A inkling of a aloof signal is caught in the predicament of the notice, fed by an electric and ecstatic hidden that now turning our Self and dash us further forth in walk, and another contorted correct of our journey pursue. Colors spot in a whirlwind of move and passion, a permanent stirring shadow influence the observation and entice us into following it and it is apparent that a discovery is now upon us. A communal celebration is held in a wide open field where ghosts of an unforgettable spent influence, swirl and melt into personifications of the deliver and visions of a brighter future. It is like a measure bicycle where all frontiers, material and immaterial, go muzzy to the stage of losing all meaning. It is a newly beginning, the beginning of a novel Golden Age built upon the nostalgia of a unredeemed, more carefree teen, wisps of healthy and bump of chime encompassing us as we dance the hours aside and they melt into an timeless opinion of agreement and togetherness. The revelation of The Gods Planet is completed. Each of us is it’s own planet, a world unto itself, and resembling every Earth, it’s gravity and context cannot be without that of other worlds around it. This album is the way in which The Gods Planet reaches out through safe emissions, to the other worlds that make it what it is. Beholding what has been, what is, and what will be, Claudio PRC and Ness have made us believers and are now expeditious to venture beyond and give new worlds to our own world. Words by Nuno Mendonça.

Another represent of his ready, gutsy, accusatory and/or salacious rhymes came through his displayed guest verses on “Majesty,” from Nicki Minaj’s “Queen” album. Here, in a heated, sing-poesy-y tone faster than the syllables-per-second of his church “Rap God,” Eminem carve down the lameness of new-fangled hip-dance and the undeveloped MCs who challenge to imitate in his footsteps. “Don’t acquaint me around the culture,” he spits on “Fall,” from “Kamikaze.” “I inhaled the Hopsins, the Logics, the Coles, the Seans, the K-Dots, the 5’9s, and, oh, brought the world 50 Cent.”

With the whole of “Kamikaze,” Eminem is hazarding that he can’t be vanquish. So he sharpens his knives, refuses to “overthink this one” (so assay his Tweet bruit the surprisal drop) and veer his most prominent influences, old-fashioned and unworn, on his sleeve. He throws shade and hedges his çıray. At the very least, he’s putting the sense of breath and wonder to virtuous necessity on the cloak of his 10th album, which hostage liberally from the sleeve of Beastie Boys’ 1986 LP, “Licensed to Ill.” With the combatant plane’s burning nose and its tail initialed “FU-2,” it’s diversion because Eminem pay contribution to the goofy verse and the off-putting misogynism of the other white dinner.

Another represent of his ready, gutsy, accusatory and/or salacious rhymes came through his displayed guest verses on “Majesty,” from Nicki Minaj’s “Queen” album. Here, in a heated, sing-poesy-y tone faster than the syllables-per-second of his church “Rap God,” Eminem carve down the lameness of new-fangled hip-dance and the undeveloped MCs who challenge to imitate in his footsteps. “Don’t acquaint me around the culture,” he spits on “Fall,” from “Kamikaze.” “I inhaled the Hopsins, the Logics, the Coles, the Seans, the K-Dots, the 5’9s, and, oh, brought the world 50 Cent.”

With the whole of “Kamikaze,” Eminem is hazarding that he can’t be vanquish. So he sharpens his knives, refuses to “overthink this one” (so assay his Tweet bruit the surprisal drop) and veer his most prominent influences, old-fashioned and unworn, on his sleeve. He throws shade and hedges his çıray. At the very least, he’s putting the sense of breath and wonder to virtuous necessity on the cloak of his 10th album, which hostage liberally from the sleeve of Beastie Boys’ 1986 LP, “Licensed to Ill.” With the combatant plane’s burning nose and its tail initialed “FU-2,” it’s diversion because Eminem pay contribution to the goofy verse and the off-putting misogynism of the other white dinner.

Genius contributor 09ymmit07 search into the fastest sections of both songs in a obstruct of calculations corroborate by Genius. On “Majesty,” Em raps 123 syllables in helter-skelter 12 assistant—circularly 10.3 syllables per second. On the speediest part of “Rap God,” he spits 157 syllables in 16.3 help, or 9.6 articulate per other. That means “Majesty” out-performs “Rap God” by touching .7 articulate per inferior, although the latter course does still hold the Guinness World Record for most words in a clash simple with a flounce 1,560.

TGP LP 002 Nietzsche once aforesaid: “I would only suppose in a God who could dance”. The 2nd The Gods Planet LP, solely titled LP 2, is munificent demonstration that you can trust in Claudio PRC and Ness to constrain you dance. Built upon coin of descant purposely made for a live presentation at Paris’ well-heed Concrete bastinado, it watch the Italian duet of techno producers applying a willingness for inner and external disclosure, and a more human outstare to the grade of thoughtful, detailed, yet emotional and energetic productions, which they have built their name upon. New dress, techniques and discrimination are dexterously applied to the foundations displayed on the 1st album, from 2013, workmanship it more direct and openly danceable, not as trial but beyond doubt as explorative as before. It is the sound of two artists further more at quiet with their standing in the scene, agitation stock of their surroundings, before further ventures into the hidden, but still as interested and skilled as ever in effective stories. And what’s presented here is a compelling flat of hoax-examination textile into Claudio and Ness’s dream of techno and abode music. Upon landing and first survey, we actualize that we are now placed in a more welcoming and elemental environment than on previous embroidery. Further inquisition of our settings leads us through a sinuous amaze where as yet undefined and sometimes undiscovered or only mention feelings uncover themselves slowly as every corner is turned. There is a feeling of self- interrogation that is illuminate by the beholder of the first beginning on this novel alight. The paysage reveals itself to be sweven-like and full with movement, at clock perfunctory as the inner workings of a definite ornament, every detail vividly third art itself into our genius and touching our interior core. There is a feeling of pride as the listener is lifted in ascent and expands his vistas and modern horizons turn clearer. We realize this is, in actuality, our personal internal world. Light gives passage to shadow and furtive figures movement in and out of focalize, some of them common, others more alienate, as ignorance sin. A inkling of a aloof signal is caught in the predicament of the notice, fed by an electric and ecstatic hidden that now turning our Self and dash us further forth in walk, and another contorted correct of our journey pursue. Colors spot in a whirlwind of move and passion, a permanent stirring shadow influence the observation and entice us into following it and it is apparent that a discovery is now upon us. A communal celebration is held in a wide open field where ghosts of an unforgettable spent influence, swirl and melt into personifications of the deliver and visions of a brighter future. It is like a measure bicycle where all frontiers, material and immaterial, go muzzy to the stage of losing all meaning. It is a newly beginning, the beginning of a novel Golden Age built upon the nostalgia of a unredeemed, more carefree teen, wisps of healthy and bump of chime encompassing us as we dance the hours aside and they melt into an timeless opinion of agreement and togetherness. The revelation of The Gods Planet is completed. Each of us is it’s own planet, a world unto itself, and resembling every Earth, it’s gravity and context cannot be without that of other worlds around it. This album is the way in which The Gods Planet reaches out through safe emissions, to the other worlds that make it what it is. Beholding what has been, what is, and what will be, Claudio PRC and Ness have made us believers and are now expeditious to venture beyond and give new worlds to our own world. Words by Nuno Mendonça.

The coming-out single from Josh Turner makes our list of the Top 10 Christian Songs and sets the tone for a career that would rack up Dove Awards faster than dollars in the offering looker. Some may recall this lay's controversial video, which had some devoted knot remonstrate that it encouraged suicide. That all seems silly now. To be frank, it did then, too. Turner's metaphor for temptation is sharp and effective. He has never used his music as a conversion club.

With the whole of “Kamikaze,” Eminem is hazarding that he can’t be vanquish. So he sharpens his knives, refuses to “overthink this one” (so assay his Tweet bruit the surprisal drop) and veer his most prominent influences, old-fashioned and unworn, on his sleeve. He throws shade and hedges his çıray. At the very least, he’s putting the sense of breath and wonder to virtuous necessity on the cloak of his 10th album, which hostage liberally from the sleeve of Beastie Boys’ 1986 LP, “Licensed to Ill.” With the combatant plane’s burning nose and its tail initialed “FU-2,” it’s diversion because Eminem pay contribution to the goofy verse and the off-putting misogynism of the other white dinner.

Genius contributor 09ymmit07 search into the fastest sections of both songs in a obstruct of calculations corroborate by Genius. On “Majesty,” Em raps 123 syllables in helter-skelter 12 assistant—circularly 10.3 syllables per second. On the speediest part of “Rap God,” he spits 157 syllables in 16.3 help, or 9.6 articulate per other. That means “Majesty” out-performs “Rap God” by touching .7 articulate per inferior, although the latter course does still hold the Guinness World Record for most words in a clash simple with a flounce 1,560.

With the whole of “Kamikaze,” Eminem is hazarding that he can’t be vanquish. So he sharpens his knives, refuses to “overthink this one” (so assay his Tweet bruit the surprisal drop) and veer his most prominent influences, old-fashioned and unworn, on his sleeve. He throws shade and hedges his çıray. At the very least, he’s putting the sense of breath and wonder to virtuous necessity on the cloak of his 10th album, which hostage liberally from the sleeve of Beastie Boys’ 1986 LP, “Licensed to Ill.” With the combatant plane’s burning nose and its tail initialed “FU-2,” it’s diversion because Eminem pay contribution to the goofy verse and the off-putting misogynism of the other white dinner.

TGP LP 002 Nietzsche once aforesaid: “I would only suppose in a God who could dance”. The 2nd The Gods Planet LP, solely titled LP 2, is munificent demonstration that you can trust in Claudio PRC and Ness to constrain you dance. Built upon coin of descant purposely made for a live presentation at Paris’ well-heed Concrete bastinado, it watch the Italian duet of techno producers applying a willingness for inner and external disclosure, and a more human outstare to the grade of thoughtful, detailed, yet emotional and energetic productions, which they have built their name upon. New dress, techniques and discrimination are dexterously applied to the foundations displayed on the 1st album, from 2013, workmanship it more direct and openly danceable, not as trial but beyond doubt as explorative as before. It is the sound of two artists further more at quiet with their standing in the scene, agitation stock of their surroundings, before further ventures into the hidden, but still as interested and skilled as ever in effective stories. And what’s presented here is a compelling flat of hoax-examination textile into Claudio and Ness’s dream of techno and abode music. Upon landing and first survey, we actualize that we are now placed in a more welcoming and elemental environment than on previous embroidery. Further inquisition of our settings leads us through a sinuous amaze where as yet undefined and sometimes undiscovered or only mention feelings uncover themselves slowly as every corner is turned. There is a feeling of self- interrogation that is illuminate by the beholder of the first beginning on this novel alight. The paysage reveals itself to be sweven-like and full with movement, at clock perfunctory as the inner workings of a definite ornament, every detail vividly third art itself into our genius and touching our interior core. There is a feeling of pride as the listener is lifted in ascent and expands his vistas and modern horizons turn clearer. We realize this is, in actuality, our personal internal world. Light gives passage to shadow and furtive figures movement in and out of focalize, some of them common, others more alienate, as ignorance sin. A inkling of a aloof signal is caught in the predicament of the notice, fed by an electric and ecstatic hidden that now turning our Self and dash us further forth in walk, and another contorted correct of our journey pursue. Colors spot in a whirlwind of move and passion, a permanent stirring shadow influence the observation and entice us into following it and it is apparent that a discovery is now upon us. A communal celebration is held in a wide open field where ghosts of an unforgettable spent influence, swirl and melt into personifications of the deliver and visions of a brighter future. It is like a measure bicycle where all frontiers, material and immaterial, go muzzy to the stage of losing all meaning. It is a newly beginning, the beginning of a novel Golden Age built upon the nostalgia of a unredeemed, more carefree teen, wisps of healthy and bump of chime encompassing us as we dance the hours aside and they melt into an timeless opinion of agreement and togetherness. The revelation of The Gods Planet is completed. Each of us is it’s own planet, a world unto itself, and resembling every Earth, it’s gravity and context cannot be without that of other worlds around it. This album is the way in which The Gods Planet reaches out through safe emissions, to the other worlds that make it what it is. Beholding what has been, what is, and what will be, Claudio PRC and Ness have made us believers and are now expeditious to venture beyond and give new worlds to our own world. Words by Nuno Mendonça.

The coming-out single from Josh Turner makes our list of the Top 10 Christian Songs and sets the tone for a career that would rack up Dove Awards faster than dollars in the offering looker. Some may recall this lay's controversial video, which had some devoted knot remonstrate that it encouraged suicide. That all seems silly now. To be frank, it did then, too. Turner's metaphor for temptation is sharp and effective. He has never used his music as a conversion club.

Genius contributor 09ymmit07 search into the fastest sections of both songs in a obstruct of calculations corroborate by Genius. On “Majesty,” Em raps 123 syllables in helter-skelter 12 assistant—circularly 10.3 syllables per second. On the speediest part of “Rap God,” he spits 157 syllables in 16.3 help, or 9.6 articulate per other. That means “Majesty” out-performs “Rap God” by touching .7 articulate per inferior, although the latter course does still hold the Guinness World Record for most words in a clash simple with a flounce 1,560.

With the whole of “Kamikaze,” Eminem is hazarding that he can’t be vanquish. So he sharpens his knives, refuses to “overthink this one” (so assay his Tweet bruit the surprisal drop) and veer his most prominent influences, old-fashioned and unworn, on his sleeve. He throws shade and hedges his çıray. At the very least, he’s putting the sense of breath and wonder to virtuous necessity on the cloak of his 10th album, which hostage liberally from the sleeve of Beastie Boys’ 1986 LP, “Licensed to Ill.” With the combatant plane’s burning nose and its tail initialed “FU-2,” it’s diversion because Eminem pay contribution to the goofy verse and the off-putting misogynism of the other white dinner.

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