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[bedhead138]

The Fiery Furnaces - I'm Going Away (2009)

Code: [Select]

Part 1 - http://www.mediafire.com/?njmmwdimngt
Part 2 - http://www.mediaf!re.com/?ywmngy2gmyg

All rock music is a sort of dramatic music. And since the times are tough, it makes sense to have that “drama” be something more like a version of Taxi than something like a version of Titanic. We like Taxi better than Titanic anyway. So we hope that some of the songs on this record can be used as theme songs to folk's own personal versions of Taxi. Because—ideally—the dramatic setting of the music isn't provided by the story or image of the given act or band. It's provided by the lives of the people who use—listen to—the music. That is pop music's promise and problem, or danger. So be careful and don't get canceled. The band is very optimistic—despite or because of it all—and will continue its “Democ-Rock” efforts by releasing a fully-fledged Derocmacy in America limited edition vinyl box-set. It might be called something like Your Cashier Today was ACM CASHIER 96. Matthew and Eleanor are also working on the Fiery Furnaces “Silent Record:” a non-record record, in book form, with notation and instructions. Both will be released by Thrill Jockey records later this year.

1. I'm Going Away
2. Drive To Dallas
3. The End Is Near
4. Charmaine Champagne
5. Cut The Cake
6. Even In The Rain
7. Staring At The Steeple
8. Ray Bouvier
9. Keep Me In The Dark
10. Lost At Sea
11. Cups & Punches
12. Take Me Round Again


The Dandy Warhols - The Dandy Warhols Are Sound (2009)

Code: [Select]

http://www.mediaf!re.com/?tdzowz1kymo

This is what the Dandy Warhols wanted to release in 2003. However, Capitol Records interfered, did some remixing and rearranging and released "Welcome to the Monkey House" instead. This is the 2009 release of the band's version.

1 Burned
2 Svientist
3 We Used To Be Friends
4 The Last High
5 Wonderful You
6 The Dandy Warhols Love Almost Everyone
7 I Am Over It
8 Heavenly
9 Plan A
10 Rock Bottom
11 I Am Sound
12 Insincere
13 Pete Int'l Spaceport

[wespeakinmidi]

lauraelise204:

so about 6 years ago i was on tour with a band i was playing in, and while in milwaukee we met up with the so many dynamo guys.  they're all really nice guys.  anyway, 6 years later, the drummer of the band that i was in while in milwaukee, is now the drummer of fang island, and he just finished up that tour with so many dynamos.  small world!  sorry to hear you missed fang, they really are awesome.  anyway, i uploaded the album that SMD were touring for, 6 years ago when we originally met them.  it's has some catchy tunes.  enjoy.

So Many Dynamos - When I Explode

Code: [Select]

http://www.mediafire.com/?q1md3jyo30k

[lauraelise204]

lauraelise204:

so about 6 years ago i was on tour with a band i was playing in, and while in milwaukee we met up with the so many dynamo guys.  they're all really nice guys.  anyway, 6 years later, the drummer of the band that i was in while in milwaukee, is now the drummer of fang island, and he just finished up that tour with so many dynamos.  small world!  sorry to hear you missed fang, they really are awesome.  anyway, i uploaded the album that SMD were touring for, 6 years ago when we originally met them.  it's has some catchy tunes.  enjoy.

So Many Dynamos - When I Explode

ooh awesome!! thank you downloading now!!  i did get to talk to one of the guys afterwards, the guitarist... i never caught his name, but he was really nice.  i asked him if he had ever heard of the javelins and it took him a minute, but he had because one of the guys in the band is in thunderbirds now! and i guess he knew that band in some way.  but i made the comparison of them to the javelins to him and told him that i really liked them and his band a lot.

there was one song that they played towards the end of their set where everybody, sort of all of a sudden, started singing along with.  do you know what song of theirs it might have been/which one of theirs has been popular?

[Trevlordyte]

Code: [Select]

http://www.mediafire.com/?xnfgtcmhgzj
"Subway II, the debut album by Subway on Soul Jazz Records, is a startling cosmic marriage of influences – German electronic rock music from the 1970s (Cluster, Kraftwerk, Neu, Harmonia, Ash Ra Tempel), 80s Detroit science fiction techno (Carl Craig, Juan Atkins, Jeff Mills) and a hint of Italian and European disco (Danielle Baldelli meets Cerrone, Space, Moroder and Jean Michel Jarre).Subway are Michael Kirkman and Alan James and have been releasing music since 2000. Subway II was recorded at home in East London using a plethora of analog equipment and techniques that enabled them to create sound reflecting cityscapes such as Berlin, Dussseldorf, Detroit and Paris whilst at the same time creating a contemporary musical commentary of London in 2009. This album is a cosmic progression of post-dance music, focused more on meditative thought and space than one made for the dancefloor, yet still encompassing the rhythm and constant beat at the heart.Their most recent appearance is on Soul Jazz Records Singles 2008-9 alongside Kode9, Digital Mystikz, Tetine, Secondo, Ramadanman and other forward thinking electronic pioneers. With three previous sell-out singles on Soul Jazz Records (Simplex, Satellites and 4410), an album ‘Empty Head’ (released in 2005) as well as a string of one-off projects, the group are currently name-checked by everyone from Hot Chip to DFA, Prinz Thomas to Carl Craig, with good reason. - SJ"

-Glowing Raw

[Trevlordyte]

The Fiery Furnaces - I'm Going Away (2009)

Code: [Select]

Part 1 - http://www.mediaf!re.com/?njmmwdimngt
Part 2 - http://www.mediaf!re.com/?ywmngy2gmyg

All rock music is a sort of dramatic music. And since the times are tough, it makes sense to have that “drama” be something more like a version of Taxi than something like a version of Titanic. We like Taxi better than Titanic anyway. So we hope that some of the songs on this record can be used as theme songs to folk's own personal versions of Taxi. Because—ideally—the dramatic setting of the music isn't provided by the story or image of the given act or band. It's provided by the lives of the people who use—listen to—the music. That is pop music's promise and problem, or danger. So be careful and don't get canceled. The band is very optimistic—despite or because of it all—and will continue its “Democ-Rock” efforts by releasing a fully-fledged Derocmacy in America limited edition vinyl box-set. It might be called something like Your Cashier Today was ACM CASHIER 96. Matthew and Eleanor are also working on the Fiery Furnaces “Silent Record:” a non-record record, in book form, with notation and instructions. Both will be released by Thrill Jockey records later this year.

1. I'm Going Away
2. Drive To Dallas
3. The End Is Near
4. Charmaine Champagne
5. Cut The Cake
6. Even In The Rain
7. Staring At The Steeple
8. Ray Bouvier
9. Keep Me In The Dark
10. Lost At Sea
11. Cups & Punches
12. Take Me Round Again


The Dandy Warhols - The Dandy Warhols Are Sound (2009)

Code: [Select]

http://www.mediaf!re.com/?tdzowz1kymo

This is what the Dandy Warhols wanted to release in 2003. However, Capitol Records interfered, did some remixing and rearranging and released "Welcome to the Monkey House" instead. This is the 2009 release of the band's version.

1 Burned
2 Svientist
3 We Used To Be Friends
4 The Last High
5 Wonderful You
6 The Dandy Warhols Love Almost Everyone
7 I Am Over It
8 Heavenly
9 Plan A
10 Rock Bottom
11 I Am Sound
12 Insincere
13 Pete Int'l Spaceport

To tell you the truth, I really was disappointed with this album.

[pwhodges]

the Fiery Furnaces “Silent Record:” a non-record record, in book form, with notation and instructions.

This seems a rather fancy description of sheet music...

[kwintpod]

Code: [Select]

http://www.mediaf!re.com/download.php?2zxtndiinizVery cool but it seems the file is missing track 7

Hmmp, seems you're right  
New link

Code: [Select]

http://www.mediaf!re.com/download.php?jtzzjyzjd02Also changed in the original

[Avec]

Guys, relax with the huge quotations. If you want to specify one album, quote the name instead of the entire post, please.

[ADRIAN WOODHOUSE]

Do you guys want some more Doomtree stuff? Probably gonna upload some psychedelic albums otherwise.

If you have some of Dessa's stuff, that would be cool!

i would like moooooore

[Talea]

first of all, i want to thank you all.i found a lot of great music reading all these pages. THANKS!!!! i'll try to keep up, and share some good stuff with you.   I am from Republic of Moldova ( little country ), south-east Europe. sometimes i'll share moldovan rock music, but only sometimes, 'cause we dont have much rock bands, good ones.  

My first post:

Olafur Arnalds - icelandic, piano, ambient, post-rock, instrumental

If there were a vacancy for the missing link between Philip Glass and Sigur Rós, 21-year-old Ólafur Arnalds would at least be back for a second interview.His child-like, neo-classical piano melodies, black and white until coloured in by his string quartet's emotive strains, call to mind Sigur Rós's innocent, uplifting, reflective side - it's no surprise that he's already supported them on tour.

Olafur Arnalds - Eulogy for Evolution (2007)

His debut album will no doubt attract comparisons to Sigur Rós, but where Eulogy For Evolution is undoubtedly post-rock in sensibility, it is more accurately a classical score for an unrealised biopic; a chamber piece composed largely for piano and strings full of untold nostalgias and regrets.

In any case, Arnalds charts a different psychogeography to those aforementioned stalwarts, not austere but plainly emotive; tear-jerking, almost, although that would be doing him a disservice. Like the first rays of sun on ice after an arctic winter, or ageing Eskimos pushed out on rafts to die, Eulogy For Evolution strikes a delicate balance between poignancy and lachrymose sentimentality.

Code: [Select]

http://www.mediafire.com/?yx3t4nnmyyn
Olafur Arnalds - Variations of Static (2008)

Variations of Static offers elements that will be familiar to anyone who has heard Eulogy for Evolution, Icelander Olafur Arnalds first fledgling. To its favor, though, this five track e.p. is a far more focussed, steady and, ultimately, capable exercise in modern composition. The expanded world of color and percussiveness that promenaded through much of Arnalds rather uneven debut effort fall under the knife, and the lyrical preparation of strings, yearning piano arpeggios, and the sonic whoosh and shimmer of electronics appear more honed in their absence.

Code: [Select]

http://www.mediafire.com/?nd9ymjyo3hm
Enjoy


P.S. hope everything was done correctly

[meanwhile]

Olafur Arnalds - Eulogy for Evolution (2007)

Code: [Select]

http://www.mediaf!re.com/?yx3t4nnmyyn

Great album, if you weren't going to get it at least try this song out, it's got an amazing build-up:
http://www.youtube.com/watch?v=uNWzkkCQuPo

[lauraelise204]

My first post:

Olafur Arnalds - icelandic, piano, ambient, post-rock, instrumental

If there were a vacancy for the missing link between Philip Glass and Sigur Rós, 21-year-old Ólafur Arnalds would at least be back for a second interview.His child-like, neo-classical piano melodies, black and white until coloured in by his string quartet's emotive strains, call to mind Sigur Rós's innocent, uplifting, reflective side - it's no surprise that he's already supported them on tour.

Olafur Arnalds - Eulogy for Evolution (2007)


Olafur Arnalds - Variations of Static (2008)
Enjoy


P.S. hope everything was done correctly

you did everything right .  and that was an amazing first post.  i love olafur!  i only have a coupld random songs, so i can't wait to download!!  which i'm going to do.. now. thank you! 

some of the random songs i have are from the "found songs" series that are up for free download:

Code: [Select]

http://foundsongs.erasedtapes.com/

[gospel]

This subpop mixtape caused me to hunt down a few CDs I had not heard before. Here they are for you to enjoy.

Fruit Bats - Spelled in Bones

Code: [Select]

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

With a roll call of hangouts like Lookout Point and Makeout Creek and mentions of "singing along to 'Raspberry Beret,'" Spelled in Bones feels steeped in the sunny days of June, July, and August, when it's easy to be easygoing and too nice out to get too upset about things like mortality and heartache (even though you're still thinking about them). This, the Fruit Bats' third album, is still rooted in the folky indie pop of their earlier work, but Spelled in Bones is more polished, more focused, and feels more like the output of a full-fledged band, probably because they became a quartet instead of a duo with a cast of supporting characters. As on Mouthfuls, the Fruit Bats continue to move away from the country sounds of their debut, although lap steel and other shades of their beginnings resurface from time to time. Instead, the band looks to '70s pop for inspiration, as on the aptly named "Born in the '70s," which mixes Elton John falsettos, flute-like synths, and the aforementioned lap steel into something both familiar and quietly inventive; "The Wind That Blew My Heart Away," meanwhile, has a jaunty yet bittersweet melody that recalls the best of Paul McCartney's work from that decade. Despite the poppiness of songs like these and "Canyon Girl," the Fruit Bats still have a healthy experimental streak; the opening track, "Lives of Crime," seems to melt every time it should come to a chorus. Spelled in Bones is so consistent that at times it threatens to become too samey, but each song's similarly winding melodies and unhurried tempos end up giving the album a suite-like feel. Every now and then, surprising lyrics like "God's no better than you, just bigger, that's all" (from "Traveler's Song") emerge from the gentle haze of the proceedings, and both "Earthquake of '73" and "Spelled in Bones" itself add enough bitter to the sweet to keep the album from sounding complacent. However, "Every Day That We Wake Up It's a Beautiful Day" closes Spelled in Bones with hope and optimism that are as genuine as they are subtle. It may be a remarkably summery album, but it has enough charm and depth for year-round listening.

Pissed Jeans - Hope for Men (m4a, sorry)

Code: [Select]

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

There is a great deal of irony in the Pissed Jeans' album title Hope for Men, though it may be unintentional. This Allentown, PA quartet (who are all members of the Gatecrashers as well) may have set small parts of the underground on fire with their "Don't Need Smoke to Make Myself Disappear" single and their debut album Shallow, but given their graduation to Seattle's Sub Pop label with this sophomore effort, the music biz playing field -- both aural and visual -- gets wider and deeper. These young men present the kind of aggressive sonic attack that references acts ranging from Flipper to Mount Shasta to Stick Men with Rayguns to No Trend and Drunks with Guns, but the kind of a young man's version of small town alienation they express is simply a less artfully done version of the same emotions expressed on Elvis Costello's debut album. Yeah, that's right: The King Is Dead. Long Live The King. Meaning, of course, that as things change and become less and less tuneful, the drive of the ego and id behind them hasn't changed a bit since the beginning of the invention of the "teenager." There's the sort of post-hardcore feedback and ear shattering noise that is Bradley Fry's guitar, but how is vocalist Matt Kosloff (here known as Matt Korvette -- clever) any different than a latter day David Yow who simply didn't give a damn what the world made of his sleaze and gross-out lyrics and yowl? Both previous incarnations attempted to articulate, however iconoclastically, that they were losers and that they celebrated it. Yow was a genuine misanthrope and Costello rode his confessed outsider weirdness toward a money pile so big it has him doing commercials for a particular brand of luxury automobile.

A big deal gets made of the fact that the majority of this quartet draw their requisite paychecks in the straight world in their bio. So what? The noisy attack in the sound and genuine adolescence expressed in Korvette's lyrics: "I've still got you, ice cream/'Cause sometimes life is less than a dream/And all my other friends turn away/I need to be with something I can relate/Just a taste and my troubles fall behind" from "I've Still Got You (Ice Cream)," or "I'm Right here, in my fantasy world/Setting up all my toys/And making movies and songs/In my fantasy world/It's Friday night and Saturday morning/In my fantasy world/Sitting near piles of books and drinking a soda/With a slice of pizza in my fantasy world..." from "Fantasy World." There's the noise and squall of Fry's guitar, the throbbing, busted vein of Dave Rosenstrauss' bass; fuzzed out, low slung and filthy, it drives almost every song here. Anger, isolation, and the indictment of anything that exists with any level of acceptance on the surface of the world, outside the fantasy universe of the protagonist, is what's under sonic attack here. We have to guess that music is a healthier outlet than drug abuse or an obsession with guns , but is that enough to recommend a recording? Perhaps to some. It's not simply that all this has been said and done before, that's fine, too; but it's been said and done so much better, so much scarier and so much crazier than this, which merely sounds as if it's the post-hardcore mirror dweller's version of John Mellencamp's collectivist anthems. It doesn't rock. It squeals. It doesn't roll and it's not particularly sick, either. It's just there, to take and leave as you please. That these men are now in their twenties and still whining about the grotesqueries of adolescence isn't new either, but it is what they have to offer, creating not "hope for men," but reinforcing the kind of anthemic "anti-cool" as somehow authentic vibe that's been plaguing underground rock for decades. These guys have their underground cred for now, but where do they go next? One more question. whatever happened to Tad anyway; weren't they on Sub Pop, too?

[bedhead138]

Patterson Hood - Murdering Oscar (And Other Love Songs) ~ 2009

Code: [Select]

http://www.mediaf!re.com/?oymgyz5jml4

2009 sophomore solo album from the leader of the Drive-By Truckers. The album was produced by Hood and long-time DBT producer David Barbe (Sugar). Most of his DBT band mates join him on the album as well as Don Chambers, Will Johnson and Scott Danbom from Centro-matic/South San Gabriel. This is also the first time Hood's father David Hood, famed Muscle Shoals bass player, joins him on a record. The album was recorded at Chase Park Transduction Studios in Athens, GA.

01. Murdering Oscar ( 4:27)
02. Pollyanna ( 4:37)
03. Pride Of The Yankees ( 4:16)
04. I Understand Now ( 3:22)
05. Screwtopia ( 4:35)
06. Granddaddy ( 2:39)
07. Belvedere ( 3:59)
08. The Range War ( 3:50)
09. She's A Little Randy ( 4:28)
10. Foolish Young Bastard ( 2:31)
11. Heavy and Hanging ( 4:14)
12. Walking Around Sense ( 5:13)
13. Back Of A Bible ( 4:28)

[bedhead138]

Beirut - Live at the Music Hall of Williamsburg (2009)

Code: [Select]

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

You could tell what kind of a show it was going to be 3 hours before the doors even opened. Outside Brooklyn's Music Hall of Williamsburg, a few stone cold kids stood shivering on line. Their hope? Get through those restrictive doors by any means necessary. A sold out show meant not all of them would make it. But if by chance a few did, a fantastic night of music featuring Brooklyn's own Beirut awaited them.

Zach Condon would choose to begin Beirut's set with a simple "Good evening everyone", diving immediately into the set, to the rapturous applause of the hundreds in attendance. Using an impressive variety of instrumentation (stand-up bass, accordion, trumpet, trombone, french horn, euphonium, and Condon's signature ukulele), the band played a batch of tunes that appropriately ushered the audience to a variety of places around the world. "Gulag Orkestar" sparked a quick trip to the Balkans. During "The Shrew", a song from Beirut's brand new EP 'March of the Zapotec', Mexico became the destination of choice. They also dabbled in a track called "My Night With a Prostitute from Marseille"; this one from Zach Condon's 'Realpeoples' Holland' EP.

At the end of their full set, Condon would be forced to tell the still hungry crowd, "You've bled us dry at this point"; a statement that would hardly deter the crowd from demanding more. Two encores later, the love affair between Beirut and the fans in attendance was complete. They ended the show with a cover of a dancy old Brazilian song, written by Ary Barroso called "Aquarela do Brasil" ("Watercolor of Brazil"); a lighthearted way to send the happy crowd off into the cold streets of Brooklyn indeed.

01 East Harlem
02 The Shrew
03 The Concubine
04 Mimizan
05 La Javanaise
06 The Akara
07 Cozak
08 My Night With the Prostitute from Marseille
09 Gulag Orkestar
10 Forks and Knives (La Fęte)
11 Brazil

[Talea]

Lali Puna - electronic, indie, indietronica, female vocalist, downtempo, relaxing

The Lali Puna sound is a sophisticated, complex mélange of classic pop motifs, pulsing electronic rhythms, and sleek European styling. Valerie herself could be the subject of a dissertation on modern cross-cultural anthropology: a Portuguese-educated German national, of part Asian descent, writing in English, sampling Spanish voices. The band isn't shy about its influences, which include Stereolab, Buffalo Daughter, and Aphex Twin, but close listening reveals echoes of less obvious artists like Nico, Brian Eno, and Saint Etienne -- as well as a strong streak of originality that makes simple comparisons like these somewhat difficult.

Lali Puna - Tridecoder (1999)

Lali Puna's debut album mixes the lush, hushed tone of early Stereolab with the glitch and crackle of electronic experimentalists such as To Rococo Rot, and adds a touch of lo-fi analog beats that wouldn't sound out of place on a Land of the Loops album. Bubbly bass blips mingle with Valerie Trebeljahr's dreamy vocals, as an undercurrent of moody synths paint atmospheric swirls. A touch of improvisational jazz crops up around one corner. Classical arrangements peek out of another corner. It's all tied together with sweeping, vibrant keyboard tones. Trebeljahr's European accent and her habit of singing as if she's dictating political doctrine make for striking, sometimes unsettling listening. The album's opener, "6-0-3," one of the highlights, is a perfect example of her evocative style of inflection, as she calls out numbers as if in a trance. Other standout tracks include "Antena Trash," which sounds like a dance-party-on-downers remix of a song from His Name Is Alive's Mouth by Mouth, and "Fast Forward," with its icy, vibrating strings and eerie, touching vocal passages. The album is encumbered somewhat by a few instrumentals that linger just beyond one's interest, but Tridecoder is never a dull listen, despite its mood music leanings. Like the works of their Morr Music peers, Lali Puna's debut is music that would seem contemporary in just about any decade prior to its release, and probably any decade after its release. The band members breathe life into their electronic tools and never stray from the smart, emotional aesthetic and arrangements that signify a Morr album.

Code: [Select]

http://www.mediaf!re.com/?ryjytt0nyz2
Lali Puna - Scary World Theory  (2001)

Scary World Theory isn't a departure from the blueprint Lali Puna followed on Tridecoder. Indeed, it comes across like a more polished version of that album, adhering to the Morr Music tenets of melodic beauty and delicate beats. Frontwoman Valeria Trebeljahr still sounds like a long-lost sister to Stereolab's Laetitia Sadier, intoning gently over IDM on a somber winter evening, and the music sounds more than ever like a cross between early Stereolab, New Order caught in a mesmerizing funk, Múm, and Boards of Canada. The ten songs of Scary World Theory are somehow emotionally touching and improvisational in feel, while emanating from complex arrangements and mostly icy electronic instruments. A great deal of credit for the album's mood should probably go to Markus Acher, who moonlights in similar bastions of warmth yet emotional indifference the Notwist and Tied & Tickled Trio. Scary World Theory begins with a trilogy of songs fitted with jazzy piano, glitchy synths, and lush, crackling, and bubbly found-sounds that are as good as any electronic songs at the time of the album's release. Other highlights include the spooky "cookie monster" name-dropping throb of the title track, the warm, Pet Shop Boys-inspired dance grooves of "Lowdown," and the shuffling, multi-tiered melodies of "Don't Think." While the album doesn't always maintain one's interest over its running time, there are enough amazing songs that the album achieves greatness. The only fault one might find is that Trebeljahr sometimes tries too hard to sound like a figure of sociopolitical authority, but she winds up sounding more awkward than she probably intended. The album is at its best when Trebeljahr takes a breathy vocal approach and focuses on melodies over social commentary. As good as Scary World Theory is, and it is amazing in its pristine warmth, Lali Puna seems to have the potential to release an even more focused album that might define altogether the genre of ambient electronic pop.

Code: [Select]

http://www.mediaf!re.com/?qmwfqzmmjjw
Lali Puna - Faking the Books (2004)

Lali Puna don't allow their soft electronic-pop to be washed out by the sharp guitars that occasionally poke out of this, the group's third album for Morr Music. Those who picked up 2003's "Left Handed" single -- provided again on this disc -- were possibly taken aback by the instant buzzing surge in the chorus of the A-side, and, excepting the electronic noise that flutters deep in the background throughout the song, it's as ordinarily constructed as a hook-heavy indie rock tune. Though it's as effective and as charming as any other, crossing the pensive drive of New Order with the jagged bounce of the missed Life Without Buildings, it's free of the cozy synth-generated colors that helped make the group stand out from their peers on 2001's Scary World Theory. The rest of Faking the Books tends not to follow this mold. Electronic elements balance out the harsh guitars with regularity, resulting in a handful of full-blown zingers. These songs -- "Call 1-800-FEAR," "Micronomic," "B-Movie" -- bring the wallop, involving queasy synth bleats and blasting guitars in equal doses, along with melodies that are as sweet as ever. Several other tracks are either truer to the older material or slightly more experimental than what you're used to hearing from them. "Geography-5" is a skeletal lullaby with spare percussion and purring synths; "Alienation" and "Crawling By Numbers" fit in strings while also acting as safe havens for listeners who have been antagonized by too much lazy glitch stuff. As stunted as Valerie Trebeljahr's politically minded lyrics might be from time to time, her voice remains a comforting thing to hear. All of these highlights add up to the best Teen Beat record not released by Teen Beat.

Code: [Select]

http://www.mediaf!re.com/?gyidjnykgmg
Enjoy!

[gospel]

Patterson Hood - Murdering Oscar (And Other Love Songs) ~ 2009

Code: [Select]

http://www.mediaf!re.com/?oymgyz5jml4

Holy crap, thank you! I think this is one of the few cases where I enjoy the fact the solo project sounds akin to the main project.

[kwintpod]

Uploaded the S/t of worrytrain (Posted "Fog Dance, my moth kingdom" A few pages back)
Worrytrain-Worrytrain


Slightly more post-rockish than Fog Dance, still immensely beautiful

Code: [Select]

http://www.mediafire.com/download.php?mkfqnmznnfu

[Christophe]

Does anyone have Allen Toussaint s/t?

Also, please do NOT request albums.

please do NOT request albums.

do NOT request albums.

[cdestef142us]

Does anyone have Allen Toussaint s/t?

Also, please do NOT request albums.

please do NOT request albums.

do NOT request albums.

Oops? Here's something to show my heart is in the right place

All Aboard: A Tribute to Johnny Cash

Code: [Select]

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


[wespeakinmidi]

lauraelise204:

so about 6 years ago i was on tour with a band i was playing in, and while in milwaukee we met up with the so many dynamo guys.  they're all really nice guys.  anyway, 6 years later, the drummer of the band that i was in while in milwaukee, is now the drummer of fang island, and he just finished up that tour with so many dynamos.  small world!  sorry to hear you missed fang, they really are awesome.  anyway, i uploaded the album that SMD were touring for, 6 years ago when we originally met them.  it's has some catchy tunes.  enjoy.

So Many Dynamos - When I Explode

ooh awesome!! thank you downloading now!!  i did get to talk to one of the guys afterwards, the guitarist... i never caught his name, but he was really nice.  i asked him if he had ever heard of the javelins and it took him a minute, but he had because one of the guys in the band is in thunderbirds now! and i guess he knew that band in some way.  but i made the comparison of them to the javelins to him and told him that i really liked them and his band a lot.

there was one song that they played towards the end of their set where everybody, sort of all of a sudden, started singing along with.  do you know what song of theirs it might have been/which one of theirs has been popular?

hope you liked that album! as for the song at the end of the set there was a song on when i explode, that while they played live, they all got wood blocks and different percussion and had some sort of sing along percussion part.  please excuse me for being lazy and not checking what the track is.  haha.  but to be honest, i'm not familiar with their newer stuff, nor have i seen them live recently, so i probably wouldn't know if it was off a different album.   

[spoon_of_grimbo]

after i mentioned it in the "what i'm listening to" thread and some interest was shown, here's the only two records by Death on Wednesday.  Featuring Bronx dude Jorma Vik on drums, Kevin Smith (no, not THAT one...) on bass, and vocalist/guitarist Nate Lawler, who sounds like the bastard offspring of some unholy coming-together of Glenn Danzig and Morrissey.  The music itself is a nice mix of melodic pop-punk and 50s rock'n'roll, with no small influence from Face to Face (whose vocalist produced "Buying the Lie").  If you enjoyed that GreenDay side-project The Foxboro Hot Tubs, any of the bands I've mentioned, or just find the sound i've described at all intriguing, check them out, both records are solid.

Death on Wednesday - "Buying the Lie" and the "S6ngs To ___ To..." EP

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http://www.mediaf!re.com/?nnmdmt4vjwk

[kwintpod]

Yay!
Portugal. The Man-The Satanic Satanist

Don't have a review as it just leaked, but I'm sure most of you know Portugal. The Man

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http://www.mediaf!re.com/download.php?3agn2zjklym

[bedhead138]

The Avalanches - After the Goldrush (2008)

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Part 1 - http://www.mediaf!re.com/?ynmmgtttlm4
Part 2 - http://www.mediaf!re.com/?moy0itmwtkt
apparently something is wrong with track 22, so here it is as a stand alone

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http://www.mediaf!re.com/?ytyezdtdnnz
There's a bit of debate on the year of release of this, but nonetheless it's a mix by the Avalanches including:

1 Donovan - Why Do You Treat Me Like You Do?
2 Beach Boys - Matchpoint Of Our Love
3 Chemical Brothers - Star Guitar
4 KLF - 3 Am Eternal
5 Basement Jaxx - Light Your Lighter
6 Artist Unknown - Shady
7 Q Tip - Breathe And Stop
8 Aldo Bender- Acid Enlightenment
9 Thomas Bangalter - Turbo
10 Phoenix - If I Ever Feel Better (Todd Edwards "Dub Better" remix)
11 Mr Oizo - M Seq
12 Felix Da Housecat - Strobe
13 DJ Funk - Booty Perc-U-Later
14 BS 2000 - Nobody Beats BS 2000
15 DJ Funk - Every Freakin Day
16 Aphex Twin - Afx237 v7
17 Shimon & Andy C - Bodyrock
18 Avalanches - Frontier Psychiatrist
19 Bubba Sparxx - Ugly
20 Bobby Digital - Must Be Bobby
21 DJ Zinc - 138 Trek
22 Dr Dre - Forgot About Dre
23 Chemical Brothers - It Began In Africa
24 Underworld - Rez /Cowgirl
25 Guns N Roses - Welcome To The Jungle
26 Thomas Bangalter - Colossus
27 Mc5 - Tonite
28 Missy Elliot - Get Yr Freak On
29 George Michael - Faith
30 Destiny's Child - Jumpin Jumpin
31 Foundation Players - Fireball
32 Eminem - The Real Slim Shady
33 Xpress 2 - Smoke Machine
34 Missy Elliot - One Minute Man
35 J Walk - Soul Vibration
36 Princess Superstar - Wet Wet Wet
37 Queen - I Want To Break Free
38 Detroit Grand Pubahs - Sandwiches
39 Daft Punk - Oh Yeah
40 Hall And Oates - I Cant Go For That (No Can Do)
41 Aphex Twin - Windowlicker
42 Beach Boys - Johnny Carson

[MrBlu]

"Stir It Up Vol. 8: Trial And Crosses"- Twin of Twins

In the entertainment industry street credibility is the ultimate test for an artist, and the public's explosive reaction for the underground sensation known as "Twin of Twins" has been overwhelming. Their current CD "Stir it Up Vol. 5" "Crucifiction of the Ghetto" combines comedy, political satire, music and social commentary, from the point of view of a fictional radio broadcast and its guests. As the fifth volume of the series this innovative and well thought out dialogue includes voice impersonations of some of Jamaica's and the world's most colorful characters, such as Mutabaruka, Michael Jackson, R.Kelley, Bounty Killer, Beenieman and Bob Marley. It is currently the hottest record on the streets of Jamaica and can be heard on mini-buses, car radios in bars and restaurants.

The "Stir it Up" Series, is the brain child of identical twins Patrick "Curly Lox" and Paul "Tu-Lox" Gaynor, professionally known as "Twin of Twins." After spending the past decade as Jamaica's best kept secret, they are now getting the recognition they deserve as two of the Islands most talented individuals. With an array of skills, the brothers have written over a dozen hit songs for their friend Bounty Killer. Songs such as "Warlord Nuh Business," "Likkle Dread Boy," "Oh Come on Now," "Uptown Boy," and his current #1 hit "It's Ok." They have also penned lyrics for many of Jamaica's top talent including Beenieman, Elephant man, and Luciano.

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http://www.mediaf!re.com/?miqnihu5dfi

Ok, long story short, it's parody of Jamaican Dancehall artists on trial, voiced by the Twins. It's pretty NSFW and vulgar, but for me, it's Laugh out loud hilarious, and if anyone wants to give a listen... There it is.

[wespeakinmidi]

i've been sick in bed for the past 3 days with a fever like you wouldn't believe.  today was the first day i started to really feel better again, i just smoked a joint of good grass, and i'm high as a kite.  anyway, thank you nyquil, thank you reefer.  here's to feeling well again.  enjoy:

NEBULA :: Let It  Burn

Let It Burn is the first EP by Eddie Glass's post-Fu Manchu band Nebula. It features a more psychedelic experimental sound as opposed to the straight-forward approach of Fu Manchu.  Just freaking download it and rock out.

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http://www.mediaf!re.com/?qmnx5kxo2gn

Vincent Gallo :: When

When is the title of an album by Vincent Gallo, released by Warp Records in 2001.
The album contains the track "I Wrote This Song For the Girl Paris Hilton" which got its name from a friend of Lukas Haas. Gallo had yet to meet Paris Hilton but she would later appear in his short film "Honey Bunny".
The song "Yes I Am Lonely" was used in the video game Phantom Dust and is played during the ending credits of the game. The track also appears on Phantom Dust Original Sound Tracks.
The song "So Sad" recorded during the "When" sessions but not present on the album is notable for it was released as a vinyl 12" single cut at 78 RPM (and 45 RPM on the other side). It was limited to 300 copies.
The whole album was recorded in Vincent's home and made use of numerous vintage guitars and other equipment. A mellotron is used on some tracks, notable because of the scarcity of those instruments.

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http://www.mediaf!re.com/?mmziwhdodz4

The Pixies :: Acoustic Live in Newport

Around 6 P.M. on a warm Saturday in August 2004, the Pixies took the stage of the world-famous Newport Folk Festival to perform one of their most unique sets ever. Playing a completely acoustic performance, the reunited lienup of Frank Black, Kim Deal, Joey Santiago, and David Lovering give a unique spin to 22 fan favorites. Extras includes a 21 minute "fly on the wall" feature of rehearsals as the band deconstructs their well-known songs from electric to acoustic versions

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http://www.mediaf!re.com/?vjmnh22jtnq

[wespeakinmidi]

Rules:

No hot-linking images or albums. You can re-host images at http://imageshack.us.

Ensure your tags are correct and that you have specified both Artist/Album in your post.

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.

Also, please do NOT request albums. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.

Repost the rules at the top of each new page.

[lauraelise204]

just listening to my last.fm "my recommendations" and a song from this album came on the station.  i had to do a search for it and i found it! 

she's sooo good.  holy hell.  had to share.

download this now.  thank me after you've listened to the whole thing.



Jesca Hoop - Kismet

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http://www.mediaf!re.com/?vzzmv0kbcni

from last.fm

One of five children in a fifth generation Mormon couple, Hoop was steeped in a musical environment created by her family. She began performing as a child and starred in her high school choir.

Hoop broke away from the strictures of Mormonism just as her parents were separating. During this time, her mother Janette turned the basement into a theatre, and brought in all sorts of eccentrics to rehearse and put on musical plays for the community.

Jesca started to rebel against the traditions of her family and the only life she had known. “My girlfriend and I started smoking pot, which was such an out there thing for me to do given my upbringing. I was singing with the Santa Rosa Chamber Choir at that time. The combination of singing in that style for hours a day and smoking thrashed my voice…until it was gone. I had to leave the choir, and it took me about a year to regain my vocal strength. I had to re-teach myself how to sing in the ways that worked for me… Cut a new pattern and stitch myself back together. It was a blessing. It is why I sing the way I do. Appropriately, at that time I started listening to Kate Bush, Tom Waits, Björk and Diamanda Galas.”

Hoop spent the next several years homesteading in Northern California, Wyoming and in the high mountains of Arizona, where she worked in a wilderness rehabilitation program for mixed up kids.

[Catacombs]

Thanks for that Pixies album, downloading now.

[paradoxtitan]

La Roux - La Roux

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http://www.mediafire.com/?sharekey=428562f2b4df65c4d6baebe61b361f7ce04e75f6e8ebb871Fun 80's synth-pop from the UK.

[Herzapplikator]

Some more japanese psychedelic freakout stuff, this time it's Mainliner. Basically, this is Asahito Nanjo, bandleader of High Rise, Koji Shimura, who's been with White Heaven, and Kawabata Makoto of Acid Mothers Temple fame. If those names aren't enough of a description already, below is the Allmusic review of Mellow Out. Couldn't be arsed to look for anything on the other albums, shouldn't be needed anyway.
Mainliner - Mellow Out

Mellow Out is an ironic title if ever there was one: as far as mind- and speaker-blowing experiences go, Mainliner's 1996 debut is difficult to top. Nobody could accuse Asahito Nanjo of pussyfooting around with his noise-mongering outfit High Rise, but he ups the ante on this ultra-heavy, brain-atomizing record, ably assisted by Acid Mothers Temple's Makoto Kawabata and Hajime Koizumi. For the duration of Mellow Out all the needles are stuck firmly in the red, its 35 minutes terminally fuzzed-out and distorted. This definitely isn't a record you'd use to demonstrate the quality of your stereo system. Indeed, the band's apparent scorn for production values makes the inclusion of a production credit appear somewhat comic. Although Nanjo (bass) and Koizumi (drums) lay down a crushing, seemingly monolithic bottom end, amid the weighty layers of that foundation the pair also sustain patterns of rhythmic complexity -- without descending into jazz noodling. Meanwhile, Kawabata's guitar veers between earth moving riffage and shrieking, eviscerating extended solos. Woody Guthrie had "This Machine Kills Fascists" emblazoned on his instrument, but Kawabata's axe is utterly undiscriminating: nobody is spared its wrath. Having kicked out the jams with the frantic sub-two-minute opener "Cockamamie," the record gives itself over to a pair of quarter-hour-plus behemoths, "Black Sky" and "M" (what its title lacks in letters, the track makes up for in noise). These numbers churn and grind, alternating between pulverizing riffs and scything white-knuckle freak-out, as Nanjo's curiously disembodied vocals float over the fray in a cloud of reverb. Mellow Out suggests previous power trios like Cream, the Jimi Hendrix Experience, Guru Guru and Blue Cheer, all locked in a room together and jamming to the death. This is molten acid rock, psychedelic in that it rearranges the senses -- not with fey whimsy but with sheer brute force.

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http://www.mediafire.com/?yc0omwtnqwm

Mainliner - Mainliner Transonic

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http://www.mediafire.com/?zzkiny24mii

Mainliner - Psychedelic Polyhedron

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http://www.mediafire.com/?zwitzwmeqii
Next time: Musica Transonic

[Caspian]

Skepticism- Stormcrowfleet. If you like music slow and heavy and with some unearthly power, you seriously need this. Particularly any of my southern hemisphere bretheren; this stuff's perfect for dark, cold and stormy nights.

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http://www.med!afire.com/?ai0xmwjtve5

[edwinalink]

I will so be taking that as soon as i get home!

[Herzapplikator]

New Sir Richard Bishop

Dude, I posted that thing, like, two pages ago.

[onewheelwizzard]

This page is shaping up GREAT so far.

I'll contribute later this evening.

Also, I'm downloading that Jesca Hoop music based on absolutely nothing but her appearance.  Damn.  Edit: This was an EXCELLENT idea.  This is fucking great.

[lauraelise204]

This page is shaping up GREAT so far.

I'll contribute later this evening.

Also, I'm downloading that Jesca Hoop music based on absolutely nothing but her appearance.  Damn.  Edit: This was an EXCELLENT idea.  This is fucking great.

i told you!! she's adorable and has music to match.

[edwinalink]

and now, based on that image... so will I!

[onewheelwizzard]

Heyoka - Gate Code

Chilled dub, glitch-hop and thumping grime instrumentals. Heyoka continues driving his unique sound further from the beaten path in pursuit of his evolving craft. This album of dynamic, squelching, creaking downtempo has a very powerful character and a compulsive beat. The rhythmic material lumbers and plods with such determination that it defies anyone not to be drawn into rocking, nodding, foot-tapping or dancing. A dizzying array of extra-percussive blips, taps, scratches, tonal motes and arpeggiated phrases add density to the already dominant grooves - always shifting, always something new, almost more than the listener can keep up with. The musical content is primarily acidic - bass squirts, chord stabs, groaning tonal sweeps and manic zaps - however among this gutsy fabric are some delicate piano melodies, hints of more hummable tunes and snatches of almost familiar themes. There are some inventive vocal effects - plastic yays and yiys that buzz with a throaty reverberation that matches the programmed sounds in intensity and some distant, plaintive sax playing courtesy of Tormenta Galactica.

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Pt 1 http://www.mediaf!re.com/?lmt0mnyu4wz
Pt 2 http://www.mediafire.com/?mrtnygzledw
This shit is awesome

[amok]

Heyoka - Gate Code

Two tracks into this and I love it already.. mental. Thanks!

[A Wet Helmet]

80's crossover albums by COC because it was mentioned in the metal thread that they're hard to find.

Corrosion of Conformity -- Technocracy

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http://www.mediafire.com/?nmiqh2azy4m
Corrosion of Conformity --Animosity

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http://www.mediafire.com/?ye0zxnk5wxj
Shamelessly cut and pasted from guypetersreviews.com

Animosity (1985)

Animosity

A fierce follow-up that improves immensely on the band's debut album, Animosity is where Corrosion of Conformity really succeeded to capture their hardcore-metal fury. The Six Songs with Mike Singing EP already explored slightly heavier territory than their debut, and this more metal-oriented direction is continued on their sophomore album, where they truly sound like Slayer's punk kid brothers. Produced by the band and Metal Blade's Brian Slagel, the album also has the thin, trebly production of the day. It may rob the band of its potentially crushing force, but it does give the music a lean, energetic vibe instead. In combination with the slightly more complicated song structures that go beyond the restrictions of traditional, rigid hardcore, this results in music with crossover appeal. Even though they're totally dissimilar, C.O.C. have in common with Motorhead that they could be appreciated by both camps. The luxury of being a noise fan in the 80s. Because the music's more demanding, the band has become slightly tighter, although it's obvious technical perfection wasn't one of their mains goals (some of Mullin's fills are a bit off/clumsy - that's what you get with these trebly affairs that accentuate all of the drummer's mistakes that much). Dean still can't sing for shit, but his hoarse screeching (part HR, part Kronos, part lunatic) serves the music and the message better than Eycke's voice did. Then there's also the band's political stance (it's all in the name, right?). While opening song "Loss for Words" has a lack of lyrical focus that lumps 'em in with the hordes of punk bands out there that confuse having nothing to say with making deep, universal statements (an easy substitute for existentialism that makes you look smarter than the metal kids out there singing about Satan and beer), political punk rarely sounds this effective. Even without the explicit political targets and agit-prop of, for instance, the Dead Kennedys, C.O.C.'s disgust with the (then) current state of politics becomes clear with repeated listens. "Mad World" attacks political leaders and the use of weapons of mass destruction (albeit in a much less successful way than Discharge, who were the undisputed champions of getting the message across effectively), while "Interventions" touches upon their nation's foreign politics (I presume they refer to the fiascos in Lain-America) and couples it to a truly blistering attack. Not all the songs here are as successful and sometimes the only thing you'll remember about a song is that Dean's trick of stretching out a line's last syllable (a bit like Bad Religion Greg Graffin sometimes did on their early songs) and the string of tempo shifts that don't take the song anywhere, but Animosity is definitely an improvement over the clumsier doom-punk of Eye for an Eye, which is only returned to during the instrumental loser, ironically perhaps the album's strongest cut. The ideal place to check out the band's semi-legendary crossover days, Animosity's best moments are pretty damn excellent.

Post a comment! - Back to top

 
Technocracy EP (1987)


Technocracy

On paper, nothing whatsoever could go wrong with Technocracy. Appearing two years after the brief Animosity, the EP was undoubtedly gonna contain the work of an even more experienced band, with the urge to finally release some music again. On top of that, the liner notes contain some fierce opinions that seethe with disgust, not only with the "growing sense of nationalism & obvious shift to the right" of their country and its leaders, but also the impact this had on their own scene ("(…) a stale fermentation of Archie Bunker views & "Mosh to kill, tough man in the slam pit" zero mentality"). Promising not to be turned off to heavy music, C.O.C. suddenly intends to become more outspoken, which is obvious from the album cover. The nuclear skull logo finally becomes more meaningful, as the band not only chooses vague political targets, but also focuses on the exploitation of natural resources & reign of technology (the title track) and offers depressing views on life/society, in which sane people have to struggle to get through the day unharmed. Even though you could argue the band became more "punk" again in their stance (luckily, they don't make you reach as often for the dictionary as a Bad Religion album), the musical direction once again shifted a bit more towards metal, with the band settling for a more conventional style not to far removed from the important speed metal bands of the day. The production is a bit more fleshed out, providing more "bottom" which makes them more accessible. However, the potential appeal of these four songs ("Ahh Blugh" is a half minute of filler) is almost entirely neutralized by the frustratingly powerless performance of new vocalist (yep, their third one - not including the pre-Eye for an Eye ones) Simon Bob, who recites his way through this album as if he's sharing his thoughts at a poetry meeting. What this kind of music needs - especially when their intentions are stated this explicitly - is a vocalist with the power and dedication to strengthen those points, and Simon Bob's "what am I doing here?"-tone won't do. As such, Technocracy is one hell of a missed opportunity, which to a certain degree can be compensated by the four bonus tracks with Mike Dean singing, three of which were those also sung by Bob (the other one a new version of "Intervention"). Did they realize Dean's incensed passion was better suited? Was it a lack of other new material? I have no idea whatsoever, but I do know something's wrong when the bonus tracks are the best cuts on your release.

[amok]

A Whisper In The Noise - As The Bluebird Sings

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http://www.mediafire.com/?nye3whjggmn


A Whisper In The Noise - Dry Land

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

A Whisper in the Noise is the project of composer West Thordson, incorporating strings, piano, lush-toned electronics, and atmospheric singing. By turns pretty, melancholic, sad and charming, A Whisper in the Noise evokes a lullaby only half remembered, and the half remembered suggests a companion melody that (though unheard) is somehow unspeakably sad.

The instrumentation is non-conventional, with an orchestral flair. There are several layers of piano, violins, synths, guitars, percussion and voice effects, all nestled together. It is all put together so beautifully that it seems churlish to try to separate it into its constituent elements. I’ll leave that effort to the musos, for me its all about the way the sounds make me feel, and this music makes me feel languid and reflective, yet quietly, dangerously murderous. It’s not an immediate album, it takes effort to get your head around, but then it wriggles into your consciousness and lies across your discomfort like a warm, wet towel.

[Mr. Tool]

Jesca Hoop - Kismet

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http://www.mediaf!re.com/?vzzmv0kbcni

This is amazing. Thanks for the share.

[bahhhhh]

Brave Radar - A Building



Brave Radar is Conor Prendergast (Sydney, Australia) and Tessa Smith (Halifax, NS). The pop duo live in Montreal where they recorded their first full length album, Distracting Strangers. With two guitars and kitchen sink drums, they built shambolic ditties that captivate and mess about with a jarring stickiness.

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http://www.myspace.com/braveradar

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http://www.mediaf!re.com/?53gfilqyihm
I have no idea where you guys get your descriptons for albums so I just copy+pasted mine from the band's Last.fm page.

[Harun]

Rx Bandits - Mandala

Rx Bandits are a band that are tragically (or if you like, luckily) kept away from mainstream ears and, at short intervals, inspiring the kind of intense whispering that reminds you of exactly how many people look up to their particular brand of emotionally uplifting and technically startling rock.

Mandala is the third album since Rx Bandits began ditching the “late-90s ska-punk band” thing in the aptly titled Progress, following on from landmark crossover album The Resignation and progressive adventure  …And the Battle Begun.

The membership and sound of the Rx Bandits is hardly recognisible from Halfway Between Here and There these days, notably absent in the full recording line up is the entire brass section. It’s a bold move, and back in 1999, you’d be mad for suggesting they would be a four piece progressive rock outfit, but here we are.

There are hints of the brass here and there (Bury it Down Low), but their non-presence in the majority of the album seems to accompany the stronger moments, and the Embree/Choi double act’s guitar work on Mandala is easily the most impressive yet, flourishing in the gap the brass left in their wake.

The strength Chris Tsagakis and Jospeph Troy add from underneath maintains the incredible feel the band perfected last time around and Mandala is a natural continuation of the progressive samba flavoured rock of …And the Battle Begun. You get the feeling that, even more than ever, the depth and passion Rx Bandits encapsulate in their music is something that many bands would do well to pay attention to and struggle very hard to emulate.

Verdict: Brilliant and adventurous music dealt straight from the heart, an Rx butterfly fully emerges from the ska cocoon.

part 1

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http://www.mediafire.com/download.php?4cymrzxqrzmpart 2

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http://www.mediafire.com/download.php?fzl3nw5tonz

[A Wet Helmet]

Sometimes I search this thread and I'm more amazed by what isn't in here than by what is.

This is a correction of a grievous oversight (partial review from allmusic.com which gives it 4/5 stars)

...Mommy's Little Monster finds the band supplying plenty of attitude and aggression as they rip through nine tracks worth of hard, fast, power chord-filled tracks loaded with snarling anti-establishment lyrics and themes. Songs like "The Creeps (I Just Want to Give You") and "Telling Them" show a young punk group that is very angry, and they were going to let society know it whether they wanted to hear it or not. The title track, "Mommy's Little Monster," with its descriptions of the girl with blue hair and the unemployed young punk who loves to drink and fight, gives you a good idea of the characters Social Distortion was surrounded by in the scene of the day...

As a personal anecdote, my mother, sister, and I drove about 1,100 miles to meet up with my father (who had moved due to work) the summer of 88.  I had two tapes in the car.  This was one of them.  We listened to it so many times that even my Mom was singing along eventually.   High. Fucking. Comedy.  

Anyway, a great album of Southern CA punk put out when punk just about everywhere else was starting to dry up and die.  Knowing what I know now about Social Distortion, you can definitely hear what they are going to become, yet it still has all the raw energy of teenagers who just came back from a Black Flag gig.

Social Distortion -- Mommy's Little Monster

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http://www.mediaf!re.com/?nyz2yn42n5n

[Dimmukane]

Also, I'm downloading that Jesca Hoop music based on absolutely nothing but her appearance.  Damn.  Edit: This was an EXCELLENT idea.  This is fucking great.

I CONCUR

[edwinalink]

SWEEEEEEEEEET.

[the_pied_piper]

A Whisper In The Noise - Dry Land

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

Track 3 from this album is a corrupt file.

[barista.babe]

The Fountain BSO

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http://www.mediaf!re.com/download.php?n4dn2nnvyjl

This is probably one of my favorite films and film scores, and so i decided i'd share it with everyone. Clint Mansell, the composer for Pi and Requiem for a Dream, reprised his role as a composer for The Fountain. The San Francisco-based string quartet Kronos Quartet, who had previously performed for the Requiem for a Dream soundtrack, and Scottish post-rock band Mogwai also contributed to the film score. Darren Aronofsky hoped that David Bowie, whose song "Space Oddity" helped influence the film's astronaut period, would record a "third Tom song" as the musical artist worked briefly with composer Clint Mansell during production.The plan was for Bowie to rework pieces of the score and to vocalize them, but this did not go through. Instead, Mansell researched possible scores to tie together the three different time periods that spanned The Fountain. He wanted the overall feel of the score to be organic, and considered implementing orchestral and electronic elements that would have "a real human element to them that breathes".The score was designed concurrently with the film's production instead of during the post-production phase. For the score, Mansell created a mood that flourished as the film progressed. He described the process of composing the music, "It's instinct and listening to what the film is telling you it needs."

Everything But The Girl - Amplified Heart

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http://www.mediaf!re.com/download.php?tgz2l1u0d0y

This was the very first compact disc that i bought in 1994. Classic EBTG, this is probably one of my favorite albums (despite the commercial success this album spawned due to the song "Missing") all around it's a solid album that helped establish their "sound."

The New Amsterdams - Never You Mind

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

This album really takes me back to a time when i was working at the mall, going to shows everyday and driving around aimlessly with my best friend. Never You Mind is the 2001 debut album of The New Amsterdams (The side project of The Get Up Kids' Matt Pryor) This album is a must have for any one who loves the Get Up Kids as well as anyone who likes the more mellow tracks on their other albums. Also, There's one of the best covers I have ever heard. Their cover of the Afghan Whigs' "When we two parted" is exactly what a cover should be; both an interpretation of the song that makes it their own, and a tribute to the original artist. I could go on and on about Matt Pryor's ability to write poignant lyrics and catchy melodies. But I shant. Just get this.

Bettie Serveert - Attagirl

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http://www.mediaf!re.com/download.php?fhyk4wermgl

"Attagirl" heralded Bettie Seveert's debut on Minty Fresh Records as well as the band's triumphant return with their most captivating full-length since "Palomine". Chock full of the most memorable songs in this much-lauded band's career, Carol van Dyk's beguiling vocals are front and center over her thick multi-tracked harmonies. Meanwhile, hooky synth-loops and popping rhythmic grooves propel the music forward, woven together with Peter Visser's inventive yet sturdy guitar work. An outstanding record all around featuring the most amazing cover of Bright Eyes "Lover I Don't Have To Love" it's hauntingly beautiful and pretty much the only reason why i ever bought the album, although the whole thing is worthwhile, the Bright Eyes cover really stands out.

[bedhead138]

Spoon - Got Nuffin EP (2009)

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http://www.mediaf!re.com/?zznfy2ztteq

Got Nuffin is the sixth EP by the indie rock band Spoon. It is set to be released June 30th, 2009 by Merge Records.[1] This EP will mark the first newly recorded music for Spoon since the release of 2007's Ga Ga Ga Ga Ga.

1. Got Nuffin
2. Tweakers
3. Stroke Their Brains
4. Tweakers (Remix)