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[TheClickOfALight]

Her Only Presence - A Brand New Start (2009)



Kinsella-esque emo from Barcelona.

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http://www.M/F.com/?vy0l9aeiofvbjnp

[ALoveSupreme]

My friend Matt makes some pretty awesome music.  The weird part is, as far as I know, he's played maybe 3 shows in the past 4 years since I found out he was recording more.  This fact is always a total bummer to me.  
His voice and composition style is somewhere neatly in between Randy Newman and David Bazan (he has a beautiful, deep voice, his music is often self-satirical, and just as often completely depressing), going between piano pieces, acoustic, and electric guitar (admittedly, the electric guitar tone doesn't sound amazing on this recording).  He also holds it done by using auxiliary instruments to just the right amount of restraint (i.e. flute, accordion, etc).
College Degree and Holy Ground are probably my two favorite bumout tracks, and Katie and I Was a Kid Once for more upbeat jams.  Feel free to check it out!

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http://www.M/F.com/?dx83obab3xgq518

[JimmyJazz]

Eddy Current Suppression Ring: an Aussie garage punk band inspired by the likes of Wire, Gang of Four and the Pagans. If you have a raging boner for any of those groups, check out the two records below

Primary Coulours - Eddy Current Suppression Ring (Goner Records, 2008)

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http://www.mediafire.com/?zytjwyndtfh
Rush to Relax - Eddy Current Suppression Ring (Goner Records, 2010)

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

[MusicScribbles]

Let's Wrestle - Nursing Home

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http://www.mediafire.com/?770qpqssvvb4yxt
How can you turn down a band that sings about being beaten up by Pokémon in dreams only to reward Pidgeotto by punching it in the face?

[valley_parade]

Eddy Current Suppression Ring

These guys are pretty ace.

[kid.chivalrous]

Been lurking for a while now, so I feel the need to contribute.  Let's hope I've dotted all my i's and crossed all my t's


BS 2000 - Simply Mortified (2001)

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http://www.M/F.com/?7i4vsx47w8ue67gIn anticipation of the Beastie Boys upcoming release, why not take a look backward?  BS 2000 is a side project of Adam Horovitz (The King Ad-Rock) and Amery "AWOL" Smith, and is a fine example of lo-fi stoner rap/party music perfect for your next soiree or way too loud on an after-school drive on a sunny day with the windows down after you've just turned 16 and gotten your license  



RIDDIM BOX - EXCURSIONS IN THE UK FUNKY UNDERGROUND (Soul Jazz Records 2010)

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cd1: http://www.M/F.com/?dg365j3v2ifa38z
cd2: http://www.M/F.com/?qkjrd5qkktadbbt
I've really been missing living in London lately, and the remainder of my offers will no doubt affirm that.  With the rise in popularity in Moombahton the east coast of the US has seen lately, some credit has to be given to the influence UK funky has on that particular sound, and although predating the movement, Soul Jazz curates this exeptional compendium of UK Funky.  Most of these tracks could be heard out on the floors of many a party at clubs and warehouses throughout London in 2009 and 2010, with many a funktion1 or martin audio system trying to keep up with all the BASS.
 


Pirate Soundsystem – Trip II London EP (Coin Operated 2009)

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http://www.M/F.com/?fbpgn7fc2yd9720Having had the privilege to DJ a few warehouse parties in Hackney Wick, East London, I can attest from experience that keeping it local resonates with the crowd.  Coin Operated Records specializes in the sort of wobbly, bass heavy, square-wave synthesized, borderline chiptuney, type  bangers which was/still is at the forefront of the east london warehouse sound.  Having seen the effects "Think I'm Ready" or "Heads Out" has on a receptive crowd at 3 in the morning, I can wholeheartedly recommend this EP



Claude VonStroke – Fabric 46 (2009)

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http://www.M/F.com/?16c93kq2kgckbm4Yup, another Fabric mix.  Mixed by Dirty Bird Boss Claude VonStroke, this fabric mix is the best of the bunch in my opinion.  Having been able to do some promotions work with Fabric, and granted free accsess to the club, this launch night was one of the better nights I've had out at fabric (which is saying something, because every night is a treat).  A super funky house mix that can best be described as itchy



Bob Holroyd - African Drug Remixes EP (2010)

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http://www.M/F.com/?ddkzsiybc854z3dAs stated earlier, I've really been missing London.  Pressed by Phonica Records, my favorite record store in London, this EP features a marvelous Four Tet remix that is certainly worth the price of admission.  A slow burner, sure, but quite a burner indeed

[TheClickOfALight]

Gang Gang Dance - Eye Contact (2011)



So that's my/your weekend sorted then.

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http://www.M/F.com/?cpsdzezsnsfr5gn

[De_El]

Awwwwwwww sheeeeeeit

[scarred]

Matthew Cooper - Some Days Are Better Than Others (2011) (256kbps VBR, AAC)



Matthew Cooper is Eluvium. This is a soundtrack. It is lovely.

Some Days Are Better Than Others

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http://www.m/f.com/?shycfnxjl4c4ayh
Sun Glitters - Cosmic Oceans (feat. Steffaloo) / Everything Could Be Fine (2011) (320kbps MP3)



Too Much To Lose

Beat-heavy electronics with hazy synths and vox samples.

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http://www.m/f.com/?g0kmobm8mx4td1q
Evenings - North Dorm (2010) (320kbps MP3)



Friend [Lover]

Sleepy electronic instrumentals.

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http://www.m/f.com/?qwwgbmifxxm38ec

[fireproofpants]

One of the many Record Store Day exclusives.

Radiohead - Supercollider/The Butcher 12" Single (2011)

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http://www.MF.com/?wjhz2vc8g1612yj
Enjoy.

[TheFuriousWombat]

link?

[fireproofpants]

Haha, sorry about that. It's up there now.

[TheFuriousWombat]

thanks!

[yop]

Albert - Albert EP



http://youtu.be/LNenUqNiWlM

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http://www.mf.com/?e60kf2bultry8x7 

[yop]

Fudge Fingas - Now About How

"Now About How" is the highly anticipated debut album from Gavin Sutherland aka Fudge Fingas. A talented multi-instrumentalist who purveys a style of deep house that is hard to pin down but very much his own, Fudge Fingas tracks are invariably emotive, impeccably produced affairs, demonstrating a keen knowledge of electronic music. The fact his music has been included on mixes by artists as varied as Amé and Joy Orbison should hint at the broad range of his musical abilities.“Now About How” is an album that fuses diverse styles, tipping its cap to a world of sounds absorbed over the course of a lifetime. It is the sound of Fudge’s childhood spent learning from his record loving family about the many wonders of 20th century recorded music, filtered through the classic house and techno template which was the soundtrack to his formative years. It’s the sound of how we got to now, and where we might go from here. Fudge Fingas is a man very much immersed in his music. As well as producing he manages Edinburgh’s best dance music record shop Underground Solu’shn whilst also lending his musicianship to tracks by other artists on Prime Numbers such as Linkwood and Trus’me.

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http://www.mf.com/?tg7j5rpqaxa1c7d

[KurtMcAllister]

Polyrock - Polyrock [RCA;1980]


Some obscure new wave, produced by Philip Glass and Kurt Munkacsi. I can't find any reviews, so just check out the tracks Bucket Rider and Romantic Me if you want to make sure you like it before you download it.

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http://www.M/F.com/?20j6sgyaw9mhyqf
Jason Kahn - Dotolim [Balloon&Needle;2010]

In 2006, Zürich-based Jason Kahn visited Seoul for the first time while on tour. During his stay, Kahn befriended fixtures of the Seoul improvisation scene. This composition, Dotolim, was penned for these Korean gentlemen, receiving a 2009 performance in the titular art space. By day, Dotolim is Jin Sangtae's office space; by night, it is the minuscule venue that has since 2008 served as the epicenter of Seoul's burgeoning avant-garde scene.

Written for Hong Chulki (turntables), Ryu Hankil (speakers and piezo vibration), Choi Joonyong (opened CD players), Jin Sangtae (hard disk drives), Park Seungjun (amp with spring reverb), and Kahn (analog synth, short wave radio), Dotolim exploits the unconventional instruments of the aforementioned players and their idiosyncrasies. Kahn "wanted [Dotolim] to emphasize the density of this group of musicians, both in terms of their sound... and of the space itself, which seemed at times barely able to contain the mounting blocks of sound [the group] generated during the recording session." Balloon & Needle's recording actualizes Kahn sentiments into a piece that is claustrophobic, unnerving, and harsh. The mechanical, unorthodox instruments generate tensions seldom espoused by their traditional counterparts. Whether solo or intertwined, deconstructed CD players and speakers do not mingle well nor evoke comfort in even the most experienced of listeners. To confound this unease, at least two players are active at any given time, with many instances of sextet crucial blasts.

But despite this fullness, each scrape, each robotic twitter is discernible. The clarity is so sharp that the listener can follow the score without much effort. While completely detached from conventional theory, Kahn's score of lines and scribbles is effective precisely because of its abstract economy (those encircled stars totally sound like Jin's hard disks). After having sat through the album once, the score transcends its primitive elements. Dotolim's angular squiggles and patchwork of dots take on aural meaning, even while the record is paused. In fact, all of its 70 minutes are enthralling, notably the crescendo commencing at the 40-minute mark. This movement builds for 15 minutes, eventually adding each player into a packed spectrum of inorganic noise, singeing every node of aural sensation, only to end cold into a pianissimo, rhythmic scratch.

And it works wonderfully. Excluding Manual's 2009 compilation RELAY: 2007-2008, no other release features so many Korean improvisers playing at such a high level. Beyond a showcase of esoteric noises, beyond a statement of Kahn's composing skills, Dotolim is an excellent document of the happenings in Seoul, capturing the zeitgeist of Seoul improvisation while presenting these musicians as kindred spirits to the adventures in Tokyo and at loop-line.

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http://www.M/F.com/?923de2e5s3ey0zz

[canardseditieux]

Grouper. You guys should listen to Grouper.

She just released a double album A I A. Each disc is supposed to work both as a stand-alone piece but better if you listen to Dream Loss and then Alien Observer.



Grouper - A I A: Dream Loss

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http://www.mediafire.com/?pqwxeryadp8b3c0

Grouper - A I A: Alien Observer

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http://www.mediafire.com/?6cp9znie5a1z6no

[KvP]

A friend (of Cotton Keys unfame) made some indie electro for shits and giggles and it works quite well, contrary to their verbal hedging. Give it a listen!


Chubby Lover - Puberty is for Weiners

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http://www.mediafire.com/?1n8ciuj6uymdypj

[yop]

Mind blowing tracks - IDM/braindance 

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http://www.mf.com/?nsdl4ntnm3jbd32

[Daft pun]

The Raveonettes - Raven in the grave [2011]

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http://www.mediafire.com/?jub9133g4i4lxy3
Nothing too new here. The same poppy melodies and hooks covered by fuzzy walls of guitar, but now with synths and slowed down a bit. They didn't need to change though, they always deliver.

[ADRIAN WOODHOUSE]

NOAH 23 - fry cook on venus
(sounds like:  indie/rap/anticonish)



pt.1:

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http://www.mediafire.com/?xyiaf98451q3gpd
pt.2:

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http://www.mediafire.com/?1r7ed61c8xdgz2e

[KvP]

Raspberry Bulbs - Nature Tries Again

Black metal kind of falls into two camps – the funereal kind that sounds almost like it’s been rotting in a tomb for a few decades before we get to hear it, or the sort that’s so fast you have to check the speed on yer turntable to be certain. Both are valid and both categorized by the treble-heavy growl and Scandinavian fetishism, and US Raspberry Bulbs definitely fall into the faster category. Black metal’s roots are in hardcore punk, and the Bulbs aren’t afraid to wear this influence on their sleeves. Sure, previous US acts have done similar – Bone Awl for instance write merciless hardcore BM that some say could break the faces of children from ten miles away, but Raspberry Bulbs seem even more punk than metal at times. Sure there’s the snarl that categorizes the genre, but there are songs, there is musicianship and there’s a hardcore lilt to the music that almost wrenches you out of your seat. Somehow ‘Nature Tries Again’ doesn’t sound so internalized, so doomed by decadence; instead it is music to tear down walls, kick through windows and determinedly not drink, smoke or take drugs to. Saying this, I’ve had the record on three times now – just don’t tell the neighbors it was me OK? Highly recommended.

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http://www.mediafire.com/?vawd5oncubd4lew


Gyratory System - New Harmony

You’ve got to hand it to Gyratory System – their flighty, playful electronica is nothing if not unique. This, their second album, painstakingly assembled by producer/trumpeter Andrew Blick, feels in the main like a willfully cartoonish take on the steam-powered industrial cut-ups and avant-electro-funk of Cabaret Voltaire and Test Dept, but there are all kinds of unlikely and beguiling tangents to behold: opener ‘Lost On The King’s Road’ recalls Coil’s forays into rave and the title track is like the collaboration between Wax Stag and Black Dice that you never knew you wanted. Embedded with references to William Blake, 19th century socialist communes and more contemporary political unrest, there’s plenty to get your teeth into, and some of the less self-consciously potty material – ‘I Must Create A System’, ‘Hotel Curious’ – is just divine. It’s rare that albums this erratic and experimental are also such fun.

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http://www.mediafire.com/?efbkkiefz6f0014

[valley_parade]

Somehow I never pictured you as a black metal guy, John.

[KvP]

I'm not, generally! This just sort of sounds like a blackened Flipper, to me, which is cool.

[clockwatcher]

We haven't had this up yet right?

HOW TO DRESS WELL - LOVE REMAINS 320

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http://www.M/F.com/?5869utomh83s6ba
For me, this is what that James Blake record should've been like (I didn't like it - though I know lots of you did)
I'm still not sure i'm in love with this but it's certainly interesting stuff
here's pitchfork.....

If the contemporary R&B slow jam thrives on the tension between earthy sexuality and the spiritual concerns of gospel, How to Dress Well mostly does away with the sex part. The thin recording and distant-sounding vocals cause the physicality of the music to dissipate into a spectral fog, leaving behind music that feels intimate and devotional and ultimately lonely-- there's a song called "Can't See My Own Face" and another called "My Body", and you get the feeling that the domain of the music probably stops there. This isn't a space for probing the specifics of relationships; it's far too hermetic for that. There's a lot of rain and a lot of death-- two tracks called "Suicide Dream", another called "You Won't Need Me Where I'm Goin'". An album I keep thinking of when listening to How to Dress Well is Panda Bear's 2004 LP, Young Prayer. That was another homemade record haunted by mortality with blurred words that nonetheless managed to communicate a powerful and highly personal sense of spiritual yearning. There are also hints of Bon Iver in Krell's falsetto and in the way he transforms the signifiers of R&B into something homegrown and personal. You can sense a few different strands of music from the last few years coming together with the sounds of an earlier era to form something new.

The distortion is at places so harsh, it's hard not to wonder why Krell doesn't do away with it. But with the sex and romantic yearning removed, the tension between the ethereal and prayerful mood comes from the quality of the recording, the way the music seems to be breaking apart as you are listening to it. How to Dress Well is to my mind the biggest breakthrough in home-recorded lo-fi in years. It feels brave, like it's going places a lot of artists in this sphere are afraid to go. And since the emotions communicated are direct and palpable even if the specifics are elusive, it also has something for people who don't follow this world of music closely. I can promise you that as I type this right now, 15-year-old kids who have been freaking out over this album are in front of their computers, trying to make their own version of this music. We'll see how that goes. But the impulse makes sense. Love Remains, because of its construction, feels like music that comes from inside, as if the act of listening completes it.

bonus - Ready for the world (original +2 remixes 320)

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http://www.M/F.com/?3mu2muwnmbarbiw

[Vuk]

Meh. How To Dress well are okay, but nothing special, imo.

[Jonnyriddle]

The two new Los Campesinos!' tracks from the 7" that comes with their first issue of their new quarterly zine, Heat Rash.


Los Campesinos! - Heat Rash #1 (2011)

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http://www.mediafire.com/?189qu02i6uc1ofk

[blaha 41]

The two new Los Campesinos!' tracks from the 7" that comes with their first issue of their new quarterly zine, Heat Rash.
Los Campesinos! - Heat Rash #1 (2011)

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http://www.M/F.com/?189qu02i6uc1ofk

Heat Rash is very much the shorter, more maudlin and more joyous Mcsweeney's- it begged me to write in the margins- http://plixi.com/p/93807691

[De_El]

Meh. How To Dress well are okay, but nothing special, imo.

Haha! Ha.

And then I listened to "Ready for the World" for the 13th time.
The Weeknd is kind of threatening HTDW as my go-to for future R&B, though.

[JD]

Falkenbach - Tiurida

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http://www.mediafire.com/?m8bojmgocozscj3
Some rad viking metal you should totally download.

[yop]

Lapalux - Many Faces Out Of Focus

Killer EP-cum-mini-album from Essex beat scientist Lapalux, whose studious obsession with decay and delay is beautifully offset by his bug-eyed penchant for technicolour melody. His lurching, surface-peeled hip-hop/R&B instrumentals remind us a bit of oOoOO or the juddering, IDM-inflected derivations of Mount Kimbie, but it’s fair to say he's got his own singular sound signature going on. 'Many Faces Out Of Focus' arose out of Lapalalux's ongoing experiments with cassette and reel-to-reel, and fittingly enough was initially released on tape, selling out its limited run in double-quick time. Though he uses digital methods and kit too, there's an analogue warmth and spaciousness that really comes across in everything he rolls out, especially on the epic 'Time, Patience, Everything'. 'Sister Pick', 'Cousin If' and 'Quick Kiss' would do Flying Lotus proud, rich soul hooks disrupted by cunningly controlled glitches and FX; even as he dissolves and deconstructs drum patterns before your very ears, he keeps the groove liquid and forward-moving. Fans of the Kimbies, James Blake's ‘CMYK’, Four Tet, Bibio, FlyLo, Matthewdavid, Onra, Debruit and all those guys - meet your new favourite producer.

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http://www.mf.com/?2tp3h1lskwc7dyy

[clockwatcher]

Meh. How To Dress well are okay, but nothing special, imo.

might turn out I agree in the long run - James Blake though, man that a was dissappointing load of meh

in stark contrast to all this electronic music and black metal here's some country music....
you can hear the words! and they're good too.
beardy Austin singer songwriter's last two, had a session up on daytrotter this week
which is what reminded me - new one's his best for my money....

HAYES CARLL - KMAG YOYO (and other american stories) 2011

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http://www.M/F.com/?j8qmno6a0ewh7k2
TROUBLE IN MIND 2008


Uploaded with ImageShack.us

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http://www.M/F.com/?2rqsecn22336u46
featuring the mighty 'She left me for Jesus'

You can’t listen to this freewheeling Texas singer and songwriter long without becoming thoroughly convinced that he’s a full-blooded relative of Hank Williams, Ernest Tubb and Merle Haggard. Waylon Jennings’ famous observation about Grand Ole Opry standard-bearer Porter Wagoner -- “he couldn’t go pop with a mouthful of firecrackers" -- is equally true of Hayes Carll. There’s an unself-conscious commitment to his rural Southern heritage in everything he sings.
He spins a yarn with fresh wit, details a failure with unflinching honesty, and everything in between remains admirably cliché-free.
Carll is every bit as expressive a singer as he is a writer, drawling his trenchant observations with deceptive ease. The phrase “the real deal” is bandied about a lot in country music, but in Carll’s case, as Walter Brennan used to say, it’s “no brag, just fact.”

-- Randy Lewis

[yop]

Julio Bashmore - Father Father

Julio Bashmore blesses the aptly titled FutureBoogie Recordings with their first release, the sweetened House swinger 'Father Father' featuring Javeon McCarthy. Leading on from his 'Everyone Needs A Theme Tune' anthem, it sticks with the more sultry pacing and Deeply Housed vibe, where tickled hi-hats gasp over batty pattin' Chicago kicks and plangent cowbells while the bassline ties itself in slippery knots and Javeon's vocal lifts your soul in fine style. Flipside, the sumptuous 'Craboon' can't decide whether it's 4/4 House or R&B, and is all the better for it. Matching Girl Unit's dextrous triplet-to-4/4 programming, he finds a ideal sweet spot between 808-driven House and R&B which feels so right it almost hurts, but then kisses the pain away with floating pads and tenderly effervescent texturing. There's an instrumental mix of 'Father father' too, making this one highly recommended record!

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http://www.mf.com/?lnueu3unyeo7hqu


Ramadanman - The Woon

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http://www.mf.com/?yzpfmts395z5yeo


Raffertie - Not Asleep, Not Awake

Single track taster for Raffertie's Ninja Tune debut...

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http://www.mf.com/?g15yyasyxylwb2p

[StaedlerMars]

I Am Very Far - Australian Version

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http://www.M/F.com/?auv9vbqj64f5mmc
tell me if that worked, my internet bugged out halfway, so not sure.

and just for the guilt trip from @okkervilriver:

One time a guy broke my car window & stole my guitar. Then he stubbed a cigarette out on my dashboard. That's kind of how I feel right now.

I don't want to get all uncool about it, this kind of thing just always feels weird in a way it's hard to articulate.

Like a stranger walking up to you and giving you a wet willie.

And then blogging about it.

[nippletwister]

Really?

[StaedlerMars]

Yeah, I'm uploading it, and let me tell you, I'm listening to it and it's coming across as pretty awesome even though (maybe because) I'm in a pretty crowded/loud room.

[Koremora]

FYI, the track listed on the leak as "Mermaid" is actually "Hanging from a Hit". Mermaid was a single-only track.

[StaedlerMars]

Yeah, what screw up

[Avec]

Mesita - Here's to Nowhere [2011]

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http://www.mesitamusic.com/
GORGEOUS

[TheClickOfALight]

John Williams - Jurassic Park Theme (Slow)



Some genius somewhere has turned the Jurassic Park theme into a 54 minute long ambient drone song; utter beauty.

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http://www.M/F.com/?aqjnmechbac1kkj

[KurtMcAllister]

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.

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.

Daughters - Daughters [Hydra Head; 2010]

This isn't technically Daughters' final album, but after recording, half the band quit, and whatever the remaining members (vocalist Alexis Marshall and drummer Jonathan Syverson) come up with in the future probably won't sound much like this. In a February 2010 interview with Noisecreep.com, Marshall all but says so while discussing the new album: "[Former guitarist] Nick [Sadler] wrote a lot of the stuff on there, and he was really looking to make it accessible, and see how it fared... There are definitely parts of the record that were written to see how people will respond, which is kind of disappointing."

If Sadler's name sounds familiar, it's probably from the decidedly non-Daughters-like charms of his other group, Fang Island. While he's not officially credited as a songwriter-- the songs on Daughters are attributed to the entire group-- Sadler is listed as a co-producer, which might explain the album's relatively less abrasive sound. Relative to other Daughters records, at least: Those hoping for the abrupt spasms from the group's 11-minute debut, or the slightly less abstract math essayed on Hell Songs, are going to be sorely disappointed when they drop the needle on "The Virgin". Most of the song's elements-- the frantic double-timed drumming, the insect-like chatter of the guitars-- are familiar from older Daughters' tracks. Its verse-chorus structure, on the other hand, isn't. And neither is Marshall's vocal transformation into a smooth and confident David Yow impersonator. Even the song titles are streamlined. While these moves might seem like capitulations of some sort, the band doesn't pull any punches because of them.

In fact, this refinement actually serves to focus Daughters' energies. There's still room for flashes of the manic fretwork and double-bass drum damage of old in tracks like the thick and brutal "The Dead Singer", or "Our Queens", a song that's equal parts fractured mathcore and fist-pumping punk anthem. That said, pummeling hook-filled songs like the "The Hit" or "Sweet Georgia Brown" are the new norm. The moves made here are no different than the recent "pop" moves made by equally uncompromising bands like the Dillinger Escape Plan, Converge, and Torche-- each of those bands still sound like themselves, but they're also open to change and wholly willing to evolve into something else, fan backlash be damned. It's just a shame Daughters couldn't survive this transformation. As I said earlier, hardcore Daughters lovers will probably have plenty of bones to pick with this album. For everyone else, Daughters is a feast to be savored.

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http://www.M/F.com/?a9jafi0tx3uj9t7

[trr005]

John Williams - Jurassic Park Theme (Slow)



Some genius somewhere has turned the Jurassic Park theme into a 54 minute long ambient drone song; utter beauty.

Code: [Select]

http://www.M/F.com/?aqjnmechbac1kkj

I take your Jurassic Park song and raise you another Jurassic Park song.
http://www.youtube.com/watch?v=lfyQhxSMonA

[yop]

Zwischenwelt - Paranormale Aktivitat

Zwischenwelt is the paranormal audio/visual concern of Susana Correira, Beta Evers and Penélope Martin alongside esteemed ex-Drexciya producer, Henirich Mueller (Dopplereffekt/Arpanet/ Der Zyklus). Their name translates as "world in between" and relates to the theme of parapsychology - the exploration of paranormal psychic phenomena using scientific methodology - which informs 'Paranormale Aktivitat'. Thankfully, and expectedly, their spectra hallucinations are more Konstantin Raudive than Yvette Fielding, but probably most similar in style and sound to Mueller's almost indivisible Black Replica and Zerkalo projects of the last few years, which were coincidentally coordinated with a strong female presence. Also like those projects, songs are sung by carefully enunciated female voices, delivered in deadpan but chillingly melodic tone, reflecting the glassy synthetic strings and sleek black silicon surfaces of their rhythmic engines. We might be wrong, but from the sounds of it Mueller is responsible for the majority of the music, but it's really the conceptual undertones and ritualistic, suggestively cinematic lyrics and narrative arc which make this the best Gerald Donald album since 'Calabi Yau Space', at least. Highly recommended.

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http://www.mf.com/?oubmfwfm4434pm4



Morphosis - What Have We Learned

'What Have We Learned' is one of the most anticipated LPs from the deep Techno quadrant this year. Rabih Beani's debut album arrives five years after those first head-turning releases on his Venice-based Morphine Records as Morphosis (also, later as Ra.H), and although he's only released about 1 or 2 records per year since, he's become a standard bearer for the esoteric and rarified tradition of analogue cosmic techno. His music is suffused with a sophisticated mediterranean melancholy, likely coming from his Lebanese heritage and current Italian locale, and connecting with an experimental electronic and Afro-futuristic continuum reaching from Marinetti and the original Italian futurists to Danielle Baldelli, or across the cosmos to Sun Ra and Hieroglyphic Being. With impeccably classic yet up-to-date production values the album travels between the tentatively jazzy House abstraction of 'Silent Screamer' to the Horror soundtrack jack of 'Too Far' featuring unheimlich female vocals, and the instinctively moody wanderings of 'Androids among Us'. Further out, 'Gate Of Night' feels like a half-remembered cut from his amazing 'Time' 12" as Ra.H, all possessed Afro-rhythms and heavy-lidded, yawning space synths. In the closing stages the dramatic 'Dirty Matter' (previously remixed by NWAQ) carries us like some ancient tribalist ritual to the dazzling, KFW-like modular chaos of 'Ascension' and the spine-tingling, instinctive calculations of 'Europa' and its breathtaking conclusion. Ultimately, there's an sci-fi sense of narrative and an unavoidably evocative spirit to this album which should engage the very deepest House and Techno fiends. Massively recommended.

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http://www.mf.com/?dufw60ub1yh3en0

[clockwatcher]

SCIENTIST LAUNCHES DUBSTEP INTO OUTER SPACE


Scientist disc

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http://www.m/f.com/?8n530ce7wgm2u62
originals

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http://www.m/f.com/?38zpxyzhfa648fs

The long awaited and much debated Scientist mixes of exclusive dubstep material from the likes of Pinch, Kode 9, Mala and Shackleton finally lands for all Sound System crew. It's undoubtedly Tectonic's most ambitious project to date, some 12 months in the echo chamber spent duppying contemporary material until it heaves and breathes courtesy of masterful mixing board trickery. The man at the controls ranks among the finest Dub engineers ever to grace a desk, and although his prime period was nearly 30 years ago he's still got an innate sensitivity to the subtleties of fluctuating reverb/echo/delay combinations and the transient spaces they're capable of creating. With this in mind the original tracks are rendered as hallucinatory images of their former selves, spatial dimensions warped and surfaces refracted until they feel overgrown and listening to them is like peering into an alien forest, becoming both unpredictable and almost unstable. A project of this kind is pretty much unprecedented in Dubstep and deserves your attention forthwith.

[JD]

X-Ray Spex - Germ-Free Adolescents

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http://www.mediafire.com/?8sbil5dl3ejbj29
Includes all the bonus tracks and the Peel sessions.

Poly Styrene and Jak Airport RIP

[yop]

Shangaan Electro - New Wave Dance Music From South Africa

Ask us about Shangaan Electro a week ago and we'd ask you to speak slower. Ask us this week and we'll rave about one of the most astounding records we've heard this year. The erstwhile and intrepid ears of Honest Jon's Mark Ainley and Hardwax/Basic Channel legend Mark Ernestus have been following this niche style from Soweto, SA, for a hot minute, long enough anyway to pick out twelve extraordinary examples of 180bpm, marimba-laden, afro-dance diamonds hewn from rickety drum machines and keyboards shaped into dazzling fillips of pure dance energy. We almost couldn't believe our ears on first listen, or the tenth. It was perhaps only when we witnessed the accompanying videos on youtube that it started to settle into place, watching liquid hipped Shangaan dancers scuttle and stomp like folk possessed by something untold but completely comprehendible. It's not a large punt to draw distinctions between this and Chicago footwurk or Caribbean Soca styles, from the high tempo velocity to use of basic equipment all deployed with the intention of eliciting faster and more furious dance moves from the participants. Essentially this is a continuation of traditional styles, only plugged in at the studio of Nozinja Music Productions to become utterly electrified and electrifying. But these aren't simply instrumental rhythms, they're also songs with passionate, soul wrenching vocals and head-rushingly sweet synth melodies. Four exemplary contributions from the scene's lynchpin Zinja Hlungwani are worth the entry price alone; from the gripping hypertension of 'Ntombi Ya Mugaza' to the warbling duet of synthesized and human soul in 'Nwa Gezani My Love', or the alien harmonics of 'Nwa Gezani', you're paying to experience a mesmerizing sound that you simply can't hear anywhere outside of Limpopo or low-res youtube clips. Nozinja is responsible for the breakneck speed of Shangaan Electro, responding to public demand for faster rhythms since opening his studio in 2005, even creating "boy bands" like the boiler-suited and clown mask-wearing Tshetsha Boys and producing for the rest of the artists included here. To be fair, this music is still a totally niche prospect, but initial reactions from friends we would never expect to like it have been as immediate as the music itself and there's no denying this will be one of the years most lauded albums among adventurous listeners. This is genuinely some of the most exciting music you'll hear this year, and alongside the Footwork/Juke craze currently taking hold, you'll have heard little like it before. ESSENTIAL PURCHASE!

Compilation of a new wave of dance music from South Africa , selected by Mark Ainley and Mark Ernestus. One of my favorite records at the moment.

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http://www.mf.com/?hgnqheah0fl50go


Tony Allen / Moritz von Oswald - Ole (Moritz von Oswald Mix)

After Mark Ernestus' mix of Moyege in this series, now his Basic Channel / Rhythm And Sound partner comes to the control tower. Moritz's deep Berlin steppers discloses dubwise traces of our original Lagos recording - the percussion of Yinka Ogunye, the singing of fifties palmwine legend Rolling Dollar, Oscar Olimbi's guitar lick - in with his own Oberheim voicings, additional drumming, and cool-and-deadly rhythm track. It's a tough, masterly dance record in fine Rhythm And Sound style - which during its ten-and-a-half minutes seems to ponder time elapsed and journeys undertaken. Like a stepping razor, but t-u-m-p-i-n. This Reggae Land version is the take-no-prisoners, pared-down dub of Wareika Hill Sounds' rootical rework of Ise Nla. Magnificent trombone and percussion; expert, classical JA mixing. Brings to mind those great dubs of Glen Brown's Black Man Stand Up Pan Foot.

Stuff you can play while you're chilling in the sun and all that.. 

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http://www.mf.com/?plcvb3rva3qd1bu

[ptownblazer]

I'm From Barcelona - Forever Today

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http://www.M/F.com/?lujo9vd00wjk92u
Pop Matters - "More bluntly, after hearing I’m From Barcelona’s third proper album Forever Today numerous times, I’m convinced that this is the record that Broken Social Scene was trying to make with Forgiveness Rock Record but, in my humble opinion, failed at: a big, bright poppy collection of songs so cool you gotta wear shades topped with female vocals and expansive brass instrumentation."


Never been into 'em much, but this is really quite good. The BSS comparison makes total sense in my opinion.


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The Helio Sequence - Young Effectuals

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http://www.M/F.com/?jwzyxtjla9l
Thought I would add this. I added it in '08 but the thread has been chopped multiple times.
If you haven't heard this, you owe it to yourself. Quite a unique sound. 100% self-produced in the record store where they worked. If you've heard their newer stuff . . . we're still waiting for a proper follow-up.

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While we're at it, here's the debut. Same deal: self-produced at the record store, Cavity Search release (local Portland label). For some reason they lost their balls when they went to sub-pop. If for nothing else, get it for the first track alone.  Oh, and a fucking sweet cover of Tomorrow Never Knows.

Com Plex

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http://www.M/F.com/?s91v0yymm0i

[yop]

Todd Terje - Ragysh

Unlike some of his Norwegian pals Todd Terje isn't the most prolific of producers, so when he delivers any new material - original or remix - you know it's time to sit up and take notice. And you should definitely be taking notice of "Ragysh", because it's one of the best club tracks we've had in recent times. You know Todd, he doesn't like anything fussy in his work, just nice simple ideas that rock the floor: here we get some nice kick drum driven house music with a percolating percussion loop lifted from Blondie's "Heart Of Glass" intro (I reckon). A weighty keyboard line slowly filters its way to the front of the track before leading the way to the uplifting synthy breakdown. Remember those hands-in-the-air moments from Italy's Kamasutra? This will bring the bliss back! "Bonysh" strips "Ragysh" back to basics then adds extra cowbell and all sorts of retro sci-fi synth noises. Lastly "Snooze 4 Love" transports us to the land of Balearic house with dreamy synth washes competing for ear-time. DO NOT MISS THIS!

Bonuyshh

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http://www.mf.com/?zdlmdq2r57dztey

[amok]

Beckwith - The Subway EP

Residing in New York's Brooklyn, rising producer Beckwith caught the ear of many an Anjunadeep fan with his remix of Boom Jinx & Andrew Bayer's 'Fracture' last year. More recently his recent twisting, journey of a track 'N To Brooklyn' was a highlight of Jaytech's 'Anjunadeep:03' CD and now gets its full release alongside the equally inventive 'F To Manhattan'.

Themed around the train journey to which its title alludes, 'N To Brooklyn' begins on glowing melodic cruise, chugs along brilliantly, before hitting a magical peaking bridge on the breakdown. Taking things back underground it hits you with grimy bass, before weaving the melodies back in for a brilliant finish.

With swirling synths, distinctive bleep grooves and impressive arrangements, the second track 'F To Manhattan' offers another melodic mixture of tech and progressive vibes -- all expertly weaved in Beckwith's unique style. An impressive full Anjunadeep debut from a producer with a bright future.

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http://www.M/F.com/?3ywkclwmhxf6y39
Jaytech - Paradox / Djembe

Riding high from his sublime Soundprank collaboration ‘Pranktech’ on the recent Anjunadeep 100 EP, Jaytech hits hard with two fresh tracks that show off new sides of his ever-versatile sound.
 Teasing us into the summer months perfectly, a side ‘Paradox’ blends elements of nu disco, progressive and electro into a sunshine-shot surge of melodic bliss that will attract fans from all corners.

Taking a chunky funky bassline as its rhythmic bass, ‘Paradox’ adds some 80s-nodding synth lines and uplifting, looped vox to the mix, before building up to a breakdown that captures Jaytech at his melodic best. Kicking back into groove, it’s soon clear that ‘Paradox’ has everything it takes to be an Ibiza anthem for 2011.

Another a side release in its own right, Jaytech doubles up with his high energy house-fused track ‘Djembe’ – showcased on his ‘Anjunadeep:03’ CD. Crossing the genre boundaries with expert ease, Jaytech builds a tightly wrapped groove full of cut-up disco vox, future funk synths and a bubbling b-line.

A unique and cheeky number, ‘Djembe’ then finds another gear with swiping synths, drops easily into sumptuous piano breakdown and then thumps into some brilliant melodic drops that catch you by surprise every time. Two quirky, quality tracks from Jaytech, it's a welcome return from the label mainstay and a hint at what’s to come from him in the rest of 2011.

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http://www.M/F.com/?ssz8tpddtz47o89
Clueless - Torrid Affairs LP

L2S is now 2 years old and has hit release number 50, and the goodness doesn’t stop for a second! The 50th release is our first album! Coming from the mighty Clueless (well known for his distinctive production style) this album has been hotly anticipated by all Future Garage heads, and rightly so! “Torrid Affairs” delivers all you could hope for, and loads more! Clueless’s trademark sound runs throughout the long player with swung out beats and deep lush pads, gut busting basslines and clipped and twisted vocal samples. Clueless has also treated us to some other shades of his output with some almost brockout beats and basslines to keep even the most devout dubstepper happy! This album has too many tracks you will want to put on repeat over and over! 50 releases in and L2S definitely aren’t slacking!

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http://www.M/F.com/?zvqqv9j6b4ja8jh
Keep Shelly In Athens - In Love With Dusk EP

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http://www.M/F.com/?0r869qugiox72i0

[yop]

Mountains - Air Museum

Mountains is Brendon Anderegg and Koen Holtkamp, two sonic explorers whose long history, shared philosophies, and love of sculpting sound, has resulted in some of the most densely layered and blissful music crafted in recent memory. The duo is known for obscuring the boundaries between acoustic instrumentation and electronics. Their debut Thrill Jockey release Choral was universally critically acclaimed, sold through three LP pressings, and ended up being one of the label’s best selling releases of 2009, a remarkable achievement.

Air Museum blurs the lines between acoustic and electronic music even more without sacrificing melody or the delicacy of their sound. It is an album of firsts. It was the first album that the acoustic instruments were not processed via a computer. Instead, the processing of the instrumentation (acoustic and electric guitar, cello, accordion, piano, bass etc.) was done using a variety of pedals, modular synths, and other analog techniques. While acoustic instruments were used extensively, the album manifests itself sonically as their most “electronic” record yet. Air Museum is also their first record that was made in a studio. Working in the studio expanded their possibilities, giving more room for experimentation. While much of the album was recorded in real time with minor editing, the band took the opportunity to utilize the studio as an instrument of sorts, investing a great amount of time in customizing their approach to post-production. Air Museum was recorded at Telescope Recording, in Brooklyn, New York, between December 2010 and January 2011, with the exception of “Blue Lanterns On East Oxford” which was recorded in Philadelphia in the spring of 2010 and “Live At The Triple Door”, an edit of a live performance that took place in Seattle at the 2009 Decibel Festival.

Since returning from European and American tours for Choral, Mountains has been concentrating on the assembly of new systems to create and perform without the use of a computer. Air Museum is the first result of these efforts. It is less reliant on long linear crescendos, focusing more on rhythmic interplay and dynamic changes. Like their previous work it retains the energy and the expansiveness born of improvisation.

Mountains is also taking a new approach to their live performance, utilizing many of the techniques they developed while working on Air Museum. For their new live set, Mountains has created a patch that will enable their electronics to sync up at various times, so while the musicians react to one another musically, given the right parameters, the machines can react to one another as well.

Through their multi-textural and subtly shifting approach, Mountains has garnered much praise from audiences and critics alike. “Holtkamp and Anderegg deliver a kind of 21st century folk music - one that's immersed in the aesthetics of modern technology yet retains a very natural, very approachable sound. Absolutely gorgeous music”

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http://www.mf.com/?t9hw9lgv9nazwb7