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[imagist42]

Elder Cunningham is pretty funny regardless of where you come from.

Yeah, it's all pretty funny regardless, I just meant there are subtle nuances to the humor that are more difficult to pick up on if you're not intimately familiar with the LDS Church's particular peculiarities. Still worth a listen.

[yop]

Fennesz - Seven Stars

Fennesz's first formal solo release since 2008's Black Sea LP is as impeccably wrought and moving as you'd expect from the Austrian master, comprised of four pieces that are short in duration but cosmic in scope. He really is at the top of his game at the moment, making some of the most naturalistic, melodically generous but texturally complex music of his career to date: 'Liminal' projects his aching, echo-drenched guitar phrasing across a smoky screen of stirring strings; 'July' is a visceral yet carefully modulated drone piece, with desert-blues inflections rising slowly and elegantly out of forbidding scorched earth ambience. 'Shift' heads into deep space, its stargazing organ tones layered with such grace and authority as to put all those young kosmische chancers to shame, but the best is saved for the closing and title track: there's a return to the plangent, reverbed guitar chords and liturgical strings of 'Liminal', but this time brushed drums and bass are deployed to give all that yearning some extra movement and direction. Most artists would struggle across an album to achieve the depth, range and all-round grandeur that Fennesz compresses into this superlative 10".

another musical lesson from christian fennesz. very highly recommended!

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http://www.mf.com/?w6elpd8dv8ksq7j

[valley_parade]

I haven't put anything up here in a while, so have some Jon Snodgrass. It's kinda cow-punky goodness, and the EP has cameos from Chris Wollard and The Ship Thieves, Stephen Egerton from The Descendents, and Brandon Carlisle from Teenage Bottlerocket.

RIYL: Drag The River, some occasionally rocking country music, folk


Jon Snodgrass & Friends - Tri-State Record


side note: I got in on the pre-order for this, and ended up getting a clear 7" loaded with black, white, and red splatter. One of the cooler looking records that I own.

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http://www.M/F.com/?1o4ln22l26xzssv
Jon Snodgrass - Visitor's Band

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http://www.M/F.com/?otoxozf4fcuwuc3
edit: As a bonus, here's Chris Wollard's first solo album. You may remember him as the guy from such bands as Hot Water Music and The Draft.

Chris Wollard & The Ship Thieves - Chris Wollard & The Ship Thieves

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http://www.mediafire.com/?otceymnqnn3

[JD]

Fitz and The Tantrums - Pickin Up The Pieces

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http://www.mediafire.com/?pbfi3iook855qzk
Norah Jones - The Fall

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http://www.mediafire.com/?dhf8du2dptkofo8
Fleet Foxes - Helplessness

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http://www.mediafire.com/?b50r7r9qzh41us5
two of these were posted before but I don't think they where in glorious 320kbps bit rate.

[yop]

Dubbel Dutch - Remixes

Five straight aces from Dubbel Dutch on a limited white for NYC's Dutty Artz crew. This is some seriously covetable club gear, giving sparse-but-deadly re-licks of vocals from R Kelly, Ciara and Deb Cox in proper, underground, white label tradition - unlike an invisible mp3 this is sh*t "...you can melt, scratch, break or lose when you move"! For us, they're also the best tracks we've heard by Dubbel Dutch, an artist already ranked and tipped by the likes of Untold, Jamie XX, Nguzunguzu, and Sinden, to name a few. Nuff said. This is ESSENTIAL for fans of Kingdom or Jam City!!!!!!!!!!

!!!!!!

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http://www.mf.com/?829acm0megxmdwp




Skream - Exothermic Reaction

Scorchingly fierce and forward Dubstep sound designs. The last time Skream appeared on Nonplus was coincidentally one of his finest moments in years with the 'Minimalistix' session, and this one is about the best we've heard from him this year. A-side 'Exothermic Reaction' is an exhilarating transfer of dancefloor energies, charging up a beastly, club-razing metallic synthline over 4/4 to halfstep rhythm switches. B-side 'Future Funkizm' is a cheezy title, but the track is a pure killer, built with the boldest sound design imaginable. For the cutting edge types.

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http://www.mf.com/?cst94bjc72atn22




Kingdom & Girl Unit - Ride It Every Time

Neon R&B blinders from Kingdom and Girl Unit! A-side is the pant-wettingly hot mashup of Girl Unit's 'Everytime' from the 'Every Time' EP, diced with vox from a certain American R&B superstar. Needless to say, it's massive. But, the flipside is our joint; a long overdue pressing of Kingdom's 'Fog' which has been circulating in the mixes of Caribou, Bok Bok, and L-Vis for over a year now, expertly fusing mercurial vocal stabs with Eski synth slides and stepping drums. Blink and you'll miss these. Surefire tip!

crafty uK funky & dubstep related party cuts. wut wut..

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http://wwwmf.com/?w82ctpgcofero3f



Arkist & Kidkut - One Year Later

Rising Brizzle producers Arkist (Deca/Applepips/If Symptoms Persist) and Kidkut (Immerse/Applepips) unite on rolling and skipping grooves for Hotflush. 'One Year Later' is indicative of the House mood permeating Bristol right now, rolling easy like recent Appleblim productions. 'Vanilla Imitate' is more swung and skippy with interlocking syncopations and cool chords.

another bit of hotflush freshness right here from two telented bristolian producers arkist & kidkut.

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http://www.mf.com/?uqzc53b35b05i4l




James Fox - New Jack Swing / Personality (Leon Mix)

Well Rounded kick off their dedicated Housing Project sublabel with two R&B enriched riders from two new names (to us at least). James Fox drops the plush groover 'New Jack Swing' on the A, laying a cannily pitched vocal over offset kicks to land somewhere between XXXY and Deadboy. Leon maintains the feminine pressure on the flip, remixing Brighton-based Funk outfit Mean Poppa Lean on a bed of full-sunken, hip-ground bass and spacious-yet-dense percussion for gripping effect. Sure to find favour with the slinkier dancers and clued-up DJs with a good-looking crowd to work.

new jack swing is the one for me! seriously amazing r&b/house tune!!

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http://www.mf.com/?74i53kc6rvj8410




Sbtrkt - Ready Set Loop

Mercurial double garage/dubstep movers from London's SBTRKT. Face up there' a swift slice of shifty 2-step precision engineered to enhance dippin' shoulders and swinging hips in serious style. Face down it's more a swaggering dubstep decorum, with sparse drums fleshed out by sweetly cyber-tropical synth arpeggios inna buttered arrangement. Both sides are pretty much crucial for the double garage crew. Recommended!

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http://www.mf.com/?vw69hm04cccuq43




Breton - Counter Balance Remix EP

Girl Unit and Funkineven step up for much needed remixes of the Breton material. Touching 'RDI', Girl Unit turns in a Gangster-rolling 808 banger with bursting strings and and staggered sirens. Flipside Funkineven puts a craftier spin on 'December' flipping between sweeter strings and swaggered synths to cool effect.

enjoy!

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http://www.mf.com/?k4xt12hovb7o2df

[KurtMcAllister]

Arrington de Dionyso's Malaikat dan Singa - Suara Naga [K; 2011]

Last year, as reported on TMT, Arrington de Dionyso released a cassette called Naga Suara. It was pretty weird, made up mostly of throat-sung splurge, skronking horn freakout, and freakish rhythm. Now comes the relatively more accessible Suara Naga under Dionyso's Malaikat Dan Singa alias. It's only fairly weird, especially if you're already familiar with the self-titled album from this project released in 2009. One reason the disc's more accessible than the cassette is that there are songs. Okay, so they're songs that make use of throat singing, skronking bass clarinet, and, er, lyrics in Indonesian. But they're songs nonetheless, and some of them are kind of catchy. As before, Dionyso's band (which features K labelmates Angelo Spencer and in-house producer Karl Blau) comes on full-force with its mutant Beefheartian blues and Indonesian extreme metal vocals. That is, it asks us to think at least about the relationship between extreme metal vocals, throat singing, Indonesian rock, scorched desert rock, free jazz, and much more besides. The album's title apparently translates as "The Dragon's Voice," and that seems as apt a description as any of the fiery vocalizing and blowing found in its grooves.

The title and cover art also suggest an ongoing obsession with entities magical, mythical, and diabolical, a trait that can be traced back to Dionyso's work with Old Time Relijun. Shapeshifting, shamanic practices, animal possession, and magnetism: all of these come to mind as one looks at the paintings and listens — or, rather, is exposed to — this music. It's music of transformation, new registers, and, if you missed out on Malaikat, is truly unlike anything you've heard before. Dionyso sounds like a man possessed on opener "Kerasukan" (which translates, appropriately, as "possessed by a spirit"), as if some vile entity is speaking through him. Things get even spookier when, halfway through the track, the vocals develop into a kind of call-and-response routine — but who is calling whom? From where? To what? On "Aku di Penjara," the vocals are less hostile but arguably more disturbing, a half-wheezed, half-crooned whisper into the listener's ear. This is the kind of sleazy creep you don't want leaving a message on your machine; you feel sullied just listening. Then, seemingly looped female backing vocals start doo-dooing away like a distant, chilled, dubby take on "Walk On The Wild Side." A chiming desert guitar adds Morricone-like space but only increases the sense of distance and despair.

For much of the album, the bass clarinet, throat singing, and Indonesian lyrics become sonic manifestations of Dionyso's visual art, which can be found on virtually all his album covers and in such publications as Yeti and Prism Index. People change into animals, angels, or demons; masks and wings are donned; chants are sung, secret registers droned. The overall experience is one of summoning-up, of sound as magick, music's ritual origins revealed. At times it's laugh-out-loud hilarious, at other times freakishly scary. (These are stock responses when we hear humans speaking in tongues or being spoken through by others; check out the recent Fringe episode where Olivia Dunham's body is taken over by William Bell — silly and uncanny at the same time.) But Suara Naga is also damn funky in places (and funk's a word you'd never throw at Naga Suara, its tape namesake). Although Dionyso is fond of utilizing a stop-start dynamism and a clipped vocal style in many of his pieces — two features that further invite the comparison to extreme or death metal — he also adds a more flowing element to certain tracks, such as "Bianglala," which sets off on a guitar and bass riff that hints at funkadelia and works through to a spiky post-punk denouement. "Madu Mahadahsyat" also rides out on a catchy groove that suggests possession of a different, dancier kind.

When "Bianglala" ("Rainbow") is followed by the vaguely Middle Eastern sonorities of "Bianglala Batin" ("Inner Rainbow"), one is also put in mind of the modal Ethio-jazz of Mulatu Astatke. "Wada Rohani," a track seemingly about the search for spiritual contact, mixes the best of both worlds as it develops a droning, drawn-out modality into funky liftoff. Dionyso's sense of variety and dynamics is masterful throughout, and, providing that the listener is willing to be possessed by his auditory spell, there is never a dull moment. Incantory, spellbinding, sinister, and surreal, Suara Naga is the work of a highly original mind, a man unafraid to don a demon's mask and speak with a dragon's tongue. Whether Malaikat dan Singa allows Arrington de Dionyso to attain the kind of truth-seeking communicative possibilities he has previously spoken of is questionable, but there is little doubt that he knows how to transfix and transform.

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http://www.mediafire.com/?u7tf2u7oo972x2i
The Caretaker - An Empty Bliss Beyond This World [History Always Favours The Winners; 2011]

An Empty Bliss Beyond This World sounds like a collection of edits of prewar parlor-room music because that's what it is. "This Caretaker album is built from layers of sampled 78s and albums," James Kirby told me in an email recently. "Things have been rearranged in places and other things brought in and out of focus. Surface noise"-- which is abundant-- "is from the original vinyls." Kirby is an artist whose concepts are sometimes more fun to engage with than his music. As V/Vm-- a project he started in the early 1990s-- he made grotesque edits of soft-pop songs and released an entire 7" of the sounds of pigs feeding. His albums as the Caretaker have been comparatively more subdued, tending toward ambient music made from preexisting recordings.

Bliss was inspired by a 2010 study suggesting that Alzheimer's patients have an easier time remembering information when it's placed in the context of music. What makes it unique isn't that Kirby resuscitates old but vaguely familiar source material; it's how he edits it. Several of the tracks here take pretty, anodyne phrases and loop them mindlessly; several stop in what feels like mid-thought; several reach back and then jump forward. They never feel filled-in from start to finish, and they tend to linger on moments that feel especially comforting or conclusive: the last flourishes of a song, maybe, the pat on the shoulder, the part when we're assured everything is drawing to a close. Kirby isn't just making nostalgic music, he's making music that mimics the fragmented and inconclusive ways our memories work.

Unlike Kirby's last few albums, whether as the Caretaker or Leyland Kirby, Bliss isn't dissonant or heavy-handed. Nobody has to remind me that losing my memory is upsetting, or that I'm losing it as I type, or that the loss will probably accelerate as I get older, or that I'll probably spend my final hours sitting by a window repeating myself. What I like about Bliss is that, as the title suggests, there's something at least metaphorically beautiful-- even slightly funny-- about living inside a locked groove, dancing with nobody. The last five years or so have been filled with music that feels haunted by an unresolved moment or looks at the past from a crooked perspective. The Ghost Box label has been consistently good at making jigsaw puzzles from cultural memories; Ariel Pink's grotesque soft-rock finally has an audience-- even music by a producer like Burial relies on the intrusion of a voice that sounds more part of history than the present, something reaching forward from a time we thought was gone. Kirby isn't unaware of what he's doing here-- everything he's put out in the past few years plays around with these ideas directly, down to his choice of titles (2009's Sadly, the Future Is No Longer What It Was being the most impressively gymnastic). Even calling himself "The Caretaker"-- a reference to the endlessly recurring ballroom parties of The Shining-- feels like an effort to suss out the inherently psychedelic properties of memory.

Bliss reminds me of Ekkehard Ehlers' "Plays John Cassavetes 2" and Gavin Bryars' "Jesus' Blood Never Failed Me Yet", two pieces that transcend high-concept nostalgia. "Cassavetes" is a layered loop of the opening string figure from the Beatles' "Good Night", and the Bryars piece-- which was explored in a column here last year-- is a loop of a homeless man singing a hymn as an orchestra gradually builds behind him. In both cases, the actual amount of musical material is relatively small, and the "work" done on the part of the composer is minimal-- even Bryars' 30-minute build consists mostly of consonant drones. Bryars' and Ehlers' conceptual leap was to wear their moments out as completely as possible. Repetitive music has a way of dissolving a listener's ability to pay attention to it: by the end, Ehlers' and Bryars' pieces sound different from the beginning, but there's no part I can point to in them and say, "here, here's where things change for good." They're constantly changing. They're also constantly returning. With Kirby, the effect is even more subtle and confusing. "Libet's Delay", sounds like it confuses its end for its beginning (or vice versa), and "Mental Caverns Without Sunshine" appears twice, with a two-minute song in-between: It's as though Kirby is trying to trick you into experiencing déjà vu. In all three cases, the source material is music designed not only to comfort, but to sound like it existed before you: hymns, love songs, lullabies. Bliss is eerie because it takes the seduction of those forms and turns it slightly askew; there's something unsettling about the musical equivalent of a permanent smile.

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http://www.mediafire.com/?7b53pd6abk9c6b3
Prurient - Bermuda Drain [Hydra Head; 2011]

This is not the plug-your-ears Prurient you've come to know and possibly love. In the world of 21st-century harsh noise, Dominick Fernow's one-man recordings have been among the harshest, the most physical, the least compromising. Earlier albums, like 2006's hellishly screeching Pleasure Ground, were overwhelming floods of feedback and heavy psychic ugliness. Like the earliest industrial music, Prurient's records were more than sonically off-putting. They felt pained, beyond urgent, the product of some need to loose inner turmoil into the world, coming as much from Fernow's body as his machines.

Bermuda Ground isn't just pleasant by contrast with Prurient's old unholy racket. It's often actively enjoyable, albeit in a decidedly creepy way, rooted as much in familiar retro-rock moves as formless face-eating noise. Perhaps it's down to Fernow's time playing in the decidedly more accessible and anthemic synth-pop/post-punk act Cold Cave, but Bermuda Drain is full of distortion-free keyboard, perverse disco beats, moments of beauty, even hooks. Especially for those who feel they get enough aural abuse just walking down city streets, it's the first Prurient record they might throw on for reasons other than testing their pain threshold.

Which isn't to say it's accessible, necessarily. It may owe more to the creeping dread of old synthesized horror flick scores than the splatterpunk intensity of exploitation gorefests, but Bermuda Drain still opens with the kind of scream and fried-circuit blast designed to clear the room of everyone but the hardcore. When he's not roaring like a metal frontman let loose on a rave tune ("A Meal Can Be Made"), Fernow's whispering in a way that feels intimate in a decidedly uncomfortable and icky way. And song titles like "Let's Make a Slave" should let you know that Fernow-the-songwriter isn't exactly penning happy-go-lucky new wave here.

Fernow's shrieking and quiet-loner monologues also give Bermuda Drain a real sicko intensity that's been lacking from the recent glut of "dark" early-1980s synth stuff. He has the sound down, somewhere between Factory Records sturm-und-drang and grotty old VHS-tape slasher soundtracks, but you could never accuse Bermuda Drain of being a slick or faceless attempt at mere nostalgia. Like the earlier Prurient records, it comes from a dark and personal place, less an exercise than an explusion. Fernow wants to shake you up, unnerve you, make you understand just how fragile "beautiful" music is, rather than simply make sure he gets the synth tones period-perfect.

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http://www.mediafire.com/?8141zp1xr43r23n

[gospel]

Elder Cunningham is pretty funny regardless of where you come from.

Yeah, it's all pretty funny regardless, I just meant there are subtle nuances to the humor that are more difficult to pick up on if you're not intimately familiar with the LDS Church's particular peculiarities. Still worth a listen.

Are there any that aren't pointed out by Trey Parker et al ad nauseum on their other show (South Park) already? Or by this video?

[imagist42]

In the soundtrack, maybe not. Some of the idiosyncrasies of mission life in the spoken dialogue seemed to be mostly new territory for them, though. Probably not enough to ruin anyone's enjoyment of the thing anyway.

[yop]

great post KurtMcAllister, love "The Caretaker" ,, thanks!

Cut Hands - Afro Noise 1

Whitehouse's William Bennett indulges his passion for Congolese and Ghanaian percussion on a brilliant debut as Cut Hands. 'Afro Noise' is (surprisingly) relatively short on Noise, but heavy on the African rhythms which form the core of the majority of tracks. The drums are largely suffused and rendered with spacious, industrial-sounding reverbs but played with a polyrhythmic, African sleight of groove which has completely got our attention, while the noise element is well tempered and ranges from atmospheric texturing to immersive drones and even more symphonic electronics. We've not had a chance to spend long with this but it's genuinely impressive from initial listens. Make sure to check the samples! TIP!

one of my recent favourites by the unstopable william bennett. highly recommended!!!!

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http://www.mf.com/?wm9v4ofdt5j5qkt

[yop]

Funkbias - Last Forever / Heaven Sent

Swamp81 present the production pairing of Zed Bias and Rinse FM's Funk Butcher. The two work tightly to a sort of tucked and minimal Afro-tek vibe, shuffling and shaking clipped Afrobeat drums and diced tribalist vocal cadences in both instances, and both loaded with Zed's trademark bass weight. You'll love this if you're into Altered Natives, and with killer embossed artwork from Will Bankhead - it's another must-have Swamp81 drop..

funked up beautiful and crazy UKG rooted house tunes!

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http://www.mf.com/?7b73o2zs3wpp7k8




Dam Mantle - We EP

First run of the year for one of 2010's most intriguing production units, Dam Mantle. Starting up the GetMe! label with the 'We' EP, they concoct an ethereal blend of spidery, skittish 808s, displaced vocals and rustic horror vibes, the likes of which we couldn't recall hearing anywhere else. From the top, 'We' rolls up shroomy, twirling arpeggios and Jukin' 808s with a defintively melancholy lilt which permeates the rest of the 12". It's apparent in the swift highlight of 'Meet Me In The Ambulance', where the rhythms roll in and out of 4/4 sequences under moodily grey-skied pads, and there in the lightly shrill dissonance of 'Somnambulate, My Dear' with it's BoC-like pastoral outro, and twystin' the midnight electronic soul of 'Not A Word' with a more fractal yet fluidly jazzy quality. Quite importantly, their sense of funk throughout these tracks is highly nuanced and way more devleoped than so many in their field, bar the actual Juke guys or the likes of Zomby and others, but applied with their own eerie melodies and voices, it's a unique affective brew. Recommended.

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http://www.mf.com/?8b4k3w4oz96daoh




Osunlade - Envision Remixes

When Osunlade dropped "Envision" at the DEMF in 2009, Dixon asked him on stage if he could sign it for Innervisions. Now, 2 years later, Ame and Dixon put their remix hands on the original and it's finally ready to lighten up your summer even more.

excellent deep house tunes...

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http://www.mf.com/?8b4k3w4oz96daoh




The Black Dog - Liber Kult

Almighty return to the floor from revered electronicists The Black Dog. Following the stately, creepily ambient Music For Airports here Downie and Dust x2 take us through a pummelling trip into jet-black UR styled techno and throbbing, jacked up Rob Hood styled minimalism by way of a sweat covered Berlin warehouse. As ever the sound design is perfect, with techno music this brilliant, less is definitely more.

great stuff! i've always been a huge fan of "the black dog" and his new ep doesn't disappoint. enjoy!

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http://www.mf.com/?gt35800a2be25q8



The Kvb - Into The Night

**Limited First Pressing on Transparent Vinyl** Downwards continue to split the crowd with their riveting 10" series, presenting this astonishing slab of motorik depression from The KVB. Klaus Von Barrel, as they're also known, have had a couple releases on FLA Records & Tapes and BEKO DSL, like their Downwrds label mates Pink Playground, but unlike them there's something darker, sexily narcotic and thrusting to their sound. 'Into The Night' is a case in point, with couldn't-give-a-fu*k, glazed-eye vocals heard from behind a wall of Joy Div synths and a bruisingly muscular, meth-fuelled bassline. 'Lost' is perhaps more spacious, mixing everything tantalisingly out-of-reach, but with just enough abrasive guitar to gnash on. Again on 'Hide & Wait' the flanging, fire-and-ice-breathing guitar is upfront, while vocals are half-heard in the murk next to unrelenting drums Stephen Morris would be proud of. Includes 10" x 10" insert. Recommended!

excellent dark/new-wave shoegaze from the Kvb // if you've been following pink playground, tropic of cancer and dva damas then i'm guessing you'll not be disappointed adding this one to the collection...

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http://www.mf.com/?vj52kxed3sk3k4j

[amok]

Go Hiyama's 'Wa' starts out as an airy dub-techno track until a rocket-propelled synth staccato seizes control for a short and intense breakdown. 'Kakeru' and 'Waru' utilize stumbling industrial grooves in best Surgeon fashion, and 'Hiku' is slow-grinding rhythmic sound art. Intense.

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http://www.M/F.com/?8kz70b5as6y1rop

Built on a breaking funk groove, "The Last Wave" instantly takes a unique step from recent Anjunadeep releases and gently builds with cosmic, heart-swelling melodies that twist and turn upwards. Touching on Balearic, comic disco and groove-fuelled house, "The Last Wave" is a summer masterpiece that evokes laidback beach party vibes.

A huge fan of the original track, Bristol's Jody Wisternoff makes a welcome return to Anjunadeep with his clubbier take on "The Last Wave". Still maintaining that Balearic vibe and cosmic energy of the original, Jody's rework ups the energy levels and creates a hypnotic progressive groove that releases itself perfectly when the track drops.

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http://www.M/F.com/?6wqqct3mqm86qc0

If there is a cohesive Endless House sound, outside of the structural and melodic idiosyncrasies of its eccentric guests, then it's one that involves falling through a deliberate and paradoxical temporal wormhole. Our ambiguous provocateurs have sculpted the sonics of a post New Gold Dream Kraftwerk. This is the sound of all those heady dreams of utopian 80's pop music – the conceptual conceits of ZTT finding their brief realisation in Propaganda, the European grandeur of The Associates and Yello – the entire history of house and techno giving birth to the very sound that in this world originally gave birth to them: a simultaneous pre-and-post-Trans-Europe Express. But this is also filtered through an, if not exactly lo-fi sensibility, understated production – clipped and slightly muted beats, synths hovering just on the edge of distortion – the ludicrous fragility of Kantor's dreams transplanted on to the very texture of the music itself.

(full review)

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http://www.mediafire.com/?0dya8zchvu1q50r

[amok]

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http://www.M/F.com/?nqatkbww3gmjov5

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http://www.M/F.com/?v4tx3hh4z1f5ttd

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http://www.M/F.com/?4kkpo7n2em9bha4

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http://www.mediafire.com/?931zph97da734hc

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http://www.M/F.com/?6gbrol4z5yidbro

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http://www.M/F.com/?hy7o1jeri2w3sed

[yop]

amok Excellent share mate! This is exactly what i like.. thank you!

Lone, Pearson Sound and Four Tet come correct for a third Radiohead remix session sprung from 'The King Of Limbs'. Frontside Lone remixes 'Feral' as a humid simulation of hybrid Funky/Techno drums with a cascading waterfall breakdown and pharmaceutically synthesized vibes all the way. Heading further out, Pearson Sound's Scavenger remix of 'Morning Mr Magpie' spreads out the intro of pastoral, glistening synth washes and tentative subs before balling into futurist FunkyXFootwork mechanics. Most impressive, however is Four Tet's 'Separator' remix, gliding Thom Yorke over warm and woozy synth convections and shuffled Drag rhythms. Smart.

digital flac // another three fine radiohead remixes

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http://www.mf.com/?gcgb2f4237mr4t2

[Nappuccino]

I noticed a severe lack of Owen in this thread and, as such, I feel compelled to bring you two of Mike Kinsella's older releases under this title.

Owen- Self Titled  320kbps


Allmusic says:

This self-titled release is comprised of nine songs recorded at Mike Kinsella's own home studio, using his own equipment. Kinsella also performed all the music, did all the mixing, and recorded the whole thing. Despite what many might think, it all sounds very good....his voice is the carrier of the infectiously morose tales which only a Kinsella is capable of weaving.

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http://www.M/F.com/?15su2rzqw4nuhls



Owen- I do Perceive 320 kbs



Allmusic says:

Mike Kinsella continues as Owen on his third full-length, I Do Perceive, out on Polyvinyl. Kinsella constructs sensitive, emotional music, showcasing nice hooks and skillful guitar picking against electronic and acoustic drumbeats. Whispery vocals crack from exhaustion throughout I Do Perceive -- dramatic words weigh physically on Owen to the point where Kinsella can barely get anything out. The music is in the emo-indie rock camp with the likes of Pedro the Lion and Dashboard Confessional, songs of relationships and longing with melodramatics included. Kinsella is most successful when he changes up the structure and instrumentation within a song. "That Tattoo Isn't Funny Anymore" and "Bed Abuse" are standout tracks with interesting time changes and lush switches from solo acoustic guitar to full band atmospherics. I Do Perceive is more of the same from Owen -- a decent, melancholy release that stands up with others from his discography.

Punknews.org:

every so often, something comes around that makes you realize just how much you love music. This year, for me, it is Owen’s I Do Perceive.

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http://www.M/F.com/?15su2rzqw4nuhls

[sean]

you know what, owen kinda sucks

[Nappuccino]

Yeah, well... that's just like, your opinion, man

 

[amok]

Yesss more Radiohead remixes. Was wondering when Four Tet would show up on one of these.

Glad you like the Monad stuff. Not my usual cuppa tea but the Go Hiyama one in particular is staggering. VIII's out this week

[Scandanavian War Machine]

adrian woodhouse is the fucking man, man! you're my hero!

everybody download fnessnej's "Stay Fresh, ey" if you don't already have it because it's one of the best albums ever fucking made. it's like The Octopus Project but actually clever and talented, and not boring.

downloading the new one right now; can't fucking wait


 

[Nappuccino]

I've got a bit more Owen for you all. These are some of his latest releases and, if you were very turned off by his first solo album, I recommend giving these a shot. The music carries a similar vibe, but it is also more refined and his vocals are presented better. I've provided youtube links so you can easily see if its your cup of tea before downloading.

Owen- Abandoned Bridges 7": 320kbs

-Includes a Cover of Wilco's "I'm Always in Love"

http://www.youtube.com/watch?v=cFwqb5DDyv4&ob=av2e
http://www.youtube.com/watch?v=IwEYqZjFYBw

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http://www.M/F.com/?228vg72b06pzsat

Owen- O' Evelyn 7": 320kbs

-Includes a cover of The Smiths' "Girlfriend in a Coma"

http://www.youtube.com/watch?v=WkHJ00SOSEo
http://www.youtube.com/watch?v=whirV-9UgPs&feature=related

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http://www.M/F.com/?csxg9svcff6nb4a

[Nappuccino]

Oh man, I really loved her first album. Some of the songs were a bit too similar but there were some great standouts. Downloading that new one as we speak, thanks!

[alli]

Little Dragon - Ritual Union

http://www.youtube.com/watch?v=yditHU77U6E&feature=related

Code: [Select]

http://www.mediafire.com/?ufx63hm29n9aaig

[yop]

Sam KDC - Symbol #3

With releases under his belt for 31 Records and Channel 82, Sam KDC turns up on ASC's Auxiliary series with three Ambient/D&B hybrids. A-side fluidly segues from dense halfstep pressure to a widescreen ambient roll off textured with delicate field recordings. Flipside he inverts the formula, exploring illusory ambient environs before a cavernous Reese bass floods the senses and flickering, Burial-esque voices emerge from the ether. Support from Synkro & Indigo, Commix, ASC, dBridge, Mary Anne Hobbs and more.

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http://www.mf.com/?bhsboc8lo3caipt



Various / Mordant Music - ModernismuseuM / MMegaplekz

*Gargantuan 40 track compilation packed with previously unreleased material from Shackleton, Vindicatrix, Ekoplekz, Mr Maxted and Baron Mordant, plus a 76-minute mix by Ekoplekz!!!* MMassive 42-track compilation of previously unreleased and classic Mordant Music material spanning a decade and fifty releases, including exclusive tracks from Shackleton, Vindicatrix, Mr Maxted and Ekoplekz plus excerpts from the Misinformation DVD. In case you're under any disillusion, Mordant Music is surely one of the UK's most vital imprints, a much needed outlet for eldritch expressionism from the badly-cut fringes (the interesting bits) of Blighty's musical freaks and wyrdos. Any musical magpies should be instantly checking for the two previously unreleased Shackleton tracks produced around the time of his seminal 'Stalker' 7"; the brittle, 8-bar rhythm & noise rituals of 'Western Graveyard' and the gothic-Techno of 'Handle' are stone cold essentials. Meanwhile, we scan a stack of Mordant Music material including tracks from their crucial 'The Tower' series, the primal songcraft of Dennis Greenridge, and Mr Maxted's lush 'And That Became', plus a bleak instrumental from Vindictarix and two unreleased tracks by Ekoplekz additional to his FX-mottled MMegaplekz MMix. It's an absolute bargain, MMate!!!

Code: [Select]

http://www.megaupload.com/?d=S7J06DD8
http://www.megaupload.com/?d=16AHQJ2X



Bibio - T.O.Y.S.

Warp's usually melancholy electro-folkster struts out all raunched-up and humming of sexed-up synths, guitar and sax on his "break-out" single 'T.O.Y.S'. At the top 'Take Off Your Shirt' hitches his tight jeans for a proper rocking pose, before 'You Were Right' switches the dial to slow-flowin' robo-boogie with full on vocoder and crashing syndrums very much in the same vein as the Ford & Lopatin album. Flip her, and 'Chancylvania' cocks a leg over old-spiced keytar riffs, saucy French gynoid vox and fluttering pads reminding of recent Squarepusher outings. Topping it all off is a stadium-ready reprise of 'Take Off Your Shirt' for fans of Phoenix.

Code: [Select]

http://www.mf.com/?z6lob3fsizcutkc



Beastie respond / Blawan - Syncopy

Dark and techy 'step material from Beastie Respond, including a colossal Blawan remix. We'd have to align the anomalous folk-dub melody and quicksilver 'step of the original 'Syncopy' with recent productions from ASC or Synkro & Indigo, but the flipside is truly something else. Carved from heaviest Techno substance, Blawan augments it to a 126bpm velocity with impacting Berghain-style drops and a bassline heft weighing in next to Dettmann or Scuba's heaviest hydraulicks. One listen and you'll be bitten. TIP!

Code: [Select]

http://www.mf.com/?omy9t2a5liawyu1



Photonz - Lamborghini Funk / Xabregas

Non-standard, roguish House creations from Portugal's ace Photonz duo. 'Lamborghini Funk' is the 2nd release on their One Eyed Jacks label, after last year's brilliant 'Aquarian Ball' romp, and features three skilfully skewed but damn effective DJ tools. That title track is the slowest of the lot, working out some crooked 110bpm swingjack akin to Zomby or Actress, while 'Xabregas' conceals a genuinely potent acid rave riff amidst uniquely finished and shifty rhythm construct. Don't sleep on this one! Flipside is dominated by 'Cascade', again deploying those sheer-finished closed hats and bobbling toms wrapped with uplifting bass surges and a matrix of tangled bleeps. The mastering finish is so brittle and plastic but lush, it reminds us of that ace Lando Kal on HotFlush, and comes recommended to all.

Code: [Select]

http://www.mf.com/?y53383o4xkaqp2h

[yop]

Bitchin Bajas / Faceplant - Split

**Split LP from Bitchin Bajas, the synth-driven solo project from Cave's Cooper Crane, and the hitherto little-known Faceplant.** Crane's last release, on Important Records, coincided tellingly with their reissue of JD Emannuel's new age masterpiece Wizards, and the comparison between the two artists continues to hold firm: opening up his side of this new 12", 'Consciousness 1' and 'Consciousness 2' are masterful studies in utopian kraut psychedelia, glazed organ arpeggios buffeting against a gently undulating backdrop of melodious drones - reminding us not just of Emmanuel but also modern-day standard-bearers like Lichens, Emeralds and Gavin Russom. Wiggy as you like. For us, the real revelation is Faceplant's side. If the soundly beat-led 'Ride The Ether' and 'Dickie Domecon' owe a debt to Germany, then it's to Kraftwerk in block-rocking mode. The former is a beautifully chewy slice of contemporary minimal wave, reminding us a little of vintage Tara Cross or Peter Bonner - proto-electro revisited with post-electro wisdom. With its squiggling acid accents, minimalist 808 patterns and persistently whumping bassline, the wonderful 'Dickie Domecon' wouldn't sound out of place in an early Chicago house mix; it's a stone-cold killer. And yeah, we're definitely going to be watching Faceplant closely from now on. A fine split this, which crucially amounts to even more than the sum of its excellent parts.

Wonderfully deep kosmische psyche-drones courtesy of Cooper Crain (CAVE) aka Bitchin' Bajas. On the flip Faceplant (aka PEAKING LIGHT's Aaron Coyes) delivers percussive psyche-trance beats with an ace dubby echo feel throughout. Muzik direct to the third eye!

Code: [Select]

http://www.mf.com/?bntp9x292jtady6

[flaschenpfand]

amok, this Monad stuff is delicate!

[youthcant]

I posted These Are Magnet's first LP a couple of years ago. Intricate, melodic, full forced DIY indie rock, left to soak in a blues bath.  Hints from different genres are abundant, well played and effortless. Without a dull moment, TAM's newest release "Tiny Baby" is a repeat performance, featuring new jams, a cover and all the same radical techniques previously exercised.



bust it up, and bust it out
http://thesearemagnets.bandcamp.com/album/tiny-baby

[strangerdanger]

Wild Flag - Futre Crimes b/w Glass Tambourine
Record Store Day 7 in.

Code: [Select]

http://www.M/F.com/?8x0o5obhe3hj85c

[JD]

holy shit yes

[amok]

Code: [Select]

http://www.M/F.com/?1is1luo9xvxs9wo

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http://www.mediafire.com/?yodtdusaee5yv9s

[strangerdanger]

Feat. Members of Islands/Unicorns & Man Man.

Code: [Select]

http://www.m/f.com/?n75owld72rb2mb4

[JD]

aren't those the guys micheal cera was hanging out with

[Catacombs]

Rules:

The first rule of this thread is you do not mention MF.  I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.

The second rule is don't talk about the MF thread.

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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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.

[TheFuriousWombat]

aren't those the guys micheal cera was hanging out with

He played bass on tour I think. I don't think he plays on the album. It's really just Honus Honus and Nick Diamonds (Nicholas Thorburn) plus some guy from the original Shins lineup.

[JD]

Cool I love Diamonds

Here's an EP my friend(in collaboration with another dude) released the other day.

Skeleton Zoo - Busride EP

Code: [Select]

http://skeletonzoo.bandcamp.com/
Blippity bloopity music reminiscent of The Avalanches and Handsomeboy Technique

[yop]

Andras Fox - Your Life EP



Smooth and jazzy house cuts.

Code: [Select]

http://www.mf.com/?7at17d2fb56m3yj



Ayatollah - Fingertips



In the world of instrumental hip-hop, Ayatollah needs no introduction. Since making his name producing tracks for hiphop icons like Mos Def, Pharoahe Monch, Sean Price, Rakim, Ghostface Killah, and Talib Kweli, the New York beatsmith has turned his attention to vocal-less music. Musically, Fingertips reflects the gritty sound the producer has become known for. Horns blare, drums pound, basslines rumble, and vocal snippets drift in and out. It’s raw, it’s cutting edge, and it’s soulful.

Code: [Select]

http://www.mf.com/?9pcod07gd7x06hk



Afrikan Sciences - Means and Ways



After producing some of the most cosmic soul juggling tracks of the last decade Afrikan Sciences has finally woven together a full length. Already receiving early run from likes of Gilles Peterson Means and Ways is a watermark of rhythmic freedom. True to previous Afrikan Sciences escapades rhythmic rules are re-programmed, and tuned to cosmic frequencies. These are sounds that you need not attempt to control. Ease yourself open your mind, and let the imagination take the wheel.

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http://www.mediafire.com/?he8mn0y9682v70o



Shafiq / Om'mas Keith - LA Series 0/10



All City draw a surprise ace from their sleeve with a split platter from Sa-Ra's Shafiq Husayn and Om'Mas Keith. Shafiq drops a fractal blend of beats, frayed vocals and loose electro-jazz vibes on 'DNA - The Splice Mix', for that mad psyched LA sound. Flipside Om'Mas takes it to the club with bubbling future R&B vibes on 'The Girl Is a Player', flipping the typical HipHop player thing on its freshly crimped weave. Slick and very crafty. Includes instrumental and acapella.

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http://www.M/F.com/?n08crv4iyi87tsn



Vondelpark - NYC Things And NYC Bags



Vondelpark's second EP for Belgium's R&S proves this young producer/artist from London is a very talented chap indeed. At its middle a yearning Young Marble Giants/XX minimalism; great wide spaces where guitars roam, keys sparkle and bass fondles. A soulful, romantic record, surely bigger things await.

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http://www.mf.com/?g2dt6f1r0boxk3n

[Mr Fantasy]

Fela Kuti - Opposite People/Sorrow, Tears & Blood




The two albums included on Opposite People/Tears of Sorrow book-ended the Nigerian army's deadly raid of the Kalakuta Republic, Fela Kuti's self-appointed independent state domicile, and Kuti's hostile feelings toward upper-class Nigeria are prominent on both sessions. Opposite People, recorded between 1976 and 1977, is brave and brassy, beaming with an almost joyful defiance on the title track. This album isn't particularly outspoken, focusing on the celebration of freethinking and only referring to politics through a metaphor about pants (yes, pants). But Tears of Sorrow, the first recording released after the Kalakuta's capture, is fiercer; the band's sound almost seeming to drip blood. Slower and more persistent, the ominous grooves here no longer bother with metaphor, crying out bluntly, "some people lost some bread, someone just died...them leave sorrow, tears, and blood." Alongside Woody Guthrie's Struggle, this is as stirring as musical social protest gets. "Sorrow Tears and Blood" boils over with Fela's singing and the frantic call-response of horns and chorus; the scattering sounds of people fleeing a police-and-army attack. And "Colonial Mentality" calls for a united Africa to stand up against its widespread leftovers of imperialism. The entire collection is chock-full of Kuti's distinctive polyrhythmic orchestra-funk in top form.

Code: [Select]

http://www.mediafire.com/?ss1jpz45xwjj35s


Mr. Projectile - Pug Times



After a confident existence on MP3.com and a few compilation appearances, Minneapolis’ Matthew Arnold finally releases his debut l.p. Pug Times on the celebrated Toytronic label. Based on the
few tracks I’d already heard online, I was generally prepared for greatness from Pug Times but I had no real conception of just how great it would be. For anyone who has pondered the meaning
of the word “dance” in Intelligent Dance Music, I challenge you to listen to Pug Times. First, I must say the production is fantastic, displaying Arnold’s obvious abilities to compose mature, accessible,
and highly enjoyable electronic music. It would be difficult to choose stand-outs here but one that certainly comes to mind is a beautiful remix Matthew did for Astronauts Wife call “Cape Canaveral”,
which was wisely included in this release. This is brilliant electronica, not overly complex or experimental, but full of warm, flowing melodies, sharp, addictive beats, and memorable bass and
synthlines. Each track has its own unique personality; building and expanding upon existing patterns, while signature beats compliment each melodic note. Mr. Projectile will certainly shine as
one of the bright new stars in the current idm scene with the release of this outstanding l.p. and without the stigma of being another Autechre replica. Highly recommended.

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http://www.M/F.com/?l9kn9w4lfj2fern


The Blue NIle - Hats




Five long years in the making, the Blue Nile's stellar Hats was well worth the wait; sweeping and majestic, it's a triumph of personal vision over the cold, remote calculations of technology. While created almost solely without benefit of live instruments, it is nevertheless an immensely warm and human album; Paul Buchanan's plaintive vocals and poignant songs are uncommonly moving, and his deployment of lush synth washes and electronic percussion is never gratuitous, each song instead crafted with painterly precision. Impressionistic and shimmering, tracks like "The Downtown Lights" and "From a Late Night Train" are perfectly evocative of their titles: Rich in romantic atmosphere and detail, they conjure a nocturnal fantasy world lit by neon and shrouded in fog, leaving Hats an intensely cinematic experience as well as a masterpiece of musical obsession.

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http://www.M/F.com/?4xt72c29r5hxi49


Blueshift Signal - Seven Natural Scenes

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http://www.M/F.com/?brz47hhbcaehrdl


Pele -Teaching The History Of Teaching Geography




Musically ambitious -and relentlessly productive- members of related bands such as Vermont, Promise Ring, and Collections of Colonies of Bees have drifted in and out of this loose Milwaukee association.

Pele welds a sturdy and poised rhythm section to springy melodic energies typical of banjo and picked guitar, and the expansive possibilities of a full spectrum of synth and oscillator textures.

This, their first (wordless) album, is consistently bright, and its tracks swell again and again with catchy arpeggiated chords and warm, tuneful harmonic slashes. Supremely likeable, it is well-worth having for those at all interested in this broad genre. The UK release on Rosewood Union adds three remixes, including two from the "People Living With Animals. Animals Kill Peolpe" record. Pele also has several subsequent releases, including the albums "Elephant" and "the Nudes"

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http://www.M/F.com/?bnh9gm93r3k52nn


Susumu Yokota - Sakura




Multi-talented producer Susumu Yokota returns to the ambient realm with the beautiful and diverse Sakura. When he indulges his fondness for pop hooks with his dancefloor material, Yokota's melodic choices are glossy and extroverted, but his music for home listening is focused, controlled, and deeply internal. His knack for blending traditional instruments like guitar and piano with simple electronics harks back to ambient music's birth in the mid-'70s; at times Sakura recalls the work of pioneers like Brian Eno, Cluster, and Manuel G ttsching. The icy "Saku" sets the meditative tone on Sakura, with gentle, winding guitar lines, relaxed synthesizer oscillations, and plenty of breathing space for the minimal instrumentation. Beats make their first appearance on "Uchiu Tanjyo," as smooth, semi-tribal hand drums blend organically with the repeating keyboard figures. "Genshi" adds house drum programming to the brew, and Yokota's knack for reflective electronic melody on the track rivals the best of Kraftwerk. Both "Azukiior No Kaori" and "Kodomotachi" use vocal samples to haunting effect, bringing to mind the favored techniques of Nobukazu Takemura without direct reference to machine glitches. The flow is marred by a misplaced jazz cutup ("Naminote"), but Sakura possesses an austere beauty and should not be overlooked.

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http://www.M/F.com/?1v1aljyg8jgdf4u


Michael Tippett - Music for Strings



A composer who came to music relatively late in life, Sir Michael Tippett has come to be regarded as one of the most original and important British composers of the twentieth century. Tippett brought a highly individual interpretation to twentieth century neo-Classicism, writing in all the principal genres. His compositions are characterized by a strong rhythmic vitality and a complexity of the basically tonal harmonic language, and were a vehicle for the articulation of his personal views of philosophical, social, and personal issues.

In 1953, the Edinburgh Festival commissioned Michael Tippett to compose a piece for the tercentenary of the birth of Arcangelo Corelli (1653-1713). Some 12 years earlier, Tippett had completed a Fantasia on a Theme of Handel for piano and orchestra, but the youthful work (youthful, at least in terms of Tippett's career) is less successful than this more mature Fantasia Concertante on a Theme of Corelli. Also, for the Corelli Fantasia, Tippett calls for only strings, forgoing the percussive sound of the piano. Tippett completed the piece in three weeks, shortly after finishing his opera, The Midsummer Marriage. Tippett bases his Fantasia Concertante on two disparate melodic ideas from Corelli's Concerto Grosso in F major, Op. 6/2, taking the Adagio theme and splicing it to a later, Vivace passage. Tippett maintains the divisions that are an important feature of Corelli's Concerto: the concertino, consisting of two violins and cello; the concerto grosso, which is the larger part of the orchestra; and a concerto terzo, representing the part of the sound performed in Corelli's orchestra by the basso continuo.

Code: [Select]

http://www.M/F.com/?l11llibkdkb31lk

[SSPKR]

Mr. Fantasy: Your Fela Kuti link is actually for an album by a band called Terrorizer.  I was looking forward to the F.K., but can't really say I was psyched about Terrorizer.

[Mr Fantasy]

Fixed.

You should totally get the Terrorizer album too, though.   

[Annielvl]

My first post!

Buke and Gass - Riposte 2010

Code: [Select]

http://www.m/f.com/?e2zhsba682my58d
Pitchfork:
Some of what makes Buke and Gass so unique is borne of need-- a need to sound like a full band despite having only two members; a need for singer Arone Dyer to find a physically comfortable instrument to play that won't aggravate her carpal tunnel syndrome. Yet the Brooklyn duo's approach to music making goes far beyond simply finding solutions to these problems. Dyer plays a modified baritone ukulele (the "buke" in the group's name) that, yes, is smaller than a guitar, but her cohort, Aron Sanchez, also plays a bastardized instrument (the "gass," Sanchez's own Frankenstein melding of guitar and bass) for no other obvious reason than the fact that he can. Percussion is taken care of by drums and bells operated by the pair's feet, yet Buke and Gass purposefully abstain from utilizing prerecorded loops.

As you might imagine, all this ingenuity and rule-breaking engenders a noise that's quirky and bracing, and those are the hallmarks of Buke and Gass' debut album, Riposte. Dyer and Sanchez feed their respective buke and gass through amps and pedals, creating a buzzing, springy sound that brims with kinetic restlessness. Meanwhile, the foot-propelled percussion monolithically thwacks away, lending the duo's music an austerity that belies its post-punk roots (groups like the Ex, Swell Maps, and Theoretical Girls are some of the main spiritual godfathers here). Dyer's voice easily gets swept up in this nervy momentum, her girlish yelps often evoking Karen O. So twitchy and bursting with ideas are Buke and Gass that their songs have a tendency to jump abruptly from one passage to the next without ever finding resolution or an anchor, and it causes a measurable chunk of Riposte's middle to blend together into something indistinguishable and a little wearying.

When Buke and Gass manage to focus their energy, however, the results are positively arresting. Standouts are several, starting with the opening "Medulla Oblongata", with its evocative lyrics and Dyer's breathless repetition of the words "danger doctor" (the album's strident, clinical lyrics are occasionally clumsy but actually suit the music well). Other highlights include the hypnotic, circular repetitions of "Sleep Gets Your Ghost", the fervent, psychosexual "Bundletuck" ("These days you wake up in a bundle of orgasm"), and the winking "Outt!" ("Everybody here is out to get you"). Dyer and Sanchez are the sort of artists who will continue to challenge themselves at every turn. As long as they can keep that boundless creativity from going in a million different directions at once, their listeners will reap plenty of rewards.

[Annielvl]

when you post the link, how do I get it to be in that "Code:" box?

[smack that isaiah]

type "[ code ]" before it and "[ /code ]" after it (without spaces between word and brackets).  or click the # above the policeman smiley and type between the code tags that show up

[Algernon]

Hey guys!  Just dropping off some new stuff.



Stephen Malkmus and the Jicks - Mirror Traffic (2011)

Code: [Select]

http://www.mediafire.com/?ht54887owme26vb


Blitzen Trapper - American Goldwing (2011)

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http://www.M/F.com/?2fak4dyyvlkq722


Girls - Father, Son, Holy Ghost (2011)

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http://www.M/F.com/?iybwb9abko31fhp

[KurtMcAllister]

Hecker - Sun Pandämonium [Mego; 2003]

Finally, an album that takes one giant step toward tangibility. On the eight tracks from the difficultly brilliant Sun Pandämonium, Hecker explores all available colors of sound. With his laptop wizardry, virtually every sound is stripped of contextualization and is manipulated so the listener feels the varying gravity of the music. Listen closely to track three and you'd swear that this is a recording of music consolidating into the middle of the room and then plopping down on your bedroom floor. At one moment, the electronic dust seems to float in a stagnant bliss-- another moment, the dust morphs into polychromatic marbles that drop to the ground and bounce all over the place. It's as if you are viewing sound from different angles, and if you were to swipe your hand through the air, you'd collect tiny dust particles of sound. Easy listening it's not. In fact, it's one of the most difficult albums I have heard this year, but that doesn't imply drones and moans or static minimalism. The dynamic range is enormous and the tessitura (range of tones) is virtually endless. Whereas some electronic albums require immense concentration, Sun Pandämonium doesn't need an active listener -- it thrives on its ability to frighten and surprise, engaging you with the music whether you like it or not. It's non-negotiable, uncompromising, but I guarantee you'll love every minute of it. Electronic music for those suffering from Attention Deficit Disorder? I think so. One of the best electronic albums of the year? I know so.

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http://www.mediafire.com/?e1k5vpr3b2cafha

[youthcant]

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http://www.mediafire.com/?2ra3ftc98xxoisqthis is my drunk cousin-in-law mix for you. you would boo-hoo abunch about some hipster loud jams or metal-core, but i’d forget about it if i were you.

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http://www.mediafire.com/?vw001gqfgs4e4yisomething for you to cry about. a mix about losing faith and walking down empty stairwells.

just treat them as samplers. check the artists out.
cover art done by othernathan.

[TheFuriousWombat]

Liz Harris (aka Grouper) - Mirrorhall Pt. 1: Jeweled Light

A single, 66 minute long piece that originally served as the "soundtrack" to a piece of video art that was included on a dvd along with an art book of pieces by Harris titled Divide. A glorious piece of tape collage, piano, guitar, field recordings, and voice. Reverb drenched and static washed, distant yet intimate, melancholy yet beautiful. Originally posted on my blog, hollowpress.blogspot.com

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http://www.mediafire.com/?2aoyx3b2x85buxi

[JD]

Dengue Fever - Cannibal Courtship

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http://www.mediafire.com/?vzrfus70l6l0zpy

[valley_parade]

What in the FUCK is that Jazzmaster doubleneck thing?

[Daft pun]

Something old,

Bauhaus - 1979-1983, Volume Two

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http://www.mediafire.com/?il62y24x15xnyb6

Understandably complementing the first volume, 1979-1983: Vol. 1 is as similarly bereft of any sort of packaging notes as its predecessor, but is also as successful at pulling together many of Bauhaus' best moments from its later career into one knock-your-socks-off release. More Mask numbers crop up here -- two funk-heavy groovers ("In Fear of Fear" and "Kick in the Eye"), counterpointed by the slow, haunting "Hollow Hills." The Sky's Gone Out is cherry-picked for some of its best moments, including "Swing the Heartache" and "All We Ever Wanted Was Everything," though the version of "Spirit" is the less effective single re-recording rather than the dramatic album take. Rather tellingly, only three songs from Burning From the Inside are included -- "She's in Parties," the David J-sung "Who Killed Mr. Moonlight?," and the Daniel Ash number "Slice of Life." Added to all of this are the peerless covers of "Ziggy Stardust" and "Third Uncle," a couple of ringers from earlier in the band's career ("Satori" and "Crowds"), stand-alone singles "Lagartija Nick" and "The Sanity Assassin," and one honest-to-goodness rarity, "Paranoia Paranoia," a radical dub reworking of "Silent Hedges" that's just as good as the original in its own unique way. In all, a great overview of the latter years of a great band, at least in its original career.

and something new.

Pallers - The Sea Of Memories

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http://www.mediafire.com/?3eu47umm28fdkkj
Swedish balearic synth-pop, recommended if you like Air France, Radio Dept. or JJ.

[Mr Fantasy]

Thomas Feiner & Anywhen - The Opiates

The Opiates opens like a journey on [ The Siren Songs ] an anxious orchestra buoys the captivating baritone of singer Thomas Feiner. But Feiner takes a powerful turn at the chorus when, instead of fighting, he succumbs to the sirens, letting himself drown. This sets the tone for an album that’s stunning in its beauty – and that once lay on the brink of disaster.

2001’s ” The Opiates ” was the band’s third full-length, and its last. With support from their label, Clearspot (run by Andreas Schaffer), the band constructed its own simple studio in two basement rooms in Gothenburg. But while the album began as a group effort, the band dissolved in the two years it took to complete – leaving Feiner to finish the project alone.

As the project progressed, it became apparent that we all had very different ambitions. I was the person most committed to making this record, and as it became obvious that the band members had grown apart – without conflicts or harsh words – I remained alone on the project most of the time, occasionally assisted by drummer Kalle and bass player Mikael.

The band’s new studio lay empty having played out its role, and eventually Feiner moved the recording to his own graphic studio – A stately heavily ornamented place, perfect to go crazy in. As he recalls, “I worked and slept during the days, and made music at night, when the building was empty.

I think I suffered some kind of burn-out during this period. Being around people had always caused me some tension and discomfort, but this time the problems took on new dimensions. When I went to Warsaw for the symphonic session, I was a nervous wreck… On the other hand, musically this was one of the greatest moments for me.

The final album is intoxicating yet unsettled, a wanderer’s record that loses itself on the way. On the Scott Walker-like ballad Dinah & the Beautiful Blue, Feiner tests his lowest register over the brooding strings of the Warsaw Radio Symphony Orchestra.

Atmospheric ballads blend seamlessly with more traditional rock songs such as ” Mesmerene “, and the album’s romantic impulses temper its intricate arrangements – like the swirling woodwinds and delusional guitar of “Postcard,” or the gentle woodwinds on “Toy,” which echo Mark Hollis’ self-titled album. And while the lyrics of closing track “All That Numbs You” ridicule a quiet suburban life spent hiding behind fences, Feiner’s narcotic delivery sounds curiously sympathetic.

Here are the 2001 original and 2008 re-release. They're very similar but each has songs the other doesn't.

2001

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http://www.mediafire.com/?t56s34m28lofa5a
2008

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http://www.mediafire.com/?duaf7q0gb9zld8u

[spoon_of_grimbo]

Dan Andriano in the Emergency Room - "Hurricane Season"

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http://www.M/F.com/?7oq8ee8qftx2hpp
Following up a brief solo venture in the form of an earlier split EP with ex-Alkaline Trio/Smoking Popes drummer Mike Felumlee, Alkaline Trio bassist/co-vocalist/co-songwriter/generally all round totally underrated and awesome chap Dan Andriano has finally gotten around to releasing a full solo album.  Beautiful acoustic-based numbers, and the odd Elvis Costello-esque banger show off all sides of the dude's inimitable voice.  Alkaline Trio fans will obviously love this, but it's far enough removed from that style that those who aren't Trio fans should still give this a go, as the guy's songwriting skill and way with a mournful melody are second to none. 

Coupla youtube links: "From This Oil Can" and "Let Me In."

[geodescent]

What in the FUCK is that Jazzmaster doubleneck thing?

From

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http://www.littleratbastard.com/?p=11808
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Dengue Fever Explains Their Custom Instrument, the Mastadong

The LA-based band Dengue Fever is itself a hybrid of psychedelic indie rock and vintage Cambodian surf tunes, so what better to create their music with than a custom, hybrid instrument?  Half electric guitar, half chaipai dong veng (a traditional, long-necked Cambodian guitar), the Mastadong’s equally unusual name was suggested by one of the band’s fans.  Guitarist Zac Holtzman is constantly asked about it at Dengue Fever’s live shows, so he made a short video to explain the instrument.