Fun Stuff > BAND
The M/F Thread 2009: The Quickening
lolvstein:
Thanks!!
the_pied_piper:
Don't worry about replies to your music, if you like it post it, there will be at least somebody who will find out about these artists from these uploads. :-)
Sanyo815:
Random stuff
Fred Neil - Bleecker & MacDougal (1965)
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--- Quote ---Given the late Fred Neil's near mythic reputation as a songwriter, singer, environmentalist, and recluse, the reissue of his 1965 album Bleecker & MacDougal is of historic importance. But rather than being an artifact of the man who wrote "Everybody's Talkin'," "Other Side to This Life" (which appears here), and "Dolphins," this album is made of the material that gave Neil his enigmatic presence. This is a highly evocative and emotionally charged set of material, nearly all of which Neil composed. The lineup on the album was similar to his previous outing with Vince Martin, and featured John Sebastian on harmonica, Felix Pappalardi on bass, and guitarist Pete Childs (who also played dobro and electric on the date -- the latter was heresy for a folk record), with Neil playing 12-string. The pace of the set is devastating, from the greasy blues of the title track to the strolling darkness of "Blues on the Ceiling," the jug band stomp of "Sweet Mama," and the balladic heraldry of "Little Bit of Rain," a dynamic Tim Buckley would bring his own magic to as he emulated it a few years later. In addition, there's the tough Chicago blues meets California swagger of "Country Boy," which Mike Bloomfield and Paul Butterfield would perfect two scant years later. "Other Side to This Life" is its own elegiac painting in sound, with glistening dirge-like textures caressed by Neil's baritone. The tough, battered "Travelin' Shoes" is an early example of folk-rock with a big accent on the word "rock." Yet, on the album's lone cover, a gorgeously wrought and multi-textured rendition of "The Water Is Wide," Neil added spare, haunting jazz overtones to the arrangements, transcending the folk coffeehouse prison the song had been encased in for a decade. In fact, if one listens to Bryter Layter by Nick Drake, it would be easy to hear the connection. The album closes with the winding dobro that sparks "Gone Again," underlining the album's feeling of rambling transience and willful acceptance of both the graces and hardships life offers. In 13 songs, Neil transformed the folk genre into something wholly other yet not unfamiliar to itself, and helped pave the way for an entire generation of singer/songwriters who cared as much for the blues as they did for folk revival traditions. This is -- more so than his fine compilation The Many Sides of Fred Neil or his debut Capitol album, Tear Down the Walls -- the Fred Neil record to have.
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Brainticket - Cottonwoodhill (1971)
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--- Quote ---BRAINTICKET's debut album is perhaps one of the most psychedelic recordings of all time (and also one I do enjoy). Led by Swiss keyboard wizard Joel Vandroogenbroeck, BRAINTICKET will space you out beyond belief. "Cottonwood Hill" is loaded with acid laced guitar solos, heavy forboding organ screeches and loads of psychedelic influenced lyrics and vocals. The uninitiated should recognize that the title song BRAINTICKET Part 1 & 2 does have a major repetitive chorus which although I find perfectly psychedelic may trouble others out there. Like all good prog rock, BRAINTICKET explore a vast array of music here and move from funk-like beats to heavy west-coast acid-freaked-out psychedelia. To sum it all up is to simply say that if your into the psychedelia then BRAINTICKET is your long lost grandfather.
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Prefuse 73 - Everything She Touched Turned Ampexian (2009)
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--- Quote ---Everything She Touched Turned Ampexian is album number five for Prefuse 73, aka Guillermo Scott Herren. With 28 tracks lasting a total of 48 minutes, it sounds like the future on fast forward. Picture a mixtape mash up of psychedelic hip hop with only the briefest of pauses for breath.
After three short switchback tracks, NoNo is a restful patch of crooned breathing. However, it's only 14 seconds long and over before you know it. Straight after Herren serves up an intense slice of stop start beats – appropriately titled Punish - that ends with violin wails and multi-tracked voices.
There's a scene in the 1976 film The Man Who Fell To Earth in which David Bowie's lost alien sits surrounded by a huge bank of televisions, all tuned to different channels. The cacophonous result isn't that dissimilar to first impressions of this album. It feels like it’s necessary to focus on individual moments to get a sense of what's happening, but those moments are succeeded by so many other shard-like sounds that it can feel like a challenge to keep up. Surrender is probably the best strategy. The only alternative otherwise is flight.
The other 70s reference is Dan McPharlin's cover - a Roger Dean homage mixed with just a dash of Studio Ghibli. The otherworldliness of the image further underlines the sense of a world gone mad from sensory overload.
It wouldn't be a Prefuse 73 album without some lovely beats under the ever-changing soundscapes: the fleeting Get Em High, the clockwork skronk of No Lights Still Rock and the stoned Regato are high points. Everything She Touched Turned Ampexian may be a challenge, but it's one well worth facing.
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and my favourite album of the year
Soap & Skin - Lovetune For Vacuum (2009)
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--- Quote ---Don’t let the soft, scented domesticity of Anja Plaschg’s stage moniker or album title fool you; ‘Lovetune for Vacuum” is a mournful Frankenstein of a record – a young woman attempting to come to terms with the often twisted depths of her own feelings by imprisoning them within a fortress of ticking shutter sounds and mandrake violins. With a beguiling voice pitched somewhere between Anthony and Karin Dreijer Andersson (Fever Ray/The Knife), 18 year old Plaschg (who grew up on a rural pig farm in her native Austria) cuts an emotionally bruised, shadowy figure on her extraordinarily precocious debut.
At the heart of the record is a shy, elegantly mechanical android, that ticks and whirrs with the sounds of typewriters, camera clicks and children’s toys, gradually expanding and dominating with each song. On the childlike ‘Cry Wolf’, it cowers reticently behind a background of Múm style vocals and a naïve flute, but gathers strength by ‘Turbine Womb’ (the lyrics can be a little sci-fi Sylvia Plath, but impressive for a second language) to sound like Optimus Prime doing the ballet; indeed, Plaschg’s strengths reach far beyond the stereotype of the quirky musical ingénue to join Peter Broderick, Hauschka and Max Richter as part of the exciting European scene of young classical protégés, such is her impressive piano work. Come the penultimate track, ‘DDMMYYYY’, the machine is fully-fledged, as industrial and aggressive as Leila or any of Richard D James’ Warp brethren as it drowns out a woman’s crazed histrionics – it’s no surprise that both Fenessz and DJ Koze have remixed her.
In parts, this is a terrifying record, and you can only imagine what it’s like to be her parents – an unpredictable raven haired pearl looming from the shadows of farmhouses in her press photos, even crouched naked amongst the pigs; with tortured scientific lyrics about the Greek daemon of death (‘Thanatos’, not dissimilar to the rousing layered vocals of Electrelane’s ‘The Valleys’) through to the slightly sixth form poetry words of ‘Extinguish Me’ (“I search in snow, in vain / For your footsteps’ trail / I have to kiss them / With my scalding tears”) and childhood pain (‘Spiracle’). It’s not always a pleasure to listen to, particularly as the tangle of piano and icy church intonations of ‘Fall Foliage’ rumble into that familiar elegant clunk of clockwork and whirrs, but it’s to her credit that she rides the motif through to the end of the record, and proves its worth – her bleak electronic dystopia could easily soundtrack Watchmen or similar. If this is how she sings ‘Lovetunes…’, heaven help us when she turns her pen to less starry-eyed subject matter.
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JD:
Say Anything-Say Anything(2009)
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--- Quote ---Clocking in at 46 minutes -- nearly half the running time of 2007's In Defense of the Genre -- Say Anything's fourth album is both trim and tuneful, with Max Bemis devoting more focus than ever to the tightening of his quirky, unchained pop songs. "Focus" is a relative term, of course; the frontman still finds time to run wild throughout this disc, rearranging conventional song structures like Picasso and sampling from multiple genres -- emo, rock, punk-pop, R&B, even doo wop -- with greedy glee. The choruses boast stronger hooks this time around, though, which lends heft to Say Anything's musical mish-mash, and the band's willingness to break rules is what makes this album so refreshing. Arriving at the tail-end of 2009, a year in which most emo-pop was compressed, polished, and wholly indebted to Top 40 radio, Say Anything is as unpredictable as they come, boasting 13 tracks that sound dangerous and delicious at the same time. "There are babies with guns beheading their friends in shopping malls around the world, yet somehow the Kings of Leon still have time to write songs about girls," Bemis sing at the beginning of "Mara and Me," adding "I don't suck much less" in a guttural scream. It's this combination of self-loathing and pop culture critique that fuels most of the album, and Bemis distances himself from his contemporaries by briefly embracing their tricks -- the palm-muted guitar chords, the "whoa oh oh" background vocals, the dramatic delivery -- before turning them on their heads, whether that means adding pizzicato strings to "Do Better" or circus-styled keyboard to the aforementioned "Mara and Me." This is an impulsive album, an odd piece of work that manages to be puzzling without alienating the listener.
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I have a couple of other things to upload, I just wanted to get this out of the way.
JD:
Also Soap & Skin is interesting, thanks for the upload.
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