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[Avec]

Common Market - Tobacco Road (2008) Hip-Hop



A man who spends the day as a janitor and the night as a smooth hip-hop artist, really worth a listen.

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http://www.mediaf!re.com/download.php?zm2izq2zldm

1. Service 1:25
2. Trouble Is 3:21
3. Gol'dust 3:43
4. Slow Cure 4:07
5. Back Home (The Return) 3:03
6. 40 Furrows 1:57
7. House 3:40
8. Winter Takes All 3:19
9. Weather Vane 5:20
10. 40 Acres 2:37
11. Spits 2:05
12. Nina Sing / Funklove 3:09
13. Certitude / Chev 2:51
14. Crucible / Geologic 2:50
15. 40 Thieves 3:08
16. Nothin' at All 5:28
17. Swell 3:48
18. Tobacco Road 4:36

I really don’t want to use the “best hip hop group you’ve never heard of” cliché, but if anyone can live up to that overused, often ridiculous statement, it’s probably Common Market. Though they have a huge following in their native Northwest (Seattle), they’ve failed to really break out in other areas of the country, even following the success of label-mates Blue Scholars. That should change, however, with Tobacco Road, the long-awaited full-length follow-up to the duo’s self-titled debut and recent EP Black Patch War.

Producer Sabzi (who is also the producer/DJ for Blue Scholars) is simply brilliant, and has been for quite a few years now. His trademark horns are traded here for synths, but the other hallmarks of his sound are still intact: smooth, jazzy organs, crisp drums and a remarkable knack for melody and musicality. His production lacks the punch-you-in-the-face immediacy and straight-up hardness of a lot of underground hip hop, but it makes up for that with an emotional resonance and organic catchiness that few producers can touch.

The other half of Common Market is emcee Ra Scion, who I really want to like. He’s got good politics, an incredible flow and some mind-blowing lyrics. All in all, he’s very good. Maybe too good.

One thing a lot of emcees don’t seem to understand is that being perfect isn’t necessarily a good thing. If your rhymes are 100% technically proficient, if every syllable is exactly where it needs to be and every vocal rhythm crisp and clean, you actually risk losing the audience. There’s such a thing as “too much flow.” A little raggedness and negative space here and there is, in my opinion, a good thing. Ra is a superlatively talented emcee, and it’s because of (rather than despite) this that I found myself almost losing interest; the lyrics are simply overwhelming.

For those who listen to hip hop solely for its sonic qualities, this isn’t a problem. If you consider the emcee’s voice another instrument, you’ll love Common Market. But I know that Ra is really dropping knowledge—I just wish I could catch it without having to read the lyrics (which are provide on the Common Market MySpace page, complete with footnotes).

There are exceptions, however, as songs like “Weather Vane” and “Nina Sing” showcase a more deliberate flow that allows some thought-provoking content to shine through. Again, Ra is an emcee’s emcee (much like Invincible, whose album is similarly dense) and definitely shines when in that mode; when he steps out of it, however, he can be transcendent

But if the biggest criticism of the group is that the emcee is too good, you should know that this is an album worth checking out.

All in all Tobacco Road is very solid, there are no weak tracks. And though the duo probably could have done a little more with the concept (the title is a very loaded phrase for people familiar with its origins) beyond using it as a metaphor to umbrella over the usual indie-hip hop fare – this is another small complaint. Musically, this album is as good as anything that’s come out in quite a while. And Common Market deserves to be more than “the best hip hop group you’ve never heard of;” hopefully they’ll get a chance to showcase their considerable talents to a wider audience this year.

Sample: http://www.myspace.com/commonmarket

[spoon_of_grimbo]

CAVE IN - PLANETS OF OLD EP (2009)

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Don't let the album name's acronym fool you. This is not "Poo". Cave did a single reunion show and released this as a vinyl only release.

P.S. I have a boner

holy fucking spacecakes batman, Cave In are back?!?!?!  HOW THE FUCK DID I NOT HEAR OF THIS?! 

needless to say, that EP is out of this fucking world, in both sound and awesomeness!  do you know if they're planning another full-length? 

I dunno about a full length, but they had a VERY successful reunion show and I would be surprised if they put all their not-half-as-awesome-as-cave-in projects like Clouds and Doomriders aside to make more rock that actually rocks. Here's hopin, Grimbo.

mate, Clouds' album was awesome, and what i've heard of Zozobra's been pretty good too.  but yeah, they never came across like full bands, always more as "projects."  guess that bodes well then, fingers crossed!

[JayJayD]

Kraftwerk - The Catalogue (Promo Box Set)

Sooo disappointed that they're the english versions. 
You have to listen to Kraftwerk in Deutsch!

[ex_penumbrae]

Sooo disappointed that they're the english versions. 
You have to listen to Kraftwerk in Deutsch!

i kind of agree with you, although in quite a few of the songs, the melodic line sounds pretty clunky in German, suggesting they thought of the English first. "We are the robots" is *much* better rhythmically than "Wir sind die roboter"! But yeah, Computerwelt is way superior to its English counterpart.

*shrug* What's the German for "meh"?

[variable_star]

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More Owl City! Here are two of his recent one-off singles.

[variable_star]

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http://www.mediafire.com/download.php?zkumt2d25ji

Frankmusik is Vincent Frank, a vocalist, producer, and erstwhile beatboxer from Croyden, England, whose compositions nod to the Crystal Castles' chiptune-fueled mania and Imogen Heap's intelligent, bittersweet electro-pop. His debut EP, Frankisum, was released on Apparent Records, a label he co-founded with David Norland, in the fall of 2007. He was signed to Universal/ Island soon after, boosted by the buzz generated by that disc. A full-length album was in the works for 2009. - Allmusic

Though the release of Frankmusik's debut is less than two weeks away, I cannot find a leak of this record! So for those who are just as impatient as I am, I cobbled this together from a myriad of different sources and made the tracklisting mimick the one for the UK release of "Complete Me". I jettisoned all the demos and remixes I could, but tracks like "Vacant Heart" and "Wonder Woman" are almost certainly not album cuts. The only versions of those I can find are either myspace rips or possibly unpolished demos. For the rest, I can't be certain if these are the final versions that will appear on the record. Still, this captures his best tracks and the majority sound great, so it'll do until a HQ rip is posted (or made, as I have the album on pre-order).

P.S. - I added "Made Her Smile" here as track 15, but I don't think it will appear on the album

[JD]

Dude

[variable_star]

Dude

Oh yes, I've tried that one. But if you listen to tracks like "Vacant Heart", they're still unpolished demo-sounding cuts.

The search continues!

[bedhead138]

Son Volt

After touring in support of their 1993 masterpiece Anodyne, the seminal alternative country band Uncle Tupelo split up over long-simmering creative differences between co-leaders Jay Farrar and Jeff Tweedy. Tweedy recruited much of the band to form Wilco, while Farrar teamed up with original Tupelo drummer Mike Heidorn to form Son Volt, the more tradition-minded of the two Tupelo offshoots. Joined by brothers Jim (bass) and Dave Boquist (guitar, fiddle, banjo, fiddle, steel guitar), the band signed to Warner Brothers and released its debut album, Trace, in 1995. It was greeted with excellent reviews from most critics, offering a set of stark, subtle, mostly downbeat songs that drew from traditional country, folk, and roots rock. The single "Drown" was successful on both college and rock radio, and the band subsequently added unofficial fifth member Eric Heywood on mandolin and pedal steel for its second album. 1997's Straightaways mined territory similar to Trace and again received positive reviews, though some found Farrar's lack of creative progression troubling. 1998's Wide Swing Tremolo was a somewhat harder-rocking affair, but the erosion of critical support for the group continued. They ended up on an unofficial hiatus (rumors of their breakup were denied), and Farrar debuted as a solo artist with 2001's Sebastopol, putting the future of Son Volt in further doubt. He continued with his solo career throughout 2002 and 2003, and in 2005 Rhino issued Retrospective: 1995-2000. But Son Volt wasn't over. Farrar revived the nameplate in July 2005 with the issue of Okemah and the Melody of Riot (Legacy). For the album, recorded in St. Louis, Farrar was joined by drummer Dave Bryson, bassist Andrew DuPlantis, and ex-Backsliders guitarist Brad Rice. Search arrived in early 2007.

Trace - 1995

Mp3 192-320
57.68 mb

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Straightaways - 1997

Mp3 192
54.4 mb

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Wide Swing Tremolo - 1998

Mp3 192-320
74.70 mb

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Okemah and the Melody Riot - 2005

Mp3 192-320
79.44 mb

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The Search - 2007

Mp3 256
88.84 mb

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[epoch]

Owl City- Of June (2007)

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SOOOO good. Its 7-songs of pure ecstasy. Electroindiepoptronica at its best.

[Touch Me Im Sick]

This pales in comparison to the Kraftwerk megapost doesn't it?

"A South Bronx Story" - ESG

With their limited resources, the Scroggins sisters put the boogie down in the Boogie Down Bronx. Major kudos to Universal Sound for compiling ESG's best works for A South Bronx Story, a crucial document of sparse, old school funk. Until 2000, the group's scant material had been nearly impossible to find. The most legendary inclusion is the Martin Hannett-produced 7" EP that was originally released on Factory (later released as a 12" in the U.S. by 99 with live tracks backing it). This release featured their trademark "Moody," which ended up being listed as a Top 50 classic by nearly all of New York's dance clubs; it was also immortalized on a volume of Tommy Boy's excellent Perfect Beats series, lodged between Liquid Liquid and Strafe. Like the remainder of their recorded output, it featured the three "R"s: rhythm, rhythm, and more rhythm. Also on the debut EP was their most sampled "UFO"; the nauseous siren trills at the beginning found sped-up use in at least half a dozen rap tracks in the late '80s and early '90s. Big Daddy Kane and LL Cool J used it, and the Bomb Squad slyly swiped it for Public Enemy's "Night of the Living Baseheads." But arguably their best moment was "Dance" with its jumpy Motown rhythm, post-punk bass, and narrative/old school vocals. It sounds like a wild mix of the Supremes and Metal Box-era Public Image Limited. Deborah's bass, though not as musicianly, captures the spirit of PiL's Jah Wobble copping Motown session bassist James Jamerson. It's that sort of sprited, unconscious hybrid that made ESG so unique. After all, they played the opening night of Manchester's Factory club and the closing night of Larry Levan's Paradise Garage. -AMG

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If anyone's interested, I have some albums by The Fall I can upload (Slates, Dragnet, Live at the Witch Trials, and The Unutterable in mp3 format, and Hex Enduction Hour, Perverted by Language, Grotesque, and This Nation's Saving Grace in m4a format)

[barista.babe]

In honor of Friday, I'm posting the bootleg leak of Fiona Apple's Extraordinary Machine which was produced by Jon Brion.

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http://www.mediaf!re.com/?vm2oummomf3
There are quite a few differences between the mainstream release and this scrapped bootleg. For starters, the audio quality is a little bit different, as it isn't polished or tweaked. Fiona's voice has a rawness to it that's jam packed with so much emotion that it's sometimes hard to tell whether she's almost crying or drunk. There are only 11 tracks on the bootleg as opposed to the 12 tracks on the official release (The bootleg does not contain the track Parting Gift). The arrangements of some of the tracks are completely and totally different on the Brion version than on the Sony/Epic release. I almost prefer the bootleg to the official release, but I love them both. This is probably one of my favorite Fiona Apple records (and I keep pining that she'll release something new. Aside from the EP she's featured on, which I can post here later if anyone wants it. It's a jazz tribute to Cy Coleman).

This is absolutely a must-have. Get it or else.

[bedhead138]

Wilco

A.M. - 1995

60.69 mb

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Being There - 1996

Disc 1  
43.85 mb

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Disc 2
55.23 mb

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Summerteeth - 1999

81.32 mb

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Yankee Hotel Foxtrot - 2002

67.67 mb

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A Ghost Is Born - 2004

90.4 mb

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The Wilco Book - 2004

53.04 mb

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Kicking Television : Live In Chicago - 2005

Disc 1  
75.89 mb

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Disc 2  
80.13 mb

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Sky Blue Sky - 2007

69.5 mb

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Ashes of American Flags - 2009

Mp3 256
173.78 mb

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Part 1 - http://www.mediaf!re.com/?tmizndu4f0b
Part 2 - http://www.mediaf!re.com/?i0wznmfzmdj

Collaborations


Billy Bragg & Wilco

Mermaid Avenue Vol. 1 - 1998

66.79 mb

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Mermaid Avenue Vol. 2 - 2000

67.33 mb

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Demos, Outtakes, & Live Material


A.M. Demos - 1995

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Yankee Hotel Foxtrot Demos - 2002

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Part 1 - http://www.mediaf!re.com/?cy00tjnb2im
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Someone Else's Songs
Disc 1

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Disc 2

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[variable_star]

DOLOREAN - NOT EXOTIC (2003)

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As the story goes, Not Exotic grew out of vocalist/guitarist Al James' quiet home recordings. As contributors were gradually acquired, so did an identity for the project, and Dolorean was born. But even with the addition of understated percussion, shimmering synth and piano, and stately cello, the record still runs on James' sharply rendered lyricisms and quietly deliberate guitar work. In first-person musings like "Hannibal, MO" and the incredible opener, "Morningwatch," the spaces between chords linger like low-lying morning fog, and accompanying instruments drift in and out of focus, as late-night memories often do. This confessional or diary quality aligns Dolorean with avant folk, but it's not that simple. Tracks like "Traded for Fire" and "Still Here With Me" seem like slowcore as they surge quietly toward resolution; they suggest an acoustic Bedhead strumming along with Neil Young. It doesn't really matter where the characterizations lie -- the album's rustic, well-appointed feel is just plain comforting. Friends pass easily through James' lyrics, just like they do as collaborators. Elsewhere, there's a sense of escape from life and love. "Sometimes I try to be a fighter pilot," he imparts over the barely ascertained wee-hours groove of "The Light Behind My Head." "And I'm always ridin' alone in the cockpit/If I lose my mind/I'll just press eject/And drift down/Like a lazy dove." The drifting metaphor is a key to Not Exotic's whispered wow and flutter. "Sleeperhold" might run a bit too long, but its formless wane is the only time the album looks too far inward. For the rest of its lilting yet crisply defined span, Not Exotic glistens like the ghostly circus organ winking in the depths of "Jenny Place Your Bets." - Allmusic

DOLOREAN - VIOLENCE IN THE SNOWY FIELDS (2004)

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In late 2003, Al James and Dolorean made some gentle waves with the Yep Roc-issued Not Exotic. The album had an endearingly offhanded quality about it, as if the songs were sung straight from James' tattered lyric book. But there was also a palpable gravity in its mixture of indie folk and quietly surging, nearly slowcore arrangements. For 2004's Violence in the Snowy Fields, James has lost none of his flair for lucid storytelling. But his songs are more expansive and dynamic, and supported by a wider range of instrumentation. Drummer Ben Nugent puts a country tavern two-step into opener "The Search," and the title track is an homage to the Band with its crackling electric guitar, layered harmonies, and easygoing sway. And "Dying in Time" is a gorgeous orchestral pop thrill, complete with a string quartet, vibes, and dramatic lyrics that wax smoothly about love and death. Though Dolorean makes these stylistic leaps with confidence and grace, fans of the first album's sparer moments won't be disappointed with Violence in the Snowy Fields, from the atmospheric pedal steel and nightmare meditations of "Put You to Sleep" to the skeletal acoustic picking and fragile delivery of "In the Fall." "You should let me know/If you think of me at all," James sings in a wavering high register, and his loneliness feels heavier than a stone. Other highlights of the album's softer side include "My Grey," a Clem Snide-ish number with brushed strings, told with James' trademark first-person honesty. Offering both fragile guitar ballads and full-band backbone, Violence in the Snowy Fields is an engaging, quietly rewarding listen. - Allmusic

DOLOREAN - YOU CAN'T WIN (2007)

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You Can't Win is a slow drive through the kind of America that feels as wrung out and worn through as a pair of old sneakers. It's the kind of terrain traversed by other introspective, rustic, youngish men like Jeff Tweedy, Joe Purdy, and (to an extent) Will Oldham -- the kind of place you go if you're looking for empty stretches of pavement and hulking, rusted-out factories moldering in the tall grass. Dolorean's lead singer and songwriter, Al James, is interested in stories about men on the outskirts; You Can't Win, to put it in the words of writer James Salter, concerns itself with "a breed of aimless wanderers" who "have an infuriating power, that of condemned men. They can talk to anybody; they can speak the truth." James is interested in giving voice to this truth, and it sure does yield some sad songs. While James plods over some clichéd subjects on this album (women and booze chief among them), he at least has a knack for story. "Beachcomber Blues" and "My Still Life" tread the usual territory of busted hearts and broken dreams, but James manages to flesh out these old ideas in some surprising ways; the beachcomber becomes a symbol for the directionless wanderer, and the arid Californian landscape is riddled with images of an ex-lover. Granted, there's a lot of drowsy, dull-hearted shambling going on here, and it's a little depressing to come up against a wall of relentless melancholy such as this. But even if this trip is a tad on the soporific side, Dolorean still manages to travel through some beautiful country. - Allmusic

[JD]

Suzanne Vega- Beauty & Crime

Linking the review cause it is sorta long

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If you like Fiona Apple or Jesca Hoop, I think you'll like Suzanne Vega. I also have her Retrospective if you guys want it.

PS Kudos on the Extraordinary Machine upload, I uploaded the regular one sometime back.

[variable_star]

Nice! I love Miss Vega, that's one I don't have.

[Avec]

Where should I start with Dolorean?

[variable_star]

Where should I start with Dolorean?

Avec...you posted the Radical Face record, right? Outstanding stuff...that made me d/l the rest of his discog.

I would start with You Can't Win, I think it's their most layered work to date, though there is more of an alt-country tinge rather than the folksy americana that filled their previous records. "Heather Remind Me How This Ends" was one of the singles, even featured on a Paste magazine disc, I think. If you enjoy You Can't Win, you almost certainly will enjoy the other two. Violence in the Snowy Fields features some great CSNY-esque tracks like the title track, "The Search", and "To Destruction" while Not Exotic has the outstanding opener "Morning Watch" and the beautiful "Sleeperhold".
 

[bedhead138]

Throw Me The Statue - Creaturesque (2009) ~ Mp3 192

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Perhaps more sonically upbeat than its predecessor, Creaturesque's details are at times painted in both optimistic and sobering tones. Reitherman's scattershot poetics touch on an array of ideas; it's oppressive American machisimo and Suburbanite sexuality. It's soft drugs and convertible cars. It's the struggle for higher expectations within the mess of modern life, and when wrapped up in the structures of Throw Me the Statues' sure-handed tunes it's an all too delicious combination.

01. Waving at the Shore ( 4:35)
02. Pistols ( 3:29)
03. Tag ( 2:37)
04. Ancestors ( 4:01)
05. Noises ( 3:09)
06. Snowshoes ( 2:46)
07. Dizzy From the Fall ( 3:24)
08. Cannibal Rays ( 3:22)
09. Hi-Fi Goon ( 2:41)
10. Baby You're Bored ( 2:02)
11. Shade For a Shadow ( 3:40)
12. The Outer Folds ( 4:40)

[bedhead138]

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.

[David_Dovey]

OK guys Wilco have exactly one record to impress me with. Which one is it.

EDIT: I have listened to approximately 45 seconds of the Cave-In E.P. and I am madly in love.

[variable_star]

SUN KIL MOON - GHOSTS OF THE GREAT HIGHWAY (2003)

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http://www.mediafire.com/?kyojngzi10tBONUS DISC

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http://www.mediafire.com/?zzw1jmj2xcmSUN KIL MOON - APRIL (2008)

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After dissolving his previous band, Red House Painters, singer/songwriter Mark Kozelek resurfaced with Sun Kil Moon, refining and expanding the luminous acoustic balladry and harrowingly intimate lyricism that are the hallmarks of his career to date. Their debut LP, Ghosts of the Great Highway, appeared to wide critical acclaim in late 2003, and Kozelek assembled a new touring band to support its release, spending the better part of 2004 on the road. That summer, Kozelek joined with Low's Alan Sparhawk in the classic-rock cover band the Retribution Gospel Choir, issuing a tour-only EP in advance of the second Sun Kil Moon album, the much maligned Tiny Cities, a collection of covers by indie rock band Modest Mouse. The album was the first released on Kozelek's own Caldo Verde label. April, featuring guest vocals from Will Oldham and Ben Gibbard, followed in 2008. - Allmusic

[Jughead5267]

OK guys Wilco have exactly one record to impress me with. Which one is it.

If you want a feel for their live stuff, I'd say Kicking Television is better than Ashes of American Flags.
And for studio work, Yankee Hotel Foxtrot is the commonly agreed upon given, but Summerteeth is a real doozy too...

[sean]

Hey so time for a Pianos Become the Teeth post!

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As I've mentioned before, Pianos Become the Teeth is a scremo/post-rock band from Baltimore, MD. In this link I've included their new album, Old Pride and their 7" with Ezra Joyce. (Ezra Joyce was a guitar and drum scremo duo from New Jersey. I say was because they sadly played their last show earlier this month. They're pretty good too!) I highly recommend these jams, especially if you enjoy post rock and have never really listened to scremo before. You'll find it quite refreshing, I hope. I also reccomend it to all looking for some nice mid-tempo scremo with a bit more reverb than usual.

I also did not include Saltwater, because it's already been uploaded and its honestly not that good. Their new stuff is MUCH better.

[variable_star]

JENS LEKMAN - WHEN I SAID I WANTED TO BE YOUR DOG (2004)

• Tram # 7 to Heaven
• Happy Birthday, Dear Friend Lisa
• Do You Remember the Riots? (Acapella)
• You Are the Light (By Which I Travel Into This and That)
• If You Ever Need a Stranger (To Sing at Your Wedding)
• Silvia
• The Cold Swedish Winter
• Julie
• Psychogirl
• When I Said I Wanted to Be Your Dog
• A Higher Power

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Sweden's Jens Lekman emerged from relative obscurity to quickly establish himself as the darling of the global indie pop set, winning widespread acclaim from fans and critics for his uncommonly witty and well-crafted pop songs. In 2004, Lekman issued his acclaimed full-length debut, When I Said I Wanted to Be Your Dog, distributed in the U.S. via Secretly Canadian. The three EPs on Secretly Canadian leading up to this record have been solid songcraft mixed with pop wackiness. Expect more of the same here, only better. He must have been saving his best songs for the album, because there isn't a dog in the bunch. Kicking off with the warped "Tram #7 to Heaven," which begins with the deathless lyrical couplet "Did you take Tram #7 to heaven/Did you eat your banana from 7-11," delivered in Lekman's best deadpan Jonathan Richman voice, the album is a wild ride punctuated by clever samples, drop-dead gorgeous melodies, tender feelings, and silly jokes. Lekman knows how to craft songs that stick in your mind. Almost every song here is the kind you find yourself humming at odd moments. "When I Said I Wanted to Be Your Dog" won't even come within sniffing distance of the U.S. charts, but don't let that stop you from discovering one of the goofiest, most artlessly charming talents to arrive since Beck. - Allmusic

JENS LEKMAN - RARITIES COLLECTION (PART 1)

• A Little Lost
• Are Birthdays Happy
• Be Good
• Become Like this
• Boise Bisa Boisa
• Do Impossible Things
• Do You Remember the Riots? (Orchestral Version)
• Draw a Dinosaur for Me
• Firecracker
• How Much You Mean To Me
• Hultsfred 98
• I Don't Know if She's Worth 900 kr
• I'm Looking for a Girl
• Jag Tyckte Hon Sa Lonnlov
• Kill a Party Resurrect It
• La Strada Nel Bosco
• Me on the Beach

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JENS LEKMAN - RARITIES COLLECTION (PART 2)

• People Who Hate People
• Pretty Shoes
• REC
• Run Away With Me
• Tammy
• The One Dollar Thought
• Too Happy (Acapella)
• Water Runs Dry (Live Boyz II Men Cover)
• When My Dreams
• Who Can Sail Without the Wind
• You Can Call Me Al (Live Paul Simon Cover)
• Your Arms Around Me (Acoustic Version)
• Castle in the Sky (w/ Montt Mardie)
• Yeah! Oh Yeah! (w/ Tracey Thorn)

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[ALoveSupreme]

Hey so time for a Pianos Become the Teeth post!

woah, awesome, I just played a show with this band a couple weeks ago.  Amazing band.

Also, I got video of their guitarist playing Every Rose Has Its Thorn while in a banana costume.  It is on the internet.

[kwintpod]

Was a bit suprised this one hadn't been posted yet
Saltillo-Ganglion

Portishead, one of the three distinctive jewels in the trip-hop crown, may finally quench the ever-increasing thirst of all of the genre’s fans tomorrow, with their first album release in over a decade, in ‘Third’. I am one of these fans, no doubt about that, but there is no swell in the back of my throat, in fact, my tongue is as wet as a water-fight in a carwash. Why? That is down to my recent discovery of movie-score and ‘Sunday Munich’ mastermind Menton J. Matthews’ trip-hop/modern classical project ‘Saltillo’ and their 2006 album “Ganglion”.

Borrowing and utilizing aspects which make each jewel shine so bright in the coveted crown; Saltillo has managed to make an album which is at once dark and solemnly moody, uplifting and heart-achingly intense, cool and dangerously catchy. Bobbing and weaving in and out of genres, Saltillo never quite stays still, and even when it does, it hides behind the pillars of ambiguity, and is all the better for it. The chamber orchestra compositions give the album a fierce individuality when showcased against its obvious influences, yet accessibility is never compromised as this is one of the most listenable trip-hop albums I’ve ever heard.

A sombre violin tune on ‘A Necessary End’ begins the album, to be closely followed by the first of many vocal samples sitting atop of expressively broken beats. Not opting for the upbeat first track, we are plunged into an ocean of melancholy, a tale of death and meaning, from which there seems no return. This track immediately showcases Matthews’ impeccable timing and his wife Sarah’s hauntingly poignant voice. But it is surpassed by the next track, ‘Giving In’, possibly my favourite track on the album. Sarah Matthews’ voice here is just stunningly moving in its mellow, fragile resonance and it really gives the song a humanly warming quality that would be lacking without it. ‘Remember Me?’ is the first track without vocals, and it flows with a splintered rhythm which is insanely hard to not tap along to.

‘Hair on the Head of John the Baptist’ is just an excellent track. If you are to download a track which puts Saltillo under the spotlight, this is the one. If DJ Shadow were around to score Shakespeare plays, they would have sounded something like this. A bluesy soulful voice bellows out the ultra-catchy line “hair on the head of John the Baptist” to a dense surrounding of intelligent breakbeats and simple pianos. One of the albums highlights is when the song appears to be over, ending to the quote of “I loved you not” only to suddenly pick back up again in dramatic fashion. Energetic and focused, ‘Blood and Milk’ highlights Matthews’ special talent of picking out and placing perfect samples in a way that only Shadow himself exceeds. Shadow’s ‘Right Thing’ may come to mind when listening to the trip-hop heavy ‘Backyard Pond’. Extremely scattered in its approach, an anaesthetizing melody is laid out over complicated blips and screeches and ethereal samples, all coming together to create a surreal jigsaw of easy-to-swallow, hard-to-digest complexities.

Rounding up the album, ‘Grafting’ sounds as if the earth itself managed to find a violin and a drum machine and construct an, ironically, otherworldly sound. Extremely organic but strangely disconnected, the plaintive violins are interrupted by the fluctuating raw intensities of Mercer’s distinctive voice, while the backbeats keep the song tied to the ground. Sarah Matthews returns for the penultimate track ‘I’m On the Wrong Side’ and is much welcomed by the listener. Her voice isn’t perfect, but it hangs so delicately in the album’s dark mist that you get the feeling that if it were any different it may just collapse. A very short track, it brings Portishead to the forefront of the memory bank. Finishing with a completely piano-made track, '002 F#m', Matthews brings the album to a close with elegance and style.

With “Ganglion”, Saltillo has truly thrown down the gauntlet over what it means to create a truly original trip-hop album in today’s music scene. It’s not perfect of course; ‘Praise’ is an oddly stale and skippable track and ‘A Simpler Test’, though a great song, features turntablism which is too frantic and electronics and samples too crude and impersonal when put against the record’s other more humane songs. Whether it will stand the test of time that the crown jewels have remains to be seen, but for now, it quite dramatically stakes a claim for there to be a new throne constructed in the trip-hop hierarchy, one which could only seat the intricacies of Saltillo’s beautiful, fractured, wholly immersive neo-classical creation.

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http://www.mediaf!re.com/download.php?idbzdm2yjhj

[variable_star]

Was a bit suprised this one hadn't been posted yet
Saltillo-Ganglion

Nice post! I've never heard of Saltillo, and though it's not exactly my style, it's a fun enough record.

[bedhead138]

Badly Drawn Boy

Belying his status as a narcoleptic slacker icon, Badly Drawn Boy proved himself a tireless pop songwriter, with arrangements that reflect a great deal of creativity. Born Damon Gough, he began recording after meeting the like-minded Andy Votel at a Manchester nightclub. The pair formed the Twisted Nerve label, and Gough debuted as Badly Drawn Boy with an EP and several singles. The recordings dovetailed nicely with the experimentalist pop fringe of artists like Scott 4 and the Beta Band, and the attendant media hype allowed him to guest alongside Thom Yorke, Richard Ashcroft, and Mike D on 1997's celebrity-filled UNKLE LP Psyence Fiction. His 1999 single "Once Around the Block" grazed the British charts, while XL Recordings signed the pop auteur and released his debut album, The Hour of Bewilderbeast, in 2000. Just before its American release, the album earned another round of critical praise with Britain's vaunted Mercury Prize for Best Album. December 2000 brought the birth of his daughter. Author Nick Hornby was won over by his music and asked the singer to score the film being made of his book About a Boy. After that project, he moved away from music for a few months to work on new material. After recording during most of 2002, he emerged that fall with Have You Fed the Fish? Two years later, Gough resurfaced with the simpler One Plus One Is One. Born in the U.K., a poppier collection of songs inspired by his childhood and (as the title suggests) Bruce Springsteen's Born in the U.S.A., arrived in fall 2006.

The Hour of Bewilderbeast - 2000

Mp3 192
86.11 mb

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About A Boy - 2002

Mp3 192
59.82 mb

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Have You Fed the Fish? - 2002

Mp3 192
68.88 mb

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One Plus One Is One - 2004

Mp3 192
81.32 mb

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Born in the U.K. - 2006

Mp3 192
72.3 mb

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[sean]

woah, awesome, I just played a show with this band a couple weeks ago.  Amazing band.

Also, I got video of their guitarist playing Every Rose Has Its Thorn while in a banana costume.  It is on the internet.

oh tite! yeah they are on tour right now.

if you played with pianos i might enjoy yr band link plz.

[bahhhhh]

Cory Chisel and The Wandering Sons - Cabin Ghosts - EP


Hailing from Appleton, Wisconsin, The Wandering Sons have a smooth sound reminiscent of smoke-filled, backwater lounges. Strong lyrics back up the polished notes of an oboe, piano, bass violin, and percussion. Members of the band include Cory Chisel, Dan McMahon, Rick Setser, Adam Plamann, and Adriel Harris.

The Wandering Sons frequently plays in small venues throughout the Great Lakes region, including Illinois, Wisconsin, and Minnesota.

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MySpace: www.myspace.com/thewanderingsons
Last.fm: www.last.fm/music/Cory+Chisel+And+The+Wandering+Sons
Website: www.corychisel.com/


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http://www.mediaf!re.com/?hzdmn55kmmq

[JD]

Bedhead, why did you take a big music dump and not tell us anything about the music?

[Trevlordyte]

"Between the four tracks it covers the whole gamut of SPECTRUM’s unique & influential take on Pop , Psychedelia ,Rock & Experimental formats . Known for pushing the boundaries with experimental music whilst also writing pop styled classics such as How You Satisfy Me and highly charged songs like Revolution the EP draws together the best of SPECTRUM’s material hinting at the variety of songs that will feature on the album due for release at the later in the year."

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[scarred]

^-- Spectrum is great. The lead vocalist sounds a lot like Joe Strummer. It's trippy as balls man

[debaser]

and they opened for mbv. so....yeah

[valley_parade]

Not worth checking out, then?

[bedhead138]

Bedhead, why did you take a big music dump and not tell us anything about the music?

my bad. i thought i did. fixed now.

[ALoveSupreme]

oh tite! yeah they are on tour right now.

if you played with pianos i might enjoy yr band link plz.

well, we were the mellow band on the bill... here's one band you may dig from that same show:

http://www.myspace.com/suffixchicago

then the band I'm in:

http://www.myspace.com/joiedevivreband

[trr005]

Thank you so much for the Badly Drawn Boy.  I've been looking for One Plus One for ages.  Sweet!

[lauraelise204]

SUN KIL MOON - GHOSTS OF THE GREAT HIGHWAY (2003)


SUN KIL MOON - APRIL (2008)

ahh!!! thank you so much for the sun kil moon!! i've been craving more mark kozelek in my life!!

[pulpfiction21]

oh tite! yeah they are on tour right now.

if you played with pianos i might enjoy yr band link plz.

well, we were the mellow band on the bill... here's one band you may dig from that same show:

http://www.myspace.com/suffixchicago

then the band I'm in:

http://www.myspace.com/joiedevivreband

That's awesome that you guys are signed to Count Your Lucky Stars. They are beginning to become one of my new favorite record companies. I was just listening to your band's mysapce page the other day. I really enjoyed your music.

Do you know if it is true that they will be releasing the Benton Falls album Fighting Starlight on vinyl.

[ragnarjon]

The Angelic Process - Weighing Souls With Sand

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http://www.mediaf!re.com/?zmmm2ozkrj4

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Beautiful Noise/Drone metal.

Beautiful music, sad that he died.

[ALoveSupreme]

Do you know if it is true that they will be releasing the Benton Falls album Fighting Starlight on vinyl.

Woah, I have not heard that but that would be amazing.

[David_Dovey]

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

[scarred]

The Octopus Project - Golden Beds EP [2009]

Following the spectacular 2007 album Hello Avalanche, The Octopus Project presents Golden Beds: five different tunes from five different rooms of the neon mansion the band has built. Some are brand new, some represent fresh takes on ideas from the past, but each explores a different facet of their omnivorous sonic creations - from big-riff Rock to tiny electronics to blissful sing-alongs. So roll up those shirt sleeves and get ready to dip your arms deep into a kaleidoscopic candy jar filled with tasty Octopus-flavored treats of both the audio and visual varieties. With over 40 minutes of sights and sounds, this new EP will have you strapping on silver-stitched shoes and jumping on Golden Beds without a care for what Mom says.

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http://www.mediaf!re.com/?tdmi2jwym2m

[bedhead138]

Cory Chisel and The Wandering Sons - Cabin Ghosts - EP


Hailing from Appleton, Wisconsin, The Wandering Sons have a smooth sound reminiscent of smoke-filled, backwater lounges. Strong lyrics back up the polished notes of an oboe, piano, bass violin, and percussion. Members of the band include Cory Chisel, Dan McMahon, Rick Setser, Adam Plamann, and Adriel Harris.

The Wandering Sons frequently plays in small venues throughout the Great Lakes region, including Illinois, Wisconsin, and Minnesota.

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MySpace: www.myspace.com/thewanderingsons
Last.fm: www.last.fm/music/Cory+Chisel+And+The+Wandering+Sons
Website: www.corychisel.com/


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http://www.mediaf!re.com/?hzdmn55kmmq

going to chicago to see him open for josh ritter this thursday. his debut album comes out at the end of september. this cat is great and i rec him to everyone. the upcoming albim was recorded with The Raconteurs minus jack white. it's amazing. don't sleep on this cat.

[sunexplodes]

Who loves you, bitches?

Yo La Tengo - Popular Songs

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[scarred]

Who loves you, bitches?

Oh, good God in heaven. Danke.

[kwintpod]

Why?-Eskimo Snow

New why? :p

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[vickster]

For those of you interested in more Mark Kozelek:

Mark Kozelek:  "Little Drummer Boy - Live"

On his first-ever live album, singer-songwriter Mark Kozelek pulls everything together. Limited to 10,000 budget-priced copies, with two unreleased tunes on board, it's obviously targeted to fans, though it's a judicious, career-spanning effort that careens through the debauched sometime-genius's work with the Red House Painters, Sun Kil Moon, and on his own. This record's so darn good it might belong, like Richard Thompson's Small Town Romance and Cheap Trick's Live at Budokan, to that weird variant of live album which supplants a greatest-hits type collection as the perfect introduction to an artist. These sparse, emotional versions often sound better than the originals, thanks in part to his longtime collaborator, guitarist Phil Carney. Kozelek not only covers the Christmas favorite the album's named after--which is sweet, but his otherwise released take on "White Christmas" is even better--but also includes typically superb reworkings of songs by AC/DC, Modest Mouse, and the Cars.

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http://www.mediaf!re.com/download.php?2tzjdemhanj

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http://www.mediaf!re.com/download.php?mhidmzne5ke