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

[coldenginelogic]

The Notekillers’ instrumentals won’t seem stunningly advanced to the modern listener; it’s a common issue with an “undiscovered” band that by the time their music is being heard, any novelty in their sound is often perceived as much more commonplace than it originally was. One of the band’s goals was to make music that touched upon everything that had come before it, a lofty aim indeed. To integrate punk rock, free jazz, ethnic music and minimalism into one band seems impossible, and it might be; the Notekillers didn’t quite do it. There’s no shame in trying, though, and there’s no doubt that the Notekillers’ music was turning heads anyway back in 1977. There’s a freneticism in their music akin to some of their New York neighbors to the north, though the Notekillers’ nervous energy is decidedly more aggressive, on the whole, than that of the Talking Heads or the Feelies. The songs are exercises in stamina, and though the visceral edge of the music is often lost in the rather flat production, there’s still evidence of how powerful the Notekillers may have been in their day. Much of this music relies on a sense of imminent disorder, and though streamlined rock instrumentals are the norm here, a close listener can discern a chaotic underpinning to much of the music, a sense of how pummeling the material could have been live. Even the most hi-fi of the disc’s 15 tracks are lacking the punchy production that the music deserves, but with an archival release such as this one, the proverbial beggars, of course, can’t be choosers. Adam Strohm

via http://www.dustedmagazine.com/reviews/1790



Posted this one way back but a heap of stuff burried it quickly in the first one-The warmer weather always makes this a win win

Code:

http://www.mediaf!re.com/download.php?wdjn3yygzji

[coldenginelogic]

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.

[sean]

hey guys i have a band. we recorded on crappy equipment a few weeks ago. this is what we came up with.

Good Night, Sweet Prince - Untitled #1

Code:

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

we play post rock, and sometimes there is yelling. mostly just reverb and screwdrives though.

[sean]

also fuck i have had this link sitting around in my mediaf!re for a while, i can't belive i forgot to upload it!

Sawhorse - Cover It With Asphalt

Code:

http://www.mediaf!re.com/?liy2ygjg3lz

Sawhorse is a post-rock band from Baltimore (i think?), Maryland. They share members with a butt fuck load of bands (my favorite being Age Sixteen). If Sparrows Swarm and Sing picked up where Godspeed You! Black Emperor left off, Sawhorse picks up where Sparrows Swarm and Sing left off. And I think that's all I really need to say.

[imapiratearg]

Sean, your music is awesome.

I thought I should let you know.

[Mr Fantasy]

Lurker since page 60 or so, here to save you from mediocre Los Campesinos albums:
 

Charlie Musselwhite - Stand Back! Here Comes Charlie Musselwhite's South Side Band

Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and... More rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redentor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.

Code:

http://www.mediaf!re.com/?ny23ynhtwan

Gene Clark - White Light

Gene Clark's 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light -- though the words never appear on the cover -- and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers, and breaking up the Dillard & Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis (who also worked with Taj Mahal, Leon Russell, Link Wray, and poet John Trudell, among others), Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers' bassist Chris Ethridge, the then-Steve Miller Band-pianist (and future jazz great) Ben Sidran, organist Michael Utley, and drummer Gary Mallaber. Clark's writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds' sound on White Light, Clark created a wide open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan's "Tears of Rage," towards the end of the record rivals, if not eclipses, the Band's. Less wrecked and ravaged, Clark's song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock.

Code:

http://www.mediaf!re.com/file/ktwwnvm0jyy/gene%20clark%20-%20st%20(1971)256.rar

Van Duren - Are You Serious?

Van Duren is pure power pop. He spent time in the Memphis trenches with the big boys (Big Star, Chris Bell, The Scruffs), and knows his way around a hook and a melody as well as any of his heroes from Todd Rundgren, Paul McCartney, Emitt Rhodes and on to Badfinger. He went to high school with Jody Stephens, auditioned for Big Star after Bell's departure, and was in the short-lived but legendary Baker Street Regulars with both those cats. If you think Big Star never got the props they deserved, well they're the Beatles compared to Mr. Duren. This is his debut album, originally released in 1977 on the Big Sound label, and he is no also ran, he is the real deal, power pop at its finest.

Van Duren can belt out up-tempo numbers like the opener "Chemical Fire," "Yellow Light," and "New Years Eve," with respectable growl, but he can also sing ballads like "Positive," and the absolutely gorgeous "So Good to me (for the time being)" in a high register that will remind some listeners of Eric Carmen at his Raspberries best. The musicianship is tight and competent while the melodies and hooks take on the character of birds slowly soaring up into the sky. Other choice offerings from this album include "For a while," "This Love Inside," and "Ooh Babe." Put Are You Serious on and it's easy to imagine a group of friends gathered around a bon fire on a cool early spring evening; it has that kind of warmth and intimacy. Released over thirty years ago Van Duren's Are You Serious is a timeless classic.

Code:

http://www.mediaf!re.com/download.php?xnfyaenzx29

The Vulgar Boatmen - You and Your Sister

The fact that only one of The Vulgar Boatmen's three classic albums is currently available demonstrates the shameful condition of the modern rock music scene. The Boatmen's style, melodic tuneful guitar rock augmented by violins, is most pleasing to the ears. What seperates them from the rest is the truly spectacular songwriting in which each song turns on an often unexpected hook. The best songs on "You and Your Sister," are the title track, "Katie," "Margaret Says," "Mary Jane," and "Drive Somewhere," the last one being the best six minute cruising song you'll ever hear.

Alton Ellis - Mr. Soul of Jamaica

Alton Ellis was a star long before rocksteady washed over Jamaica, but it took until that era for his debut album to arrive. 1967's Mr. Soul of Jamaica was his first, followed hot on its heels by Sings Rock and Soul. The latter came courtesy of Coxsone Dodd, it's a fine set, but pales in comparison to the former. Ellis had departed Dodd's Studio One for Duke Reid's Treasure Isle as rocksteady emerged, recording a stream of crucial hit singles for the label. Mr. Soul featured a clutch of them, but oddly not some of the biggest — the genre naming "Rock Steady," the classic "Girl I've Got a Date," the seminal "Cry Tough" were all missing. Presumably, Reid thought they were pointless inclusions, as everyone already had them on 45. What fans did get was a dozen numbers of equal caliber; Ellis didn't release anything less during this period. The sublime "Breaking Up" is a perfect case in point, the singer oozes heartache, while his backing Flames' harmonies are exquisite, and absolutely flawless. But Ellis is fabulous on every song within, even at his most pop-flecked, the sweet "Why Birds Follow Spring" is a good example, he laces a song with emotion. He swaddles "Can't Stop Now" in soul, while his haunting performance on the downbeat "If I Could Rule This World" is unforgettable. Some of the songs here are originals, like the excellent "Chatty Chatty People," the rest covers that Ellis makes his own, notably his phenomenal takes on "You Make Me So Very Happy," "Willow Tree," and "Remember That Sunday." The backings are Ellis' equals, and the reason for Treasure Isle's success. "Birds" is rocksteady perfection, "Sunday" a breezy, bouncy wonder, the brass lights up "Ain't That Loving You," while "All My Tears Come Rolling" is an insistent delight. Every song here has much to recommend it, and all told this compilation was one of the highlights of the era.

Code:

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

Jeru the Damaja - The Sun Rises in the East

When a Rastafarian MC stole the show on Gang Starr's posse cut "Im the Man" (from their Daily Operation LP), rap fans took notice. And they were not disappointed by Jeru the Damaja's aptly titled debut, The Sun Rises in the East. His ability to drop rhymes filled with Biblical references and simultaneously speak out against the C.R.E.A.M credo that permeates hip-hop is unparalleled. The Brooklyn mic fiends vast vocabulary and clear delivery are on display on "Mental Stamina," where he gloats that hes a "Phoenician with more stamina than a Christian," as he introduces the world to rhyme partner Afu Ra. And the street anthem "Come Clean" features DJ Premier--arguably hip-hops best producer--at his finest (check the drippy faucet sample). This album isnt without controversy, however. On "Da Bichez," Jeru draws a distinction between what he calls "bitches" and "young ladies" over a hot horn loop. But in spite of some minor inconsistencies in his stance as a prophet, this 40-minute album contains no filler, and remains his best work to date.

Code:

http://www.megaupload.com/?d=093NC7PT

The Chameleons - Script of the Bridge

With two years, numerous radio sessions, and incessant gigging under their belts since their debut single, "In Shreds," the Chameleons came to the studio determined to make a great first album with Script of the Bridge. To say they succeeded would be like saying Shakespeare did pretty well with that one Hamlet play of his. Script remains a high-water mark of what can generally be called post-punk music, an hour's worth of one amazing song after another, practically a greatest-hits record on its own: the John Lennon tribute "Here Today," "Monkeyland," "Pleasure and Pain," "Paper Tigers," "As High as You Can Go," the breathtaking closer, "View From a Hill." Starting with the passionate fire of "Don't Fall," Script showcases how truly inventive, unique, and distinctly modern rock & roll could exist, instead of relentlessly rehashing the past to little effect. The scalpel-sharp interplay between the musicians is a sheer wonder to behold, the Dave Fielding/Reg Smithies guitar team provoke nothing but superlatives throughout, and John Lever and Mark Burgess make a perfect rhythm section -- while the crisp production of Colin Richardson and the band adds delicate synth lines and shadings, courtesy of early touring keyboardist Alistair Lewthwaite, and just the right amount of reverb and effects on the guitars. Add to that the words of Burgess, one of the few lyricists out there who can tackle Big Issues while retaining a human, personal touch, and it all just adds up perfectly. The best one-two punch comes from "Second Skin," a complex, beautifully arranged and played reflection on the meaning of music and fandom, and "Up the Down Escalator," an at once harrowing and thrilling antinuclear/mainstream politics slam.

Code:

http://www.mediaf!re.com/download.php?mdwztho5cmt

John Fahey - The Transfiguration of Blind Joe Death

The Transfiguration of Blind Joe Death, originally released in 1965, is one of Fahey's earliest recordings; it's also one of the guitarist's most rewarding. Everything here is tactile and uncluttered: beauty, melancholy, humor, reflection. Yet it's these very qualities that make it so easy to ignore just how subtle and complex Fahey is when it comes to fusing country blues with both Western and Indian classical. Progressive folk doesn't get any better than this.

Code:

http://www.mediaf!re.com/?ozcwmlv3qyx

Delmore Brothers - Brown's Ferry Blues

The brothers were born into poverty in Elkmont, Alabama, as the sons of tenant farmers amid a rich tradition of gospel music and Appalachian folk.Their mother, Mollie Delmore, wrote and sang gospel songs for their church. The Delmores blended gospel-style harmonies with the quicker guitar-work of traditional folk music and the blues to help create the still-emerging genre of country. In addition to the regular six-string acoustic guitar, the duo was one of the few to use the rare tenor guitar, a four-string instrument that had primarily been used previously in vaudeville shows Over the course of their careers, the Delmores wrote more than one thousand songs. Some of the most popular were Brown’s Ferry Blues, Gonna Lay Down My Old Guitar and Fifteen Miles from Birmingham and  their best-known song, "Blues Stay Away From Me," is regarded by some as the first rock and roll record. It was covered by Gene Vincent and the Blue Caps. Without a doubt, Alton and Raybon Delmore were among the most talented acts on the Grand Ole Opry during the 1930s. This wonderful CD provides a good cross-section of many of their original songs as well as fine renditions of old standards.

The Delmore Brothers, God, I really loved them! I think they've influenced every harmony I've ever tried to sing.

Code:

http://www.mediaf!re.com/?zytmgbmn34b

[michaelicious]

Sean, your music is awesome.

I thought I should let you know.

Definitely. Those are pretty damn impressive for early recordings.

[coldenginelogic]

Thanks for the Vulgar boatmen share I have been trying to hunt down some of their stuff for awhile-mucho appreciated!

[sean]

aww, gee, thanks guys!

[onewheelwizzard]

OK so if you've ever clicked on this thread's title instead of the "new" button or the last page, and found yourself on the probably-now-totally-defunct first page, you've seen my upload of the album "The Curse of the Universe" by the Psychedelic Avengers.

I just found the followup.

The Psychedelic Avengers - ... and the Decterian Blood Empire

Code:

http://www.megaupload.com/?d=6M110JCK

(This is a 200+MB upload and I don't want to break it into 3)

I've only gotten through 5 of the 37 tracks, but it's looking really good so far.

Notekillers

Hey, they played my house a month ago.  They're AWESOME.  Thanks (on behalf of the people who don't know their music already)!

[Dimmukane]

I knew they had a follow-up, because I saw the artwork, but I could not for the life of me find it anywhere.  Granted, I didn't check a LOT of digital stores, but Amazon didn't have it, so I'm surprised you were able to get a hold of it.

[onewheelwizzard]

Pretty simple dude.

I googled "psychedelic avengers rapidshare."

You'd be surprised at how often that strategy works.

[Dimmukane]

See, I tried that about 4 months ago and didn't get anything.  When did their follow-up come out?  I saw the artwork on the internet around the same time the first album was posted in this thread.

[onewheelwizzard]

2006, apparently.  I think I just got lucky to be honest.

[medicatesleep]

Busta Rhymes - The Coming...

Code:

http://www.mediaf!re.com/download.php?gutyywzq3md

One of the most entertaining hip hop albums I own. This, Deltron 3030, A Tribe Called Quest and Dre's Chronic 2001 have been rotating heavily as of late.

You're missing out if you just write this off as "garbage".

[Sam]

that album is so good

everything remains raw is probably my fav track

[Johnny C]

ATTN:



Yo everyone! I know this thread is great and a helpful resource and a really cool way to get weird and out-of-print records BUT I want to draw everyone's attention to this thread! I'm in favour of this thread cause there's a ton of cool stuff in it; however, there are alternatives to straight-up downloading and a lot of them are just as useful! Please don't just use this thread. Thanks!

[Zombiedude]

Pokemon Trainer is so screwed.

[valley_parade]

If I used Pikachu, could he shock off Johnny's 'stache?

I mean come on, dude. You look like Sidney Crosby's playoff beard from last year.

[Mr. Tool]

Pajaro Sunrise - Done/Undone



This is a double album of gorgeous pop music, mostly made with traditional instrumentation (accoustic guitars and what have you). Simple yet brilliant.

Code:

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

[michaelicious]

That is a pretty magnificent album cover.

[Mr. Tool]

Well it's a pretty magnificent album.

[valley_parade]

That is a pretty magnificent album cover.

Yeah, this is one of the very few I'll download based on album art

[MrBridge]

I mean come on, dude. You look like Sidney Crosby's playoff beard from last year.

Isn't that just the cutest? it's like he glued the shavings of another onto his face...ahh they grow up so fast! Soon he'll be off the bottle!

[pat101]

i'm surprised yesterday & today hasn't been posted here yet, you guys/gals are slacking off.

I'll have it up tonight if I my internet isn't being stupid

[nufan]

Those of you who looked in the soul thread may have noticed a post containing Lee Moses. I certainly did. In fact, I was utterly shocked by how good the song was and immediately downloaded the album. Well, I'd like to share it with you, because it's insane.

Lee Moses - Time And Place



This stuff is amazing. At it's best, it's some of the best pop/soul music I've ever heard. When the bass gets going, the drums get rolling and horns stabbin', Lee Moses singing in the most incredible voice in all of creation it takes your breath away. Just listen to the youtube link in the soul thread if you need proof, or to the astounding, heart wrenching 'My Adorable One'. Download, you will not be disappointed. It's hard to believe this guy isn't talked about more.

Code:

http://www.med!afire.com/?zzmyydyy1iz

[MobyDickhole]

Serge Gainsbourg- Histoire de Melody Nelson

Code:

listen to it without downloading here:[url=http://www.playlist.com/playlist/16162316043/standalone]http://www.playlist.com/playlist/16162316043/standalone[/url]

Code:

Download it here: [url=http://www.mediaf!re.com/?ox2fcymjzz1]http://www.mediaf!re.com/?ox2fcymjzz1[/url]

This has become one of my favorite albums as of late. Serge Gainbourg is something like the French Leonard Cohen, but even that isn't an accurate description. This album is pretty short. It clocks in at under 40 minutes but there is not a dull moment. the entire thing is fantastic from start to finish. I don't post stuff unless it's really really good. This is REALLY REALLY GOOD. listen now.

enjoy.

You don't need to speak a word of French to understand Histoire de Melody Nelson -- one needs only to look at the front cover (with its nearly pornographic portrait of a half-naked nymphet clutching a rag doll) or hear the lechery virtually dripping from Serge Gainsbourg's sleazily seductive voice to realize that this is the record your mother always warned you about, a masterpiece of perversion and corruption. A concept record exploring the story of -- and Gainsbourg's lust for -- the titular teen heroine, Histoire de Melody Nelson is arguably his most coherent and perfectly realized studio album, with the lush arrangements which characterize the majority of his work often mixed here with funky rhythm lines which underscore the musky allure of the music. Perhaps best described as a dirty old bastard's attempt to make his own R&B love-man's record along the lines of a Let's Get It On (itself still two years away from release), it's by turns fascinating and repellent, hilarious and grim, but never dull -- which, in Gainsbourg's world, would be the ultimate (and quite possibly the only) sin.

[godspeed]

Black Eyes are Dan, Daniel, Hugh, Jacob, and Mike. They began playing as Black Eyes in August of 2001, although most of the band had played together previously in Trooper and the No-Gos before that. The band's first-full length was released on Dischord in 2003 following several singles on Ruffian Records and Planaria. Black Eyes created a unique live experience as the members made a symmetrical shape on stage, two drummers, one on either side of the stage, two bass players, one at the back and one at the front, and one guitarist in the middle. Their shows were chaotic and renown for melting into a frenzied, rhythmic jam sessions with most of the audience partaking in the mayhem by the end of the set. After an extensive tour with Q and Not the band released their second full-length, "Cough" in May of 2004. This album introduced saxophone to the mix and relied more heavily on improvisational and dub influences hinted at in their earlier work. The band broke up shortly before the album was released, at the height of their popularity.

SOME BOYS/SHUT UP I NEVER 7":

Code:

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

BLACK EYES (S/T)

Code:

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

COUGH

Code:

http://www.mediaf!re.com/?5102mjmq15z

Seriously one of my favorite bands of all time. May not be for everyone but just give it a try. Their S/T is a little easier to get into than Cough. If you like this I put up Mi Ami, two guys from Black Eyes, earlier in this thread and I have the rest of their discography if you're interested.

[Mr. Tool]

Nico Vega

Code:

http://www.mediaf!re.com/?rn32mmzgwyo

Bolstered by a recording deal with Myspace Records – not to mention 60,000 friends and a million-plus page views and counting on the social networking site – it’s a pretty safe bet Nico Vega’s self-titled debut has a built-in audience long before it falls on any ears. If the band’s snarling rock goddess in the making for a lead has anything to say about it, the hoards of e-groupies won’t be disappointed. The three-piece swerves deftly through rattling rock ‘n roll, indie shoe-gaze and funk, but it’s lead singer Aja Volkman that steals the show. Her Karen O meets Janice Joplin-type of swagger is often nothing short of mesmerizing.

Basically if you're a fan of the Yeah Yeah Yeahs but were disappointed with all the synthesizers on the new album, GRAB THIS RECORD RIGHT NOW.

[Catacombs]

Lee Moses - Time And Place

I remember this being posted 30 or 40 pages ago.  It's a damn good album, worth checking out.

[MrBridge]

Serge Gainsbourg- Histoire de Melody Nelson

Code:

Follow the rules please, put stuff in code, it's not that difficult.

[pat101]

The Field - Yesterday & Today (2009) [320kbps]



pt.1

Code:

http://www.mediaf!re.com/?t2xuru3h22y

pt. 2

Code:

http://www.mediaf!re.com/?mizzd2yyx2q

The second LP from Swedish electronic musician Axel Willner. I don't want to try and describe it, you should listen to it. But I will say it's furthur away from traditional "techno" than his last album, a very dream like sound for a lot of the album (especially Sequenced) , not far off from the sound fellow Swede Lindstrom. Fear not though, The Field 's signature looping style is still prevelant (though often much more subtle).

1. I Have The Moon, You have The Internet ... 8:01
2. Everybody's Got To Learn Sometime ... 6:48
3. Leave It ... 11:35
4. Yesterday And Today ... 10:05
5. The More That I Do ... 8:33
6. Sequenced ... 15:42


*Bonus Treat*

Four Tet & Burial - Moth/Wolf Cub (2009) [320kbps]

Code:

http://www.mediaf!re.com/?iyd31jzhzrn

So this is the new *super mysterious* Burial & Four Tet 12" that the internets are all in a frenzy about, though after listening I can understand why. Apparently both tracks (there's only two) are collabarations from the two artists so if you've heard , and enjoyed, either of them I'd say check it out.

Quite long (and positive) Coke Machine Glow review, for those who are interested.
http://www.cokemachineglow.com/record_review/4515/burialfourtet-mothwolfcub-2009

Moth ... 9:02
Wolf Cub ... 8:55

Buy the Vinyl

[/b]

[lauraelise204]

Foxhole - We the Wintering Tree

Code:

http://www.mediaf!re.com/download.php?tnhyhxjij2z

soooo i'm an idiot who has been completely out of it due to my brain being fried by finals.  the album posted here (and those who have downloaded it have figured it out) is not "We the Wintering Tree," but in fact Push/Pull.  If you want "We the Wintering Tree," do a search for it.  Someone else has already posted it.  I'm going to go back and correct my original post.

(blahh SO glad finals week is now OVER!)

[gospel]

Another album I uploaded for a friend, and I figured I would post it here as well. Pretty iconic No Wave stuff. Always seem to come back to this album when I'm in an erratic mood.

James Chance - Buy

Code:

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

In 1979 the quintessential no wave group released two albums simultaneously; Buy was effectively the Contortions' debut, originally appearing on the indie label ZE, while the same project was released as Off White under the adopted alias of James White, one of the many identities of leader James Chance. The Contortions are considered to be one of the most important and influential groups of the New York no wave scene, which spawned the crazed postmodern persona of James Chance alongside Lydia Lunch, Mars, and DNA, among others. James Chance was a sort of avant lounge lizard personality cult who led numerous projects throughout the '80s, yet he never quite topped the warped distillation of punk, funk, and free jazz presented here, making Buy a pivotal recording of the New York post-punk era. His hybrid of free jazz sax blowing and agitated funk takes the contortions up a notch from the four tracks the band contributed to the Eno-produced No New York compilation, which debuted the furious angular syncopation of transfigured funk and disco rhythms which became the Contortions' signature. Chance's vocals and discordant sax will sound strangely familiar and appealing to fans of early Roxy Music and Television.

[Ben792x]

The Field, Burial AND Four Tet

HOLY FUCK. part 1 of yesterday and today doesnt work, im downloading a "yesterday and today" from google, idk if its the field. further updates as events warrant.

edit: its not the field. GODDAMNIT.

[wespeakinmidi]

i posted that lee moses album on here forever ago, but it's probably pages and pages back.  however, that album rules!  i'm stoked to see someone else digging on it, from what i know, it's somewhat a hard album to come by.

[KvP]

This one is pretty sweet. Highly varied electronica.

Moderat - Moderat

Apparat and Modeselektor are two of the leading names in Berlin’s thriving commingling of left-field techno and glitch, so the arrival of the portmanteau Moderat is akin to the launch of a Coke/Pepsi hybrid. Naturally, Moderat finds its constituent parts striking a balance between their respective areas of expertise, but more importantly, Moderat’s songs occupy new ground—a territory where the spacious warmth of ambient music and the claustrophobic chill that typifies dubstep can live in harmony. The opener, “A New Error,” begins with sun-warped tones à la Boards Of Canada, is carried forth on a heavy bass-synth burble, and resolves in the kind of atmosphere usually found on Tim Hecker records. “Seamonkey” plays ominous, like a Flying Lotus track, but it’s even less hip-hop-derived than Modeselektor’s solo work, and instead gets its gravitas from analog sounds. Even the most traditionally dubstep song, “Slow Match,” is typified by its subtlest details—there’s virtually no reliance on bass drops, handclaps, or any other easy percussive crowd-pleaser. Instead, “Porc #1” is built around a nasty guitar line and clackety chopped beats, while the abutting “Porc #2” uses live bass and drums to climb to a panoramic finish. Moderat occasionally get lost in its own soup, and the two tracks where Apparat (a.k.a. Sascha Ring) sings might do better on an album of their own, but this remarkably fluid music proves the group is interested in becoming greater than the considerable sum of its parts.

Code:

http://www.mediaf!re.com/?e4waqmygjjj

Tom Burbank - Famous First Words

Alongside the likes of Kyler and The Kilimanjaro Dark Jazz Ensemble, Tom Burbank further extends the Planet Mu remit beyond the perceived boundaries of its splenetic catalogue - with 'Famous First Words' a glitchy river of melodic hip-hop and electronic intricacies. Very much a contemporary of Prefuse 73, Burbank's sound relies heavily on the slippage that occurs deep within the digital heart when all is not right; lending 'Famous Last Words' a moody and melancholic edge that marks him out from the usual cut-up merchants. Kicking off with 'Fragile', the usual tick-list of elements are undoubtedly present (juddery beats, bursts of electronics, disrupted emissions) - yet whilst others have seen the surface as all important, Burbank ensures a real depth exists that sees him happily ranked alongside the likes of edIT and Prefuse. From here, 'Knuckles' is brashly regimented in it's gun-fire of crumpled tronics, 'Stay One' goes straight for the widescreen jugular with watercolour soundscapes of some beauty, whilst 'Tha Chop' sees the acoustic and machine living in perfect harmony. Closing with the sun-bleached strings and Air-esque atmospherics of 'Riding Off', Burbank has delivered a blissfully simple debut that doesn't need to show off to get its point across.

Part 1

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http://www.mediaf!re.com/?xw4qyn0m1ym

Part 2

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http://www.mediaf!re.com/?j3yz5wjimuz

[Dollface]

the Flying lizards.

Code:

http://www.mediaf!re.com/?sharekey=592550e40f91f32136df4e8dca141969f51281a7d3d093ffce018c8114394287

[ADRIAN WOODHOUSE]

ASTRONAUTALIS - the mighty ocean and 9 dark theatres
indie/rap/singer-songwriter/whatever




pt.1:

Code:

http://www.mediaf!re.com/?g0eltlonyde

pt.2:

Code:

http://www.mediaf!re.com/?b1zjngmttmd

if you like anticon stuff like why? you seriously should check this guy out.

[trr005]

ASTRONAUTALIS - the mighty ocean and 9 dark theatres
indie/rap/singer-songwriter/whatever
pt.1:

Code:

http://www.mediaf!re.com/?g0eltlonyde

pt.2:

Code:

http://www.mediaf!re.com/?b1zjngmttmd

if you like anticon stuff like why? you seriously should check this guy out.

I'm diggin' this.

[WriterofAllWrongs]

Moderat - Moderat

thankyouthankyouthankyou.

I am getting all over this when I get home.

[bulldawg982]

Pavement - Brighten The Corners: Nicene Creedence Edition

8.7/10
For a band that often seemed be on the verge of a commercial breakthrough, Pavement made all the right moves-- they just did them in the wrong order. With its crystalline production (courtesy of R.E.M. architect Mitch Easter and Bryce Goggin) and more refined songcraft, Pavement's 1997 release Brighten the Corners was the logical follow-up to 1994's indie hit Crooked Rain, Crooked Rain. But of course, that move from A to B took a tangential turn back to Z with 1995's notoriously slapdash Wowee Zowee, an album beloved by the band's diehard fans, but one that effectively squandered any crossover potential Crooked Rain might have built up (and which would've made a lot more sense as Crooked Rain's predecessor than successor).

Brighten the Corners' more focused, melodic approach could thus be heard as the sound of Pavement making amends, but it arguably came too late-- by 1997, modern-rock radio was already tuning out brainy indie-rock in favour of pre-fab pop-punk and numbskull nu-metal. Pavement understood this shift all to well, which could be why Brighten the Corners sounds like their most self-aware and, by extension, honest album-- when Stephen Malkmus yells, "listen to me, I'm on the stereo!" on the album's excitable opening track, it's with the implicit knowledge that he'd have to settle for hearing himself on his home hi-fi rather than on KROQ.

Perhaps as an attempt to reconnect with their pre-Wowee Zowee catalogue, Brighten the Corners takes various structural cues from previous Pavement albums: as on 1992's Slanted and Enchanted, the second song fades into a brief instrumental; the slowly intensifying mid-song jam on third track "Transport Is Arranged" sounds like it was grafted from Crooked Rain's own third track "Stop Breathin"; and Malkmus still couldn't resist the glaring name-drop (though Crooked Rain's now-dated Stone Temple Pilots/Smashing Pumpkins swipes were replaced by more eternal ruminations about the peculiar oration of Geddy Lee). Consistent with this self-reflexivity, Malkmus cheekily addresses his own status as the most overanalyzed lyricist in 90s indie-rock, describing himself as "an island of such great complexity," declaring that "if my soul has a shape, well, then it is an ellipse," and even raging that he's "sick of being misread by men in dashikis and their leftist weeklies." (That said, it would take 11 years and one ridiculous Republican campaign to lend any significance to the line "there's no women in Alaska.")

The May 1997 Alex Ross New Yorker essay that accompanies this reissue-- the fourth in Matador's superlative series of Pavement packages-- focuses on Malkmus' lyrical gift for extracting substance out of nonsense, and the folly of trying to saddle it with literal interpretations. But on no other Pavement album do all those bon mots and non sequitirs form such a coherent picture of the band's emotional state. Even the album title-- the only one that doesn't rely on rhymes and/or alliteration-- is telling: Rather than re-ignite the band's commercial prospects, Brighten the Corners marked the beginning of Pavement's slow fade into the sunset, while shedding light on its principal songwriter's future course.

Not coincidentally, both Malkmus and co-founder Scott "Spiral Stairs" Kannberg turned 30 during the album's recording, and both sound consumed by all the melancholy, anxiety, loaded significance, and renewed perspective that life-change carries. Malkmus' charming, chiming "Shady Lane" reasserts the "settle down" sentiment of Crooked Rain's "Range Life", and "Transport Is Arranged" seems to address the historically conflicted dynamic between relationships and life on the road ("a voice coach taught me to sing, he couldn't teach me to love"); Kannberg's two exemplary contributions-- the Big Starry-eyed power-pop rush "Date w/ Ikea" and the smooth Stonesy funk of "Passat Dream"-- equate responsibility and commitment with consumerism.

Easter and Goggin's luminous production casts this wistfulness in an appropriately soft-focus lens; in return, the band, so scatterbrained on Wowee Zowee, turn in their most pleasingly patient performances of their career, establishing a deeper sense of space through the use of mellotrons, drum-machine breaks and synths set on "swoosh." The dreamily drifty centerpiece track "Type Slowly" now sounds like a dry run for the sort of exploratory jams Malkmus would fashion in his post-Pavement band the Jicks (a point driven home by the extended, more volcanic live version included here), while the closing two jangle ballads, "Starlings of the Slipstream" and "Fin" are two of the most affecting songs in the Pavement canon, each appended with guitar solos that compensate for Malkmus' still-developing chops with genuinely pained expression. If "Fin" didn't prove to be the band's actual swan song, the track does sound like a farewell to Pavement's wiseacre persona.

But if Brighten the Corners signaled a turn to the serious, the 32 outtakes and radio-session cuts compiled here give Pavement plenty of room to, as one B-side aptly puts it, "fuck around." Which means indie-rock in-jokes (the Pussy Galore pastiche of "Neil Hagerty Meets Jon Spencer in a Non-Alcoholic Bar"), 1960s pop goofs ("Nigel"), cartoon themes (two stabs at "Space Ghost"), and kill-yr-idols covers of the Clean (Kannberg's electro-fried take on "Oddity"), Echo and the Bunnymen (a Crazy Horsed interpretation of "The Killing Moon"), and heroes-turned-nemeses the Fall (a gleeful desecration of the already blasphemous "The Classical"). And in the seven-minute rough cut of stoner-rock dirge "(And Then) The Hexx" and the freewheeling biker-bar boogie of "Roll With the Wind", you can hear Malkmus moving ever closer to adopting his future role as beardless-hippie guitar hero.

According to the liner notes, "(And Then) The Hexx" was originally intended to be Brighten the Corners' opener, but its sinister creep would've made an awkward introduction to the album's more winsome, mellowed-out material. (The song eventually surfaced on 1999's Terror Twilight.) However, that same rationale might also explain why the terrific "Harness Your Hopes" was demoted to B-side status, it being perhaps the most typically Pavementy Pavement song ever: the reductive, repetitive Velvet Underground riff; the rhyme-a-second wordplay ("nun is to church as the parrot is to perch"); and a line that seemingly sums up the band's conflicted, outsider relationship with the pop world-- "Show me/ A word that rhymes with Pavement." Given that Brighten the Corners captured Malkmus trying to break free from Pavement's established aesthetic-- and given that, two years later at London's Brixton Acadmey, he would famously sum up his feelings about the band by waving a pair of handcuffs-- the word he was looking for was under his nose along: enslavement.

— Stuart Berman, December 10, 2008

apple lossless (m4a)

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http://www.megaupload.com/?d=FSQRPQZ8

mp3

Code:

http://www.megaupload.com/?d=LEQ99ZB9

[Harun]

Kow Otani - Shadow of the Colossus

This is unarguably the most epic game soundtrack ever. Given that an orchestra is the main part of the music, this shit is inherently epic. It went perfect with the flow of the game, and it's still the most awesome shit ever when you just listen to the music alone. Beautiful, powerful, classical music. Makes you want to fight huge colossi.


pt1

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

pt2

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http://www.mediaf!re.com/download.php?mgozn2dmmq3

[scarred]

Well, there were a lot of chiptunes posted a ways back, so I thought I'd belatedly add a lil' sumthin'-sumthin' to the mix (while doing a little shameless self-promotion).

Lada Laika - Rad Like Whoa EP



I'm not sure if this is legal, but this entire thread is based off of violating moral codes, so I might as well throw it up. It's my own little EP of lo-fi/8bit/chiptuneish music. 9 songs long and clocking in at just over 18 minutes, it's full of electropop fun for the whole family. There's even an Admiral Ackbar sample. Just for you.

Code:

http://www.mediaf!re.com/?mqmytzzezj2

To not make my post completely narcissistic, I'm throwing in this eclectic release from an indietronic ... something.

Fnessnej - Stay Fresh, Ey (2008)

fnessnej is an instrumental quintet from darmstadt and mainz. This much is certain – or is it? I did hear some voice in one song. Or wait ? that might have been some weird instrument. Maybe sampled vocals? Below the line: elaborating fnessnej musical „elements“ turns out to be a problem. What’s left to say is: i see a stage full of gadgetry, little instruments hardly to define. Anyhow also two guitars, a bass, a drumset, several synthesizers - and no legroom. This much is certain.
In the current instrumentation, fnessnej is on the air since approximately 1968. In the course of time, the band clearly distanced itself from a playful, slightly electronic post-rock sound, dismembering a laptop and advancing to a new level of analog sound creation, experimenting on how to create a one-of-a-kind tonal cosmos. While stacking up on equipment in order to create this unique sound, fnessnej has become less of a quintet than an orchestra at this point. Anyhow, the band doesn’t commit itself to plain „tone-creation“ - more though to composition - fathoming the possibilities of instrumental music without ignoring structure and song itself. in-your-face songcollages, complex popsong-structures, loopbased experiments and disco-ish tunes – you’ll find them all. Musically, fnessnej has long emancipated from etiquettes such as "post-rock" and by now play a confident style throughout a broad stylistic diversity, which i again do not want to dimmish by defining an actually new style for his band (does this make sense?). then - as a last novelty, the band started to refuse the total refusal of vocal elements, conclusively eliminating any possibility of categorization. On stage, fnessnej are 5 giggly goofballs with red overalls and white motorbike helmets, sometimes hiding behind the world’s most stupid robot-annoucements in order to not open their own mouth, anyhow yelling the rare passages of vocals into no microphone at all, sometimes accompanied by fat old ohlson on mpc, trying to sing along and looking hot. Looking so hot.

Code:

http://www.mediaf!re.com/?wrtwdz0tynu

[ADRIAN WOODHOUSE]

fnessnej they are really great ! : )

[pat101]

The Field, Burial AND Four Tet

HOLY FUCK. part 1 of yesterday and today doesnt work, im downloading a "yesterday and today" from google, idk if its the field. further updates as events warrant.

edit: its not the field. GODDAMNIT.

shit, the link or the files?

[Ben792x]

Part 1 of your upload didn't work, and so I turned to google, which showed me to a file called "Yesterday and Today", which turned out to be a compilation, not The Field. Hope that helps.

[youthcant]

&&&

(since both are seven or so tracks, i upped them together. all in .mp4)

Code:

http://www.mediaf!re.com/?nit3gzvvie1

get this link, i posted quite some time ago, if you'd like more his material

[Wasteroo]

Pat you are consistently my favorite poster in these forums.

[Zombiedude]

The Payola Reserve-One Long Apology

Code:

http://www.mediaf!re.com/download.php?bmilyvmomn3

On their debut album, Baltimore based The Payola Reserve create blissful ‘70s-inspired pop that blends Elvis Costello with Tom Petty, and throw in a little modern day alt-country for good measure. The song writing team of Ben Pranger and Al Pacheco are surprisingly comfortable on their first effort, as One Long Apology displays the confidence of seasoned veterans, not first-timers.

Throughout most of the album, the band elegantly manages to make social commentary without sounding pretentious. Opener ‘Music Is Not Music’ has all the potential to be a boring retread, but manages to avoid it. The real gem, however, is ‘Brave New Radio,’ on which Pranger channels Ric Ocasek with such enthusiasm that you can’t help but be sucked in.

Brimming with equal parts cockiness and playfulness – both well deserved – The Payola Reserve make a concerted statement with One Long Apology. This is one band to keep a serious eye on.

The Payola Reserve-Lay in Wait EP

Code:

http://www.mediaf!re.com/download.php?4z4eziu5ou5