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

[pat101]

Raekwon! Yes! Thank You!

[barista.babe]

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.

[Cire27]

Awesome Music

I will proclaim my love for you from the rooftops.

[KvP]

I think that's Brandon Cox. Dogg has Marfan syndrome.

Pretty sure the name is Bradford Cox.

[scarred]

Two of my absolute favorites of the year. Both are extremely fucking recommended.

The first, Press on Randy, is a local one-man Seattle electro-folk act, and he's fucking brilliant.

Press on Randy - Moths & Butterflies [2009]

Care for an insanely catchy, hook-driven, genre-blending mini-album? Mixing equal parts of Postal Service, Bright Eyes, and MGMT, you know what you're getting into from the start: hummable, sweet, and superbly produced indie electro-folk/pop. The brainchild of musical multi-tasker Seamus Tomkins, this EP takes what could have been good singer/songwriter acoustic fare and takes it up several notches by adding layers of production. Elements like technicolor synths, clever drum programming that would make Bjork smile, warm beds of acoustic rhythm guitar, and finally Tomkins' own distinctive, emotive vocals all come together in a sparkling, radio ready mix of catchy, inventive pop songs.

Code:

http://www.mediaf!re.com/?igd2ojzotet

The second is an old favorite with a ridiculous name, but their instrumental charm and formidable talent make this, and their previous EP easy to love. (The previous EP was posted a while back, just search for it.)

Tim and Sam's Tim and the Sam Band with Tim and Sam - Summer Solstice [2009]

Could this be the most extended, confusing and silly band name ever? Probably, but its on Static Caravan, so that is no deterrent for me. It’s a mouthful, so for the purposes of this review they’ll be referred to as Tim & Sam… This is the second release from the Manchester based post-folk four piece act, perfectly suited for the Static Caravan label, after the debut EP on Full Of Joy Records.

Tim & Sam ooze enchanted melodies, rustic tones, sweet strings and pulsating drums portray a vibrancy yet pastoral simplicity, with influences from James Yorkston, Shady Bard and Sufjan Stevens. Their psych-folk flourishes and slow burning pastoral sounds have been championed by Elbow’s Guy Garvey, and the final track on this EP is actually an Elbow cover version, aptly.

A great EP from one of my favourite labels.

Code:

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

And, as a little bonus treat:

Thom Yorke - All For the Best (Miracle Legion Cover)

Code:

http://www.mediaf!re.com/?zh5dnbw0myo

It's part of a compilation made by friends of Mark Mulcahy, after the sudden and unexpected death of his wife. You can pick up the CD here. All proceeds go to Mark, helping him balance his career and twin 3-year old kids. You know you want to.

[valley_parade]

Oh hey, another emoey band from Chicago. I'm seriously loving these guys after like one listen.

Castevet - Summer Fences (2009)

Code:

http://www.mediaf!re.com/?moglgteo2dh

[Mixitup]

 The Cribs: Ignore the Ignorant 2009 (Sept 7th release)

Code:

http://www.mediaf!re.com/?1oijnbmom1n

[michaelicious]

That Castevet album is far and away the best thing I have heard all year. I have been pumpin' it pretty hard all summer.

[Scandanavian War Machine]

fuck yeah new Tim and Sam! sweet

[Jeans]

The new Mountain Goats leaked! I don't have anything to say about it yet since I'm not done listening to it, but it's The Mountain Goats so it's probably a good album. Enjoy!

I love you like I would love my sister.

[scarred]

Physically

[Jeans]

(hint: Metope is actually my sister)

[Scandanavian War Machine]

any chance of a re-up on Tim and Sam's first album? i just realized that i must have accidentally deleted it for some reason and the old link is dead.

[bedhead138]

The Beatles - Sgt Pepper's Lonely Hearts Club Band (Stereo Remaster) ~ (2009) ~ Mp3 V0

Code:

http://www.mediaf!re.com/?twlmj3jywqn

With Revolver, the Beatles made the Great Leap Forward, reaching a previously unheard-of level of sophistication and fearless experimentation. Sgt. Pepper, in many ways, refines that breakthrough, as the Beatles consciously synthesized such disparate influences as psychedelia, art-song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced — the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita." There's no discounting the individual contributions of each member or their producer, George Martin, but the preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader of the Lonely Hearts Club Band. He dominates the album in terms of compositions, setting the tone for the album with his unabashed melodicism and deviously clever arrangements. In comparison, Lennon's contributions seem fewer, and a couple of them are a little slight but his major statements are stunning. "With a Little Help From My Friends" is the ideal Ringo tune, a rolling, friendly pop song that hides genuine Lennon anguish, à la "Help!"; "Lucy in the Sky With Diamonds" remains one of the touchstones of British psychedelia; and he's the mastermind behind the bulk of "A Day in the Life," a haunting number that skillfully blends Lennon's verse and chorus with McCartney's bridge. It's possible to argue that there are better Beatles albums, yet no album is as historically important as this. After Sgt. Pepper, there were no rules to follow — rock and pop bands could try anything, for better or worse. Ironically, few tried to achieve the sweeping, all-encompassing embrace of music as the Beatles did here.

The Beatles - Revolver (Stereo Remaster) ~ (2009) ~ Mp3 V0

Code:

http://www.mediaf!re.com/?m4h0wmh4mqn

All the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects, and styles of composition. It wasn't just Lennon and McCartney, either — Harrison staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music. Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops. McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon's and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop/rock could achieve. Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release.

The Beatles - Abbey Road (Stereo Remaster) ~ (2009) ~ Mp3 320

Code:

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

The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.

The Beatles - Beatles for Sale (Stereo Remaster) ~ (2009) ~ Mp3 V0

Code:

http://www.mediaf!re.com/?ddm2xuzlq2n

It was inevitable that the constant grind of touring, writing, promoting, and recording would grate on the Beatles, but the weariness of Beatles for Sale comes as something of a shock. Only five months before, the group released the joyous A Hard Day's Night. Now, they sound beaten, worn, and, in Lennon's case, bitter and self-loathing. His opening trilogy ("No Reply," "I'm a Loser," "Baby's in Black") is the darkest sequence on any Beatles record, setting the tone for the album. Moments of joy pop up now and again, mainly in the forms of covers and the dynamic "Eight Days a Week," but the very presence of six covers after the triumphant all-original A Hard Day's Night feels like an admission of defeat or at least a regression. (It doesn't help that Lennon's cover of his beloved obscurity "Mr. Moonlight" winds up as arguably the worst thing the group ever recorded.) Beneath those surface suspicions, however, there are some important changes on Beatles for Sale, most notably Lennon's discovery of Bob Dylan and folk-rock. The opening three songs, along with "I Don't Want to Spoil the Party," are implicitly confessional and all quite bleak, which is a new development. This spirit winds up overshadowing McCartney's cheery "I'll Follow the Sun" or the thundering covers of "Rock & Roll Music," "Honey Don't," and "Kansas City/Hey-Hey-Hey-Hey!," and the weariness creeps up in unexpected places — "Every Little Thing," "What You're Doing," even George's cover of Carl Perkins' "Everybody's Trying to Be My Baby" — leaving the impression that Beatlemania may have been fun but now the group is exhausted. That exhaustion results in the group's most uneven album, but its best moments find them moving from Merseybeat to the sophisticated pop/rock they developed in mid-career.

Mason Jennings - Blood of Man (2009) ~ Mp3 V0

Code:

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

It all kinda started at Christmas when my sons and I were hanging ornaments on the tree. We have an ornament that is a little electric guitar and my six-year-old son was looking at it and asked, "What's this Dad?" I said, "What??? It's an electric guitar." To which he replied, "What's that?" Well, I was kinda horrified so I ran downstairs and pulled out an old hollowbody electric (that is my wife's), an amp and I came upstairs, plugged it in and ripped into "My Generation" by The Who. Well, my one son actually climbed me in point 2 seconds and leaped off my shoulders while the other one looked like I had plugged the lights on the tree into him. They flew around the room dancing for two straight wonderful hours. I got the point. I grew up playing only electric and it was like remembering how to be free. For many reasons, it was so needed. So I got free. The next week I headed into my studio and recorded "City Of Ghosts" and away I went. I wrote about the war and being a parent in "The Field", two topics close to my heart. I wrote about being a teenager and how heavy that time can feel and how it can shape the path you take. So, gratitude is in there somewhere. I wrote about doubts and fear, about God and Spirit, and about hope and possibility and things that are elusive and hard to name. I wrote mostly about them, and they came into the room like angels and beasts. This whole time I knew the record would be called Blood Of Man. I also kept hearing two phrases in my head during recording. Maybe you can decipher them, for I know not where they come from or what they mean exactly: "Do you remember when the world was young?" and "In the beginning there was blood on the lamb." Whew. I wrote about how hard it is to be 34 and be a parent and sane and married and true and positive and yourself and a man and funny and a decent person and a not decent person and human and in love. I turned the music up so loud so often that my ears rang every night. I wrote about death, of course. I wrote about life. I wrote about pain and addiction. And I let it flow and left it raw. I worked fast and I let my heart lead. I guess I have come to the point in my life and my art where I just want to make music that I love and not mess with it. If people dig it: cool. If not: cool. I will be making it anyway. I have to. I realized that too. By the grace of god: I have to make music. More importantly: I get to. Also, before anything, I am a music listener. So, this record has not been messed with in any way. What you have is exactly the music I listen to in my van and the way I have given it to my friends on CD-Rs. My hope is that it can help where help is needed. Music saved my life and I am so grateful for it.

1. City Of Ghosts
2. Pittsburgh
3. Field, The
4. Tourist
5. Black Wind Blowing
6. Ain't No Friend Of Mine
7. Sing Out
8. Sunlight
9. Lonely Road
10. Blood Of Man

[E. Spaceman]

Hey bedhead, where did you get these?

[Mr. Tool]

Flight Of The Conchords - I Told You I Was Freaky



2nd album from New Zealand's 3rd greatest comedy folk duo

Code:

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

[MrDorman]

So did they get the stereo mix right this time? or is the mono still going to sound better?

[E. Spaceman]

I am downloading the box set from the only accredited source so far and the albums meant to be on Stereo sound fantastic. I am wary of the above versions though since there are quite a few transcodes floating around.

[Catacombs]

So I haven't been on this forum in about a month now, and I just want to thank everyone, especially for the last page.  There is soo much win on the last page.  Also, what's the deal with those Beatles albums?  Worth the dl y/n?

[Zombiedude]

I wouldn't

[Liam]

I could tell they were the real remasters from the moment the tambourine came in in "Taxman". It really is very clear, and definitely superior to the previous stereo mixes. It's weird to listen to; I'm unused to the bass and cymbals being so present in these songs.

[Jughead5267]

I wouldn't

And why not?

[mod_a]

any chance of a re-up on Tim and Sam's first album? i just realized that i must have accidentally deleted it for some reason and the old link is dead.

2nd

[Jughead5267]

<RE-UP>Tim and Sam's Tim and the Sam Band with Tim and Sam - Put Your Slippers On - EP

Code:

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

[Muffin_Buns]

Awesome. I just finished listening to Summer Solstice and was just about to second for a re-up of this.

[bedhead138]

Hey bedhead, where did you get these?

got them from the flac rips that are up on what.

[s42]

I didn't see this here, so I'm going to share. I did search. Honestly.

Vinonamaakasio - Shogun Kunitoki

Code:

http://www.mediaf!re.com/?4idyixjmm3k

You can read about it on cokemachineglow here...http://www.cokemachineglow.com/record_review/4613/shogunkunitoki-vinonaamaksio-2009

[variable_star]

SEA WOLF - WHITE WATER, WHITE BLOOM (2009)

Code:

http://www.mediaf!re.com/?20kmkehihw1

Taking its name from novelist Jack London’s 1904 seafaring adventure, Sea Wolf has evolved organically from its hermetic origins in Alex Brown Church’s living room into a muscular, full-bodied musical entity with passion to burn. After adopting the sobriquet, Church burst onto the music scene in two-fisted fashion with the EP, Get to the River Before It Runs Too Low, and the subsequent full-length debut album, Leaves in the River, about which Interview magazine observed, “His music is both erudite and unvarnished, a blend of swirling melodies, literary balladry and damaged art-rock composition.” And now, Church’s singular vision has led to the creation of the eloquent and expansive new album White Water, White Bloom, which not only fulfills the immense promise of the initial musical diptych but conjures up its own cosmology. This is one of those rare and mysterious records wherein, the first time you hear it, you can’t shake the feeling that it’s always been part of the soundtrack of your life. You intimately know its ups and downs, its melodies and cadences, its settings and characters.

A song cycle set against the changing of seasons, this timeless work unfolds like an epic poem, yet resonates with thematic elements that speak, elliptically yet unmistakably, to the world we live in. Pulsing with evocations of nature at its most elemental, Church’s songs are flooded with vivid imagery, carried along on torrents of sounds as majestic as a mountain stream swollen with the bracing, crystalline runoff of spring’s first warming breath. What’s more, he sings these songs with newfound power, the result of extensive roadwork behind Leaves in the River, while deepening the mesmerizing expressiveness with which he made his initial mark. Church’s verbal acuity is mated with bold, vibrant soundscapes set off with thundering drums, stabbing, reverb-soaked electric guitars and ghostly keyboards, resulting in such memorable pieces as the mythological tale “Orion & Dog,” ornamented with strings right out of a John Ford western; the folk-noir fable “O Maria!”; the surging title song, burning with Byronic heat; the fever-dreamscape “Spirit”; the muted, idyllic, “The Orchard”; the Dylanesque roundelay “The Traitor”; and the closing “Winter’s Heir,” with its life-embracing denouement.

White Water, White Bloom was recorded at the Omaha studio of Mike Mogis (Bright Eyes, M. Ward, Monsters of Folk), with Church handling vocals, acoustic and electric guitars, as well as some of the air organ and pump organ sounds that were such a big part of the sonic signature of the earlier records. Joining him were the three core members of the six-piece Sea Wolf touring lineup: keyboardist Lisa Fendelander, bassist Ted Liscinski and drummer Joey Ficken. The remaining slots were filled by Mogis on lead guitar and an assortment of other instruments, with his Bright Eyes cohort Nate Walcott filling the role of the cellist, arranging strings for a quartet, sometimes working from cello parts originally created by Catherine Odell, who’d been part of the initial Sea Wolf touring lineup, with Church’s input.

They arrived with a full set of song demos, providing a detailed blueprint for their subsequent expansion into widescreen anthems that reshape the classic aspects of traditional folk, folk rock and chamber pop—but these bucolic elements are intercut with aggressive bursts of raw emotion sharpened to a serrated edge—making for a rich, vibrant sound that is virtually unprecedented. Church is working in the most personal of mediums, and that results in constant self-questioning. “Every time you make a record,” he says, “you invariably think, ‘Oh, I wish I’d done this differently,’ or ‘Next time I want to do this.’ But if you get to the point where you don’t think that, then it’s time to quit. In terms of aspirations, as long as I’m constantly having new ideas and finding new places to explore with the music, I’ll be satisfied.”

[bedhead138]

The Beatles - The Beatles (The White Album) ~ Stereo Remaster - Mp3 V0

Code:

Disc 1 - http://www.mediaf!re.com/?3ihdltum2bt
Disc 2 - http://www.mediaf!re.com/?z5tt2ylxut2

Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up "Back in the U.S.S.R." and the British blooze parody "Yer Blues" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with "Dear Prudence" and "Julia"; scours the Abbey Road vaults for the musique concrète collage "Revolution 9"; pours on the schmaltz for Ringo's closing number, "Good Night"; celebrates the Beatles cult with "Glass Onion"; and, with "Cry Baby Cry," rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning — the music hall romp "Honey Pie," the mock country of "Rocky Raccoon," the ska-inflected "Ob-La-Di, Ob-La-Da," and the proto-metal roar of "Helter Skelter." Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from "While My Guitar Gently Weeps," the canned soul of "Savoy Truffle," the haunting "Long, Long, Long," and even the silly "Piggies" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp "Don't Pass Me By." None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its mess.

[valley_parade]

This is...I'm not exactly sure how to put it. It's a split. Boris are on the split. And they're playing electronic dancey music, but still incorporating massive fuzzy guitar sounds. The other band, 9dw, is just..making electronic dancey music. It might be mistagged, but here is the breakdown: the first two songs are 9dw, and the last two are Boris.

(Emilio, I have a feeling you would hell of enjoy this)

Boris & 9dw - Golden Dance Classics (split)

Code:

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

[Mixitup]

Thanks bedhead!

 Beatles remastered in stereo sounds amazing............ even if not for the mono purists. I LOVE it!

[Zombiedude]

That Eek Bandits! posted a while ago is fantastic. Just sayin'

[scarred]

2nd album from New Zealand's 3rd greatest comedy folk duo

4th***

getitrite

[Tom]

Boris & 9dw - Golden Dance Classics (split)

This is fantastic.

[Daft pun]

That split was somewhat of a letdown over here actually. Some responses from unbiased listeners:

(for real)

Roommate 1: "This sucks. I'd rather listen to the new Beyonce track." (not a Beyonce fan)

Roommate 2: "Well, I might listen to it again, maybe, uhm, but probably not since it's on your laptop."

And there's that. Personally I'd have to say I was expecting a bit more from Boris going electronic.

[medicatesleep]

With each new release I like Boris less and less. I only listen to Amplifier Worship, Pink, Heavy Rock and Akuma No Uta now and everything else just feels like filler. I understand a band needs to grow, but do these guys think they're the sludge/stoner/doom Beach Boys cause they got a KAOS pad? The only reason they are discussed in forums and blogs in the first place is cause they release a new sub-par album every 5 minutes.

P.S. Thanks for posting the split. I just had to get that off my chest. Go about your business.

[hubbabubba]

<RE-UP>Tim and Sam's Tim and the Sam Band with Tim and Sam - Put Your Slippers On - EP

Code:

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

This is why I love this thread. Great Stuff!

[valley_parade]

Haha, you guys summed up exactly how I feel about that Boris split. I mean, overall it's REALLY good, and 9dw's tracks are great, but Boris just kinda confuse me now. I know deep down at the core, they're an experimental band, but guys, you're the best in the world at just balls-out rock.

[De_El]

Yeah, I'm kinda undecided on the Golden Dance Classics split. I liked it when they got kinda dancey on Floorshaker, but this is more different-er. I stand by recent Boris, though. The Japanese mix of Smile was excellent. The Smile live album was pretty fun, though not essential. The Torche split was great. Cloud Chamber was kinda disappointing though, come to think of it. It was decent, but enormously predictable.

[medicatesleep]

Did I mention I feel guilty when I rant and then not contribute? Cause I do.


BALL OF FLAME SHOOT FIRE - DANNY AND ROB (2009)

Code:

http://www.mediaf!re.com/?ozkne3n2jem

I hate the English major Pitchfork reviews so I'll just tell you what this sounds like instead of trying to create Wes Anderson imagery. These guys are like Tom Waits, Ravi Shankar, Nick Cave and The Replacements all rolled into one. Really weird mix I know, but as as awesome as can be. Eclectic post rock n roll.



ABANDON - THE DEAD END (2009)

Code:

http://rapidshare.com/files/275119425/Abandon_-_The_Dead_End_2009.rar

An angry band that is actually impressive. Go figure.



LIGHTNING BOLT - EARTHLY DELIGHTS (2009)

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http://www.mediaf!re.com/?nn0wm2emm3z

Dear fellow frustrated Boris fans: EXALT YOUR NEW GOD. Seriously though... you should know who these dudes are already and not even think twice without DLing.

[k.nol.edge]

LIGHTNING BOLT - EARTHLY DELIGHTS (2009)

YES

[Touch Me Im Sick]

LIGHTNING BOLT - EARTHLY DELIGHTS (2009)

YES

OMG OMG BEEN WAITING FOR THIS FOR TOO LONG

[Zombiedude]

I have never heard of this band before. That said, they are fantastic.

[valley_parade]

Downloading it. Though the last time someone told me to listen to a band because I like Boris, I was severely underwhelmed (I'm looking at you here, Kylesa).

Okay, that is GOOD. Very good.

[pulpfiction21]

The new Owen finally leaked.

Owen - New Leaves (2009)
RIYL - American Football

Code:

http://www.mediaf!re.com/?myinj4i4dik

As the title suggests, Mike Kinsella's newest contribution under the Owen moniker is a bit of a departure both musically and thematically. Recorded over the course of two years, New Leaves, which is being released September 22 on Polyvinyl Records, enlists the expertise of multiple engineers such as Tim Iseler (Wilco), Brian Deck (Iron & Wine), and Graeme Gibson (Califone), whereas previous releases were primarily recorded in a makeshift studio in the home of Kinsella's mother. Musically, the arrangements on New Leaves are more elaborate. Kinsella's finger-picked riffs are as pretty as ever, and new layers of sounds add further nuance to the tracks. While New Leaves still exhibits Kinsella's penchant for self-deprecation, there's a newfound focus on clean slates and new beginnings. The now-married Kinsella has veered away from his previous preoccupation with failed relationships. On "Never Been Born," Kinsella sings "These old bones don't feel so old when I'm home with you." "Amnesia And Me" finds Kinsella further musing on his recent domestication: "Now I know who I am, a housebroken one-woman man." It's surely unfamiliar territory for Kinsella, but that's not to say there's a shortage of sardonic wit and self-examination on New Leaves. Kinsella sounds fed up on "Curtain Call." He confesses: "People used to pay to watch me sing and play/ But it seems more and more they come to spit in my face/ I'm tired of speaking up and speaking clearly so the idiots in the back can hear me." While Kinsella seems burdened by the rigors of touring, he finally seems content with his personal life. Past releases felt like a glimpse into the dark rooms of Kinsella's psyche, where New Leaves finds those same rooms a little brighter, as if someone tied back the curtains and cracked the windows, making way for some fresh air and sunlight.

[Scarychips]

Oh man. Oh man. Thank you pulpfiction21! Downloading it right now.

What's the bitrate?

[variable_star]

THE CLIENTELE - BONFIRES ON THE HEATH (2009) [MP3, 320KBPS]

Code:

http://www.mediaf!re.com/?4tgqzqndryy

On October 6, The Clientele will release their 5th album, Bonfires on the Heath on CD, LP and digital download. The Clientele formed a long time ago in the backwoods of suburban Hampshire, playing together as kids at school, rehearsing in a thatched cottage remote from any kind of music scene, but hypnotized by the magical strangeness of Galaxie 500 and Felt and the psych pop of Love and the Zombies. Bonfires on the Heath is in a sense a return to the Clientele’s roots; the dreamlike suburban landscapes first encountered in the early singles, their trippy sense of menace stronger now. Now in London, they’ve drawn on older traditions of English folk, which exist here side by side with the band’s more familiar bossa and pop elements. Mel Draisey’s contributions on piano and violin add beautifully to MacLean’s timeless, eerie songs.

[pulpfiction21]

Oh man. Oh man. Thank you pulpfiction21! Downloading it right now.

What's the bitrate?

320

[medicatesleep]

Downloading it. Though the last time someone told me to listen to a band because I like Boris, I was severely underwhelmed (I'm looking at you here, Kylesa).

Okay, that is GOOD. Very good.

Uh oh. I liked the new Kylesa D:

[Koremora]

Ditto, I thought the new Kylesa was excellent, and I too love Lightning Bolt.