Fun Stuff > BAND
Re: The M/F thread - '08 reboot! Still with no requests!
morca007:
The Seduction of Claude Debussy By art of noise
--- Quote from: Salon ---"Seduction" is a kind of drum 'n' bass homage to the French impressionist composer who, because he prized pure sound and texture over harmony and melody, is considered the father of modern music. It is, unquestionably, a pretentious album, pairing opera with a rap about Baudelaire, a capsule Debussy biography and samples of the composer's work interlaced with digital beats. Electronic music, like pop generally, has an uneasy relationship with highbrow theory -- witness the venom directed at DJ Spooky when he name-checked Derrida -- but "Seduction" is nonetheless a fascinating record that, unlike Spooky's work, matches erudition with beauty and thrilling rhythms.
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--- Code: ---http://www.mediafire.com/?xvmtvygjw9j
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(also this Nortec collective album is pretty sweet)
twosheds:
--- Quote from: TheLetterM on 05 Apr 2008, 09:14 ---
--- Quote from: twosheds on 04 Apr 2008, 18:59 ---I've found it hard to find any more really good 'post-hardcore' myself.
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Fugazi? Jawbox? Drive Like Jehu? The first Rye Coalition album? The Monorchid?
Sorry, I'm not that big a fan of Glassjaw. But if you like 'post-hardcore', you owe it to yourself to get the above.
Maybe I'll upload some later.
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Coooool. Yeah, i wasnt being cheeky... the 1st Glassjaw CD was given to me as a gift back in 2000, and i normally listen to alot chiller stuff. I didnt think about the genre 'post-hardcore', I just liked it for being, to me at the time, totally unique. I didnt even think of it as a genre piece so ive never really looked for any more stuff like it. So that was kind of a "hint-hint-anybody got something like this?" While the stuff ive posted has been heavy, i'm no expert... it's just some stuff that hasnt been put up yet. And i had a feeling by getting it out there people would start up with 'now HERE's the real shit!' ... which would be awesome!!
--- Quote from: a pack of wolves on 05 Apr 2008, 11:44 ---
Kerosene 454 too! Race is one of my favourite records, despite it being a collection of their first album and early EPs it hangs together extremely well. I always think they're a criminally overlooked band, even if Came By To Kill Me wasn't as brilliant as their earlier work (I never got around to getting a copy of At Zero). The band are superbly locked together, everything seems to come together equally to make their dense, driving sound and they're capable of turning out genuinely epic songs as well as shorter bursts of intensity.
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Lovin it. Thanks.
Christophe:
Cool, man. I have two albums up on the way (read: an hour or so), but I'll put up the entries for them now then edit them later.
Also, I'd download that Kerosene 454 album, but I don't think I can until I'm done uploading. The download speed is slow at the same time I'm uploading, so I guess I'll save that for later.
In any case:
Jawbox- For Your Own Special Sweetheart
--- Code: ---http://www.mediafire.com/?ynbdyjhuw2m
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--- Quote from: Andy Kellman of All Music Guide ---The screams of a thousand chain wallet-clad indie purists could be heard across the nation once word spread of Jawbox's signing to Atlantic; no band had left the good ship Dischord for a major label prior to Jawbox, so it was seen by more closed-minded types as an unforgivable crime against D.I.Y. If they'd stuck around to hear the record that didn't bear the Dischord logo, they'd hear the band's best record, the one they had always wanted to make. And it wasn't just the label change that made For Your Own Special Sweetheart (a phrase taken from a Barbie product) a transitional record. Adam Wade left the band for art rockers Shudder to Think, and he was replaced on the traps by Zach Barocas.
Even more bristly and blaring than Novelty, Bill Barbot's and J. Robbins' guitars are about as tingly as a jump into a cactus. Their interplay reaches a zenith on Sweetheart. Imagine two Andy Gills in Gang of Four, and you'll see what they're getting at. Though not quite as jagged and dry as Gill, the guitars employ a little distortion to slightly round the edges out. Producer Ted Nicely knew just what to do with the rhythm section -- Kim Coletta's bass is more prominent, and uber-drummer Barochas' complex tom shots run rampant. (He was more likely to emulate Jack DeJohnette than Topper Headon.)
Subject matter includes JG Ballard's Concrete Insland-inspired "Motorist," leaving Robbins wrecked in an ugly part of Chicago; "Savory" examines the objectification of the female species. Otherwise, you need your Jawbox decoder ring to decipher lyrical content. Sonically, the terrain is expansive. Though "Whitney Walks" is stuck at the end of the record, it's relative quietude deserves just as much attention as anything else. Otherwise it's a manic, thrilling ride, nothing short of brilliant.
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Rodan- Rusty
--- Code: ---http://www.mediafire.com/?eg4deghnbbb
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--- Quote from: Ned Raggett of All Music Guide ---Whatever scene or geographical associations Rodan dealt with by being from Louisville, KY, in the early '90s, setting those aside and looking at the music straight up reveals one key fact: this was an amazing band, one with clear roots but also one with a sense of its own strong fusion. The group's only full-length release, Rusty may also well derive a fair amount of its attention from what happened with the bandmembers' other projects in the future, Rachel's and June of 44 among them. But from the slow, entrancing start, as "Bible Silver Corner" sets a sweetly mournful tone, Jeff Mueller and Jason Noble's guitar intertwining as Tara Jane O'Neil's bass stands carefully to the fore with the lead melody, this is an album to readily get lost in. The evident variety is another reason to listen, not least because everything is handled so aptly, parts of a greater overall whole. The under three-minute rampage of "Shiner," a seemingly out of nowhere jarring blast of controlled art punk rockabilly chaos, might on the face of it have little to do with the slower and steadier grind of "Gauge," one of two songs where O'Neil takes a vocal turn as well as playing bass. Perhaps unsurprisingly, the album's longest song is its high point, the majestic slam/bang of "The Everyday World of Bodies." Starting with a buried feedback moan before kicking into a tightly wound riff equal parts Funkadelic and Fugazi, it steadily builds up and up in intensity as the song unwinds, harsh, rasped vocals driving everything all the more up and over the top. The occasional slower breaks for air -- for both music and singing -- add not only drama but set the stage for the next build up and explosion.
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And here's one I just finished uploading:
Beat Happening- Dreamy
--- Code: ---http://www.mediafire.com/?dubqzyzznmq
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--- Quote from: Jason Ankeny of All Music Guide ---A stunning return to form, Dreamy reprises the dark aggression of the preceding Black Candy, but brings to the table a significantly stronger and more assured collection of songs. Measuring Calvin Johnson's increasingly menacing lead turns with Heather Lewis' more wistful contributions, the album strikes a careful balance between maturity and naïveté; for all of their ragged minimalism, tracks like "Collide," "Revolution Come and Gone," and "Me Untamed" are remarkably sophisticated and assured. And in addition to the newfound sexiness of cuts like "Nancy Sin" and "Red Head Walking," there's also a renewed sense of emotional urgency -- Heather's beguiling "Fortune Cookie Prize" is one of the group's most buoyant love songs, while the mournful "Cry for a Shadow" exposes the tenderness beneath Calvin's tough-guy veneer.
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By the by, this one is in .wma format if that ruffles some feathers.
valley_parade:
Feathers: FUCKING RUFFLED.
Christophe:
gee, someone fell off the wrong side of the nest today.
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