The mediaf!re Thread 2010: This Time It's Personal

[Krylancello]

I'm back!  More power metal!

Bloodbound's new album due to be released in a week (or two, not sure)

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[Krylancello]

Rules:

No hot-linking images or albums. You can re-host images at http://imageshack.us.

Ensure your tags are correct and that you have specified both Artist/Album in your post.

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.

Also, please do NOT request albums. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.

Repost the rules at the top of each new page.

[bulldawg982]

The Owls

The Owls

Indie Rock is Important. No city embodies that tragicomic claim like Chicago. Thrill Jockey-- the silly coven of haughty and eminently geeky indie-rockers with unbearable jazz pretensions and its arsenal of post-every-fucking-thing-under-the-sun nomenclature-- has consistently been the most egregious of the Second City's many labels vying for real-life importance, your serious esteem, and of course, CD and show-ticket dollars. But while the über-musicianly Sir John McEntire and his Knights of Bucktown have been out wielding Powerbooks, Kinsella(s) Inc. has been steadily building an empire of pretension.

Sometimes tickling the critics into embarrassing coos of honeyed admiration, and other times inspiring equally disproportionate rock-crit fatwas, Tim Kinsella has succeeded where other Illini have failed: in disarming the full fury of his detractors with nothing more than a smirk. I'm not talking, of course, about Kinsella's actual countenance; I'm referring to his neo-absurdist temperament and the obvious fun with which he goes about his business.

Even when he was just the scratchy-voiced, baby-faced ringmaster of Cap'n Jazz, Tim Kinsella was already establishing himself as a first- (well, maybe second) rate semantic clown and word-gamesman. With a penchant for double-entendre and imagistic jokes, Kinsella charmed his partisans and alienated the rest of us with his Duchampesque disregard for everything, and created a contested little body of work which still polarizes fans of the genre. Personally, Joan of Arc drives me up the fucking wall, but my dismissal of the band has nothing to do with the personality phenomenon of Kinsella; they sorely lacked dynamism, and there were too few hooks and too much blipped-over space for my liking.

Owls reunites the boys from Cap'n Jazz for another stab at the rock. Abthent thith time ith the Promith Ring'th Davey Von Bohlen, but the remaining cast (Tim Kinsella, brother Mike on drums, guitarist Victor Villareal, and bassist Sam Zurick) are back in strong form.

So, too, is Tim Kinsella's jokiness, though that's not such a bad thing. Even the typical, hideously Kinsellated title of "What Whorse You Wrote Id On" doesn't detract from the opening track's elegant mood and almost sing-songy warmth. The guitarwork is nothing short of gorgeous, with Villareal arpeggiating a trebly, spidery path into your aural memory, his picking providing a textural counterpoint to Mike Kinsella's ornate drumming, which it should be said has never sounded this good.

"Anyone Can Have a Good Time" starts quietly and jangly over a semi-marshal beat in non-standard time. Things seem to be meandering, only to find anchorage in what passes for a refrain. The tonally challenged Kinsella spits tick-tocky syllables over one more verse, and after a pleasant mood shift and instrumental interlude, the song's end-section begins. "We fall into patterns quickly/ We fall into patterns too quickly," sings a background Tim Kinsella, as a forefront one screams, "Unname everybody/ Unname everyone," in emo bursts of surprisingly well-hit notes as the song peters out.

"Life in the Hair Salon Themed Bar on the Island" (an apparent reference to Beauty Bar on 14th St. in New York City), is the proggiest of the album's tracks. That is to say, it sounds like indie rock interpreting Frank Zappa influences from something they read in a book. The standout comes with the subsequent song, "I Want the Blidingly Cute to Confide in Me." It encapsulates many of the album's disparate, yet weirdly integrated, strains: its faux-jazzy rhythm excursions, its Andy Summers-on-crack guitar playing, the intermittently truly beautiful vocal melodies, and of course, Kinsella's lyrical shots in the dark.

Owls' music is an odd concoction of opposing and random musical and emotional trajectories. You can hear echoes of Cap'n Jazz and, every bit as clearly, some really weird "adult contemporary" musical phrases, too. The mélange works very well enough, though, and hits the mute button on the death knell so many would like sound on Kinsella's oddly resilient and shapeshifting career. Goddamnit.

— Camilo Arturo Leslie, October 22, 2001

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Live @ Empty Bottle 07-08-2000

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Live in Athens, Ga 09-28-2001

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Slint - Spiderland

More known for its frequent name-checks than its actual music, Spiderland remains one of the most essential and chilling releases in the mumbling post-rock arena. Even casual listeners will be able to witness an experimental power-base that the American underground has come to treasure. Indeed, the lumbering quiet-loud motif has been lifted by everybody from Lou Barlow to Mogwai, the album's emotional gelidity has done more to move away from prog-rock mistakes than almost any of the band's subsequent disciples, and it's easy to hear how the term "Slint dynamics" has become an indie categorization of its own. Most interestingly, however, is how even a seething angularity to songs like "Nosferatu Man" (disquieting, vampirish stop-starts) or "Good Morning, Captain" (a murmuring nod to "The Rime of the Ancient Mariner") certainly signaled the beginning of the end for the band. Recording was intense, traumatic, and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album. Spiderland remains, though, not quite the insurmountable masterpiece its reputation may suggest. Brian McMahan softly speaks/screams his way through the asphyxiated music and too often evokes strangled pity instead of outright empathy. Which probably speaks more about the potential dangers of pretentious post-rock than the frigid musical climate of the album itself. Surely, years later, Spiderland is still a strong, slightly overrated, compelling piece of investigational despair that is a worthy asset to most any experimentalist's record collection.

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[Zombiedude]

Slint - Spiderland
[img]http://3.bp.blogspot.com/_RK7DkC3UcD8/SZ8YHjq746I/AAAAAAAAAHM/UQ8WKSkTfvU/s400/Slint%2B-%2BSpiderland.jpg[img]

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Thank you, I will be downloading this the second i get home.

[Ernest]

/music

thanks a bunch

[s42]

Yo, new Allá and Say Hi (To Your Mom). I'm liking both so far, so I thought I'd share.

Digs - Allá

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The artwork is tiny here because all the rest is massive on the net.

Oohs & Aahs - Say Hi

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[Zombiedude]

Bulldawg, itunes tells me there are 7 songs in the album, you are missing the last one.

on the Say Hi album: You should get it, it has some music that is lighthearted and easy to listen to. Hallie and Henry is where I fell in love.

[michaelicious]

In honour of the new Rival Schools album that is probably coming out sometime later this year, here is their "Lost Album" that was never released from 2003. Maybe some of these songs will make it onto the new one. For those who aren't "in the know", Rival Schools is a New York post-hardcore band fronted by hardcore icon Walter Schreifels (of Gorilla Biscuits and motherfucking Quicksand). They released one album and split in 2003. Even though they are considered a post-hardcore band I think they are a bit too poppy sounding for that label to describe them accurately. Sure their songs have a bit of an abrasive edge, but they are also super catchy. I think this is another case of dudes in punk bands that wanna do something a little more melodic (see also: Sharks Keep Moving, even though SKM and Rival Schools sound nothing alike).

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These songs aren't quite as good as the ones from United By Fate but I think that is just because they are pretty rough mixes, since this album was never released. They are still really good, though!

[spoon_of_grimbo]

The Arteries - "Blood Sweat & Beers"  (2009)

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Some quality UK punk rock, like a mix of No Trigger/old-Rise Against-esque melodic hardcore, Descendents style pop-punk, and a hint of Rocket from the Crypt influence.  This is quite seriously some of the best punk rock I've heard in a long time.  Just don't be put off by the album title - although it may sound like something a shitty skinhead oi band might name their album, it's actually a compilation of the songs from three 10" vinyls entitled "blood" "sweat" and "beers" respectively.

[sean]

(see also: Sharks Keep Moving, even though SKM and Rival Schools sound nothing alike).

this is actually convincing me not to download this album.

:/

[ALoveSupreme]

Rival Schools

Awesome band, awesome video game, too (that's where they got their name)!  Thanks for uploading this, I did not know this existed, I also did not know they were putting out a new album, crazy!

[Clintaga]

Bulldawg,
I am extremely excited to listen to Spiderland, but your link brings me to the dreaded doom banner of Invalid File. This error has been forwarded to mediaf!re's development team. Can you please rehost?

[Jeans]

Spiderland is an incredible album. This isn't my up, but it was the first hit in google, so I don't think the uploader would have minded me putting it on a different website as well:

http://www.mediaf!re.com/?mjymnqgz2xl

[gospel]

Never really kept up with Smog after his reinvention, but I do quite enjoy this one.
Bill Callahan - Sometimes I Wish We Were an Eagle

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When Bill Callahan left behind his long held Smog moniker, he gave longtime fans of his lo-fi, mopey, sometimes angry aesthetic some real cause for worry: there was not only the name change, but the reliance on more technology that began with the Diamond Dancer EP and the outright lush production (compared to his past work as well as other indie rockers) on Woke on a Whaleheart. Sometimes I Wish We Were an Eagle should give them some cause for relief, though the growth on the previous two offerings cannot be erased. There is no grand statement on Eagle; it's merely the record that comes after Woke on a Whaleheart, but it feels more like a Smog record than anything he's done recently, even if it doesn't necessarily sound like one. This is the darkest, moodiest set he's issued since Supper in 2003. We don't hear much more than Callahan's idiosyncratic misanthropy offering itself speaking and breathing room on most of these tunes (even if he aspires to more); his baritone is right up front and rarely gets stretched. His themes seem to center on flight and return, and are no better illustrated than on the opening cut, "Jim Cain," where, along a gently shuffling snare and kick drum, his nylon-string acoustic and electric guitars, and a cheap but effective keyboard his ruminations are guided. They caress that voice out of its hiding place: "...Well I used to be darker/Then I got lighter, then I got dark again/Somethin' to be seen, was passing over/And over me/Well it seemed like a routine case at first/With the death of the shadow, came the lightness of births/In the darkest of nights, the truth still dazzled/And I work myself, until I'm frazzled/I ended up in search of ordinary things..." And this isn't so much a metaphor as a cause célèbre for the album.

So much here is written, scored for, and sung from, the place Callahan knows all too well, that outsider's place that comes from the richest of interior lives: the one that knows all the shades of gray. His lyrics and easy, somewhat sparse mix of acoustic and electric instruments show that he doesn't think about much except what's right in front of him. Tracks like "My Friend" express, gently at first then more aggressively, sentiments that may be wholesome in their intent, but in their expression become more aggressive and even slightly sinister.

One thing that is a carryover from Woke on a Whaleheart is the relative sophistication of the arrangements and production. The songs are characteristically simple: they way they are recorded is relatively more complex. Things are not so shambolic as they are carefully measured, tempered, and sequenced. Songs such as "All Thoughts Are Prey to Some Beast," are based on two-chord vamps, and Callahan's voice does nothing to disguise itself as his lines are short, clipped, and shorn of unnecessary verbiage. But the sense of dynamic tension that gathers as violins, lithe, airy electric guitars playing a single string, syncopated tom-toms, and synth lines that mimic French horns, offer a dimension that is nearly cinematic. Ultimately, this sense of circular motion, whether it's flight and return, the human breath, or birth, death, rebirth, loss, and love is the elemental construction of everyday life, and hence a lyrical cornerstone on Sometimes I Wish We Were an Eagle. It is perhaps a seminal new chapter in Callahan's oeuvre of higher yet lo-fi outsider music.

With the rise of liquor and gun sales, worsening economy, and spread of class distrust... what better to celebrate than some country music?

John Doe & The Sadies - Country Club

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Punk rock has produced few singers with the strength and chops of X's John Doe, and the force and presence of his vocals (and songwriting) on albums like Wild Gift and Under the Big Black Sun rank with the most satisfying rock & roll of the 1980s. But on Doe's recordings with X's acoustic incarnation, the Knitters, and on his debut solo album, Meet John Doe, he showed he was every bit as gifted with country-influenced material, and for years a handful of X fans has been patiently waiting and wishing for Doe to cut a straight-ahead country album. It took a while, but Doe has finally done it, and he's done it right; Country Club is a collaboration with the great Canadian roots rock combo the Sadies in which they interpret a handful of classic country sides in a style that fuses the moody late-night atmosphere of Nashville's countrypolitan era with the straightforward guitar-based sound of vintage Bakersfield acts like Buck Owens and Merle Haggard. As musicians, the Sadies are as tight and as capable as anyone walking into a recording studio these days, and their touch on these songs is all but flawless, fusing Prairie soul with a high lonesome sweetness and a subtle but expressive sense of aural adventure that turn their interpretations of "Night Life" and "Till I Get It Right" into something truly special. And Doe's vocals are a wonder; he never forces false melodrama or histrionics into these performances, but uses his rich, roomy voice to explore the spaces within these tunes with patience and a heart as big as all outdoors. Most country fans have heard "Help Me Make It Through the Night," "Detroit City," and "I Still Miss Someone" a few hundred times (at least) from dozens of artists, but Doe makes the heartache in their lyrics real and genuine, and few performers of the Nash Vegas era can match the innate understanding of classic country weepers that Doe reveals on this set. Doe and the Sadies contribute one new song each to these sessions (the band also tosses in two brief instrumentals), and "It Just Dawned on Me" and "Before I Wake" are good enough that you wouldn't guess they weren't copyrighted in the 1960s if you didn't read the credits. Plenty of rock singers have tried to honor the sound and traditions of period honky tonk music over the years, but you'd be hard-pressed to find one who sounds as ineffably right singing this stuff as John Doe, and Country Club is a casual, no-frills masterpiece.

Hopefully not too ubiquitous for this thread. If people enjoy this CD, I would not object to putting up more; this being an offer more than a "request".
Son Volt - Traces

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Jay Farrar always provided the darkest, grittiest moments in Uncle Tupelo, so it comes as no surprise that Son Volt is a rawer record than A.M., the first album by Wilco, a band led by his former partner Jeff Tweedy. Throughout Son Volt's debut, Trace, the group reworks classic honky tonk and rock & roll, adding a desperate, determined edge to their performances. Even when they rock out, there is a palpable sense of melancholy to Farrar's voice, which lends a poignancy to the music. Trace isn't a great step forward from Tupelo's last album, the lovely Anodyne, but it is a fine continuation of the ideas Farrar has pursued over the course of his career.

[Avec]

You beat me to the punch in posting Bill Callahan.

[Avec]

Don't think I saw any of Pinback's stuff so I'll start off with their second LP, Blue Screen Life.

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Pinback perfects the essence of laid back home recording on Blue Screen Life, an album that sounds like a band set up in your living room, had some fun, and recorded a lo-fi indie-pop record for you. Now, that may sound like a diss, but it is not. This is a solid record. Faint and timid at times, picking up the pace during other times, Pinback, even when they really go at the rock, still retain the beauty of their lo-fi, home recorded style by playing slow, airy melodies with dreamy, sleepy rhythms laid over easy natured guitars. This is an honest, real record, floating with a slight pop touch, and as cozy as your warm bed.

[imapiratearg]

"Penelope" is up in my all-time favorite songs.

[pulpfiction21]

Thanks for the Pinback album. I haven't given them a listen in a few years.

[RedLion]

Can we please stop worrying about if albums are "ubiquitous" or not. Just post good music that you think others would like. Full stop.

[Avec]

Just a sense of bringing something new to the party.

[Jeans]

Can we please stop worrying about if albums are "ubiquitous" or not. Just post good music that you think others would like. Full stop.

I don't want to start a new huge argument here, but I think it's fair game not wanting to upload stuff that's been uploaded before?

[scarred]

That's the general vibe I've gotten. Unless, of course, the old links are dead. Or the music is absofuckinglutely amazing.

[Orcusmars]

Can we please stop worrying about if albums are "ubiquitous" or not. Just post good music that you think others would like. Full stop.

I don't want to start a new huge argument here, but I think it's fair game not wanting to upload stuff that's been uploaded before?

I think it's basically alright - it would be best if everyone just used the search option really quick before posting, but if a good album gets posted twice, it's not like a bad thing.

[gospel]

Well, I am sorry to have unintentionally detoured the thread to a degree. At any rate, here is some more folk/roots rock/americana/country stuff.

Grant Campbell - Expecting Great Things
Acoustic / Blues / Country

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http://www.myspace.com/grantcampbellmusic

April 6th 2009 will see the release of ‘Expecting Great Things’, his third album and to date his most open and honest record.

The recording was partially inspired by the Bill Evans 1968 album ‘Alone’. A simple two mic set-up and recording one song after another, later adding touches of glockenspiel, mandolin & classical guitar. Letting each song take center stage and pushing his voice to the forefront.

The Glasgow born singer-songwriter released his debut album ‘Postcards from Nowhere’ (2005) on a small local independent label.

The album was recorded on a four track at home in Clydebank over several years prior to its release. It was all recorded, performed and mixed by Campbell. These thirteen tracks compiled together made up to a debut that even though it was a low-key release it gathered some impressive reviews including a Sunday Times ‘Album of the Week’ (see press section).

Between 2006 and 2007 Campbell recorded the follow-up album ‘Beyond Below’ (2007). This time the four-track was replaced with a sixteen track recorder which helped the record have a much wider sonic landscape. Again the album was recorded at home and mostly all of the performing duties were undertaken by Campbell himself.

Beyond Below was released in November 2007 on Campbell’s own label ‘Crooked Mouth Records’. The name comes from the Gaelic for Campbell which loosely translates as ‘crooked mouth’. It has so far picked up some great reviews and has been warmly received by the music press and critics alike.

As well as a string of live headline solo shows over the years Campbell has also supported some great artists, including; Odetta, John Hammond, Michael Hurley, Gary Louris (Jayhawks), Mary Gauthier, The Handsome Family, Howe Gelb (Giant Sand), Alison Moorer, James Blood Ulmer, Micah P Hinson, Califone, Mindy Smith, Alela Diane, Johnny Dowd & Diana Jones to name but a few.

In 2008 Grant began work on his third album as well as contributing a song to the Lionsgate produced film ‘The Burrowers’ which premiered at the Toronto International Film Festival.

The Victor Mourning - Fire Fire Demos
Americana / Country / Acoustic
http://www.myspace.com/thevictormourning

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he Victor Mourning perform acoustic anachronisms from another century that are firmly rooted in this one; sometimes raucous, sometimes quiet, mostly dark, and very southern. The songs are about grief torn outcasts and albinos. And then there’s the one about the man who eats nothing but locusts and Campbell’s soup.
Spiritual Influences: Ancient American and British ballads, pre-WWII hillbilly music, abandoned shopping centers, vintage roadside hillbilly souvenirs, empty swimming pools, scythes, b&w films, snowglobes, flyover country, odd museums, the smell of old books, whiskey soap, gasoline & matchbooks, gutta percha, jewelry made of human hair, and the broken shores of Patagonia.

The Handsome Family - Through the Treets
Gothic / Country / Folk / Murder Ballads
http://www.myspace.com/thehandsomefamily

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hrough the Trees was the Handsome Family's breakthrough album, garnering enough attention and sales that they were finally able to quit their day jobs and focus on music full-time. The group subsequently toured the U.S. and Europe, while critics on both sides of the Atlantic went nuts for the Sparks' clever, brooding songs. With Through the Trees, the transitional phase heard on Milk and Scissors was complete and the duo emerged with a more defined style, delivery, and songcraft which became their trademark sound. Brett sings with a deeper resonance and phrases Rennie's mini-stories more skillfully, while the occasional distorted guitar and harder-rocking tunes have been trimmed away, leaving a more consistent, stripped-down country feel. This album includes Rennie's vocal debut (albeit in a self-conscious, exaggerated nasal twang) on "Down in the Ground"; "Cathedrals," a song originally heard on their limited-edition vinyl EP Invisible Hands (Carrot Top, 1997); and enduring crowd favorites "The Woman Downstairs" and "Weightless Again." It also includes guest Jeff Tweedy of Wilco. While the albums that followed were excellent, Through the Trees remains the Handsome Family's definitive album, and is a wonderful encapsulation of the myths and heartbroken tales that populate the dark, romantic world of Brett and Rennie Sparks.

Now That's AmericanaOK
http://www.myspace.com/americanaok

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About AmericanaOK
Traditional, roots and folk music has always been the soundtrack to Tom Fahey’s life. It’s a passion that has been simmering since he was first exposed to jigs and reels, while growing up in Clare in Ireland. But since moving to Edinburgh, Tom has found the perfect medium for sharing his devotion – in the form of a weekly roots music radio show, AmericanaOK, syndicated to 12 international radio stations worldwide.
Tom works in Local Government. He spends much of his working day on recycling projects. Once a week, however, his voice reaches a potential audience of millions, in cities as far-flung as Nashville, Vancouver and Hobart, Australia.
When he first moved to Edinburgh, Tom spent a year learning the ropes with community radio stations Leith FM and Radio Free Porty. He soon realised he had grander ambitions.
“When I left Leith FM, I wanted to do my own thing,” he says. “I developed the concept for a show specifically based around independent American roots music. It’s kind of a niche market. Once I had interest from a couple of radio stations, the word just spread. And what started off as a cottage industry is now being broadcast around the world for 29 hours a week!”
BACK TO BASICS
Very much an enthusiast of digital technology, Tom puts his show together from the comfort of his own home.
“It’s all PC based,” he says. “I’ve got a home studio set up with USB microphones and my own little mixing desk. And, as well as the broadcast, the show is available as a podcast – it’s been downloaded over 150,000 to date.”
Although AmericanaOK is run on a voluntary basis, the show earned itself a strong reputation amongst both listeners and industry professionals. It’s not just about cueing up the CDs: Tom has recorded exclusive sessions with some of the rising stars of the independent scene. He also contributes to both the Euro Americana and Freeform American Roots charts.
CONVERTING THE SCEPTICS
Tom is the first to admit that Americana may not be to everyone’s taste, but stresses that it’s a genre that is too often misunderstood.
“I understand the prejudice,” he sighs. “People think it’s all about the country music cliche – line dancing and that, which is frankly embarrassing. It’s about real people and their real lives – and you can trace the history of the music right back to Scots and Irish traditional music. Sceptics should check out classic artists like Hank Williams, Gram Parsons, Steve Earle and Emmylou Harris – that’s the real deal.”
But it’s not just about established acts. Tom is also championing less-established musicians, so much so that he’s released a compilation CD, That’s AmericanaOK, with 15 tracks by new artists featured on the show.
The idea behind the CD is very much in keeping with the non-profit ethos of the show. “All of the artists donated a track for free,” says Tom. “Most of the artists I play are self-producing, making use of inexpensive equipment and selling their music over the Internet.”
“It’s all part of wider, independent grassroots movement,” he adds. “We’re not in this for the money – we’re doing it for the love.”.

[scarred]

LEAAAAAAAK

Jason Lytle - Yours Truly, The Commuter (2009)



For the uninitiated: Jason Lytle fronted Modesto, California based indie/electronic rock outfit Grandaddy, which split up in 2006. He was the sole songwriter in the band, and he sang and played most of the instruments on the albums. Live he handled vocals, guitars and keyboards and synths. This is his long-awaited solo album.

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It's rare that I have a "Holy Fuck" moment listening to music. But the opening track alone off this album did it for me. A must have.

[Avec]

A band from the town I live, Days Away is a progressive rock band mostly associated with a higher pitched vocals, lead singer and guitarist, Keith Goodwin. This is by no means a bad thing. His voice resembles that of Anthony Green (Circa Survive, Saosin, The Sounds Of Animals Fighting), ironically though, Goodwin and Green are good friends and have been ever since high school. I simply adore Days Away, I found them approximately three years ago purely by chance. All the fond memories of Mapping An Invisible World came from one of the first times I fell in love, that's long gone, but I'll never forget Days Away; they recently broke up to form a new band, but that's a different post.

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Enjoy~

[lauraelise204]

It's rare that I have a "Holy Fuck" moment listening to music. But the opening track alone off this album did it for me. A must have.

SO right.  this album is truly great.  i don't know if the first song is my favourite, though.  i'm still not through listening to the album, but i really loved the second song and the third was another good one.  i definitely can't wait to listen to it manymanymany times.

[scarred]

I didn't mean to imply the first track is my favorite necessarily (although it's DAAAAMN good), just that it was one of those things where I threw the album up on iTunes, hit play, and within the opening of that song was hooked.

Looking at it now, Brand New Sun and It's the Weekend are current faves.

[Ben792x]

Here's some jazz... there was some discussion of John Coltrane and Thelonious Monk at Carnegie Hall, which led me to include John Coltrane and Kenny Burrell (a great guitarist.) Also, I highly recommend The Blues and the Abstract Truth.


Oliver Nelson - The Blues and the Abstract Truth

Blues and the Abstract Truth is Oliver Nelson's triumph as a musician; he assembles one of the most potent modern jazz sextets ever, defining the sound of an era with his all-time classic "Stolen Moments." Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. "Stolen Moments" really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard's lead melody. It's a thing of beauty that is more timeless as the years pass. The "Blues" aspect is best heard on "Yearnin'," a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both "Blues" and "Abstract Truth" combine for the darker "Teenie's Blues," a feature for Nelson and Dolphy's alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there's "Hoedown," which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, "Cascades" and "Butch & Butch" again remind you of the era of the early '60s when this music was king, and why Hubbard was so revered as a young master of the idiom. This CD is a must buy for all jazz collectors.

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http://www.mediaf!re.com/download.php?nmz4mm1z1my

Eric Dolphy - Out to Lunch

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves.

Code:

http://www.mediaf!re.com/download.php?yxyvfn5yifx

Kenny Burrell - Midnight Blue

This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English, and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You."

Code:

http://www.mediaf!re.com/download.php?mmz5xnmwgnx

Kenny Burrell- Kenny Burrell & John Coltrane

For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast of Paul Chambers (bass), Jimmy Cobb (drums), and Tommy Flanagan (piano). The guitarist spins sonic gold and seems to inspire similar contributions from Chambers' bowed bass and Coltrane alike. The Gus Kahn/Ted Fio Rito standard "I Never Knew" frolics beneath Burrell's nimble fretwork. Once he passes the reigns to Coltrane, the differences in their styles are more readily apparent, with Burrell organically emerging while Coltrane sounds comparatively farther out structurally. Much of the same can likewise be associated to Burrell's own "Lyresto," with the two co-leads gracefully trading and incorporating spontaneous ideas. The delicate "Why Was I Born" is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial "pause for the cause" and sit out. In many ways the showpiece of the project is Flanagan's nearly quarter-hour "Big Paul." The pianist's lengthy intro establishes a laid-back bop-centric melody with his trademark stylish keyboards perfectly balancing Chambers and Cobb's rock-solid timekeeping. Coltrane's restraint is palpable as he traverses and examines his options with insightful double-time flurries that assert themselves then retreat into the larger extent of his solo. Those interested in charting the saxophonist's progression should make specific note of his work here.

Code:

http://www.mediaf!re.com/download.php?aqb0w4qjnt5

Sonny Rollins - A Night at the Village Vanguard

This CD is often magical. Sonny Rollins, one of jazz's great tenors, is heard at his peak with a pair of piano-less trios (either Wilbur Ware or Donald Bailey on bass and Elvin Jones or Pete La Roca on drums) stretching out on particularly creative versions of "Old Devil Moon," "Softly As in a Morning Sunrise," "Sonnymoon for Two," and "A Night in Tunisia," among others. Not only did Rollins have a very distinctive sound but his use of time, his sly wit, and his boppish but unpredictable style were completely his own by 1957.

Part 1:

Code:

http://www.mediaf!re.com/download.php?gng44mz2mtm

Part 2:

Code:

http://www.mediaf!re.com/download.php?nuzmjmy2ynm

Sonny Rollins - Plus 4

In 1956 Sonny Rollins used the Clifford Brown-Max Roach Quintet (of which he was a member) as his sidemen for this Prestige set. The high points of this particularly strong hard bop set include "Valse Hot" (an early jazz waltz), a rapid rendition of "I Feel a Song Coming On," and Rollins's classic "Pent-Up House." Trumpeter Brown (heard on one of his final sessions) is in excellent form, as is the strong rhythm section and the young tenor-leader himself.

Code:

http://www.mediaf!re.com/download.php?1nh1yyauwmu

[ptownblazer]

new.  Graham Coxon - The Spinning Top

Code:

http://www.mediaf!re.com/?zckyoamolmo

[edwinalink]

anyone remember hypnotoad? from futurama?


well, here's 42:53 of the noise he makes, if anyone wants to trigger a killing spree...

Code:

http://www.mediaf!re.com/?1tmemmjyzuu

critique:

really, its that long... 49+ MB's
hate your neighbors? leave it on and go get a burger.
need to get info out of an informant? PLAY THIS.

what else can i say? besides...

I AM SO SORRY.

also, my record is 10:13 i was near ready to scream... you try!

[scarred]

anyone remember hypnotoad? from futurama?

Good news everyone!

Watch this while listening to Hypnotoad: http://www.youtube.com/watch?v=1eApR0PFP50

My brain just exploded.

[edwinalink]

GAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!!!!

i DID IT!

edit:

after about minute 5. i hear

DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,DIE PENIS,

backed up by ROOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOAR

[scarred]

Yeah it was either "Die Penis" or "Guy Who Beat Us / Died Pissed."

It's all I hear anymore...

I kept going with the toad! 15 minutes in. I'm only bleeding a little.

[edwinalink]

you beat my record!...

I feel making that monstrosity from a 17 second clip was a good use of my evening...

and now its out there, on the internet, forever! *rubs hands evily*

[scarred]

Is it bad that I can still hear "Diabeetus" as I'm 20 minutes into Hypnotoad?

... I hurt.

[edwinalink]

you broke your brain... you're gonna hear it forever now!

[scarred]

10 minutes left in Hypnotoad and I know I'm gonna have some fucked up nightmares tonight. But, I've made it this far...

Also, found this:

http://r33b.net/

[edwinalink]

yeah, I put that up on another site where i had the feeling people wouldnt be so aware of Hypnotoad, turns out that one of them has a video of it!

from the Benders Game DVD!!!

she says she will rip it for me, i hope she does!

YAY!

     i predict you will be repeatedly murdered by a penis in your dreams...

[scarred]

I just finished it. God, what a waste of tiALL GLORY TO THE HYPNOTOAD.

[edwinalink]

the only solace I can find is it only took me about 8 minutes to make, and that includes finding the original file!

[Tom]

Okay now getting back on track kids, here's an Animal Collective bootleg from mid last year. Avey Tare, Panda Bear and Geologist play a loose and expansive - a high fidelity live recording perfect for chilling out in the warm after glow of a sunny day.

Live @ Lux in Lisbon, Portugal 28-05-08

Code:

http://www.mediaf!re.com/file/hgetm2cj4zt/Live @ Lux in Lisbon, Portugal 28-05-08 1.rar
http://www.mediaf!re.com/file/nlzgtnmzamm/Live @ Lux in Lisbon, Portugal 28-05-08 2.rar

[scarred]

As an apology for clogging this wondrous thread with talk of Hypnotoads, I offer you these gifts three:

Pavement - Live in Koln LP (Record Store Day Exclusive) (2500 Copies)



Though the cover art is the same, this is a completely different live LP than the one recently released for Pavement’s recent ‘Buy Early Get Now’ campaign.

For those unitiated to the wonders of Pavement, they're indie rock / stoner rock pioneers, fronted by Stephen Malkmus in the 90's. Anyone unfamiliar with them should go and pick up "Crooked Rain, Crooked Rain" immediately. (I know it's in this thread somewhere.)

Code:

http://www.mediaf!re.com/?izjnmokqumz

Telekinesis! - Telekinesis!



Telekinesis! is based out of Seattle, WA, and is driven by a love for Brit-Pop, pistachio nuts, and Scandinavian cheese-cutters. They play infectiously simple and catchy indie rock/pop, and are an absolute joy on and offstage. Standout tracks for skeptics include "Coast of Carolina" and "All of a Sudden."

Code:

http://www.mediaf!re.com/?mi4dtwtz2wm

And finally, ANOTHER LEAAAAAAAK

Patrick Wolf - The Bachelor (Advance)



The much-anticipated follow-up to 2007's "The Magic Position."

According to Last.fm: Patrick Wolf is an English singer-songwriter from London.  Wolf mixes electronics and samples with a wide range of instruments including viola, keyboards, ukulele, and percussion, all of which he plays himself to form a fusion of jazz, folk and electronic music.

I've seen him live and it was fucking amazing. Though "The Magic Position" was iffy as an album, it had some insanely good songs mixed in with the disappointment. "The Bachelor" aims to fix all that.

Oh, and: spoken word segments by Tilda Swinton. Therefore, you must have it!

Code:

http://www.mediaf!re.com/?1y2ydwzbmwz

[s42]

I recommend the Telekinesis thing.
I was a bit disappointed at first, but it's redeemed itself since.

[sunexplodes]

Lead singer/guitarist Andy Falkous described the second album from his latest project Future Of The Left as “faster, bigger, grander, three per cent less nasty, 14 percent more energized, constructed from hard work and the happiest, most inspired band that I’ve ever had the pleasure of being a part of.”…..we can’t wait. (Source: www.recordstore.co.uk)

1. Arming Eritrea
2. Chin Music
3. The Hope That House Built
4. Throwing Bricks At Trains
5. I Am Civil Service
6. Land Of My Formers
7. You Need Satan More Than He Needs You
8. That Damned Fly
9. Stand By Your Manatee
10. Yin/Post Yin
11. Drink Nike
12. Lapsed Catholics

Code:

http://www.mediaf!re.com/?tysikdtwwtg

RIYL: Mclusky

[Avec]

Scarred, I seriously love your taste in music. Keep up the kick ass uploads.

[David_Dovey]

FoTL

Yussssss

[Dimmukane]

FoTL

Yussssss

[Christophe]

FoTL

Yussssss

[StaedlerMars]

Yes?