Fun Stuff > BAND
The M/F Thread 2009: The Quickening
pogonrudie:
Cats On Fire are pretty great for a band that sounds exactly like The Smiths.
bedhead138:
Dashboard Confessional - Alter the Ending (2009) ~ Mp3 V2
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--- Quote ---Deluxe two CD edition includes a bonus CD that contains acoustic versions of the album's 12 tracks. 2009 release, the sixth studio album from this Alt-Rock outfit lead by Chris Carrabba. Alter The Ending is the official follow-up to
2006's gold Dusk And Summer. The album was produced by Butch Walker, noted for his work with Weezer, Fall Out Boy and Pink, and co-produced by Adam Schlesinger (Fountains of Wayne). Features 12 tracks including the first single 'Belle of the Boulevard.'
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Disc 1/2
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1. Get Me Right 3:15
2. Until Morning 3:44
3. Everybody Learns From Disaster 3:33
4. Belle Of The Boulevard 4:02
5. I Know About You 3:07
6. Alter The Ending 3:24
7. Blame It On The Changes 4:11
8. Even Now 2:43
9. The Motions 4:02
10.No News Is Bad News 3:54
11.Water And Bridges 3:36
12.Hell On The Throat 3:10
Disc 2/2
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1. Get Me Right (Acoustic) 3:13
2. Until Morning (Acoustic) 3:31
3. Everybody Learns From Disaster (Acoustic) 3:22
4. Belle Of The Boulevard (Acoustic) 4:11
5. I Know About You (Acoustic) 3:03
6. Alter The Ending (Acoustic) 3:08
7. Blame It On The Changes (Acoustic) 4:01
8. Even Now (Acoustic) 2:39
9. The Motions (Acoustic) 3:57
10.No News Is Bad News (Acoustic) 3:56
11.Water And Bridges (Acoustic) 3:33
12.Hell On The Throat (Acoustic) 2:54
Tor & Sufjan Stevens - Illinoize (The Remix) ~ Mp3 320
Album
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Instrumentals
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--- Quote ---Illinoize is a free remix tape put together by Montreal-based producer Tor, sampling songs from multi-instrumentalist and indie hero, Sufjan Stevens. Tracks are sampled from his 2005 LP Illinoise, as well as 3 of his other albums, 'A Sun Came', 'Seven Swans' and 'Songs for Christmas', blending Sufjan Steven's acoustic guitar, piano and horns with MC's Aesop Rock, Big Daddy Kane, Gift of Gab (Blackalicious), C.L. Smooth, Outkast, Brother Ali, and Grand Puba.
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1. Star of Wonder / None Shall Pass (f. Aesop Rock)
2. Dumb I Sound / ATLiens (f. Outkast)
3. John Wayne Gacy Jr. / Specialize (f. Pete Rock & CL Smooth)
4. The Tallest Man / I Like It (f. Grand Puba)
5. Kill / Any Type of Way (f. Big Daddy Kane & DJ Premier)
6. Night Zombies / Talkin' My Shit (f. Brother Ali)
7. The Dress Looks Nice On You / Make You Feel That Way (f. Gift Of Gab)
Mickey Newbury - 'Frisco Mabel Joy (1971) ~ Mp3 256
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--- Quote ---Newbury jumped from Mercury to Elektra and in 1970 recorded the second of his amazing trilogy that concluded with Heaven Help the Child. Produced by Dennis Linde, a songwriter, and recorded at the same converted garage studio (Cinderella Sound) It Looks Like Rain had been made, 'Frisco Mabel Joy adapts its title from a song on the previous album. Once again, texture, atmosphere and above all mood and mystery were the central tenets of what would become Newbury's trademark sound. The album opens with Newbury's arrangement of what he called "The American Trilogy," a suite containing three songs that have their origin in the Civil War. If this sounds familiar, it is: Elvis Presley made a much more bombastic version of this the centerpiece of his Vegas shows. Newbury's version, full of soft strings, guitars, Charlie McCoy's haunting harmonica bleeding into a muted brass section, is full of drama and pathos. 'Frisco Mabel Joy moves into an entire series of songs that talk of dislocation, emptiness and endless searching through regret, remorse, and ultimately acceptance and resignation. And Newbury's vocal abilities are just astonishing. He has a different voice for literally every song. It is tempting to write about every single song here, but it would be fruitless; Newbury's tunes are so slippery and mercurial. They shift shape and disappear into a puff of smoke the minute you think you have them pinned down. And if the stories and arrangements aren't enough to confound the listener, the melodies, all of which have their roots in country music, are so much more deceptive, they turn in on themselves and extend each measure with complex phrasing and mode changes.
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1 American Trilogy (4:50)
2 How Many Times (Must the Piper Be Paid for His Song) (5:48)
3 Interlude (1:44)
4 Future's Not What It Used to Be (4:14)
5 Mobile Blue (2:48)
6 Frisco Depot (3:38)
7 You're Not My Same Sweet Baby (3:46)
8 Interlude (1:05)
9 Remember the Good (2:57)
10 Swiss Cottage Place (3:10)
11 How I Love Them Old Songs (5:30)
12 San Francisco Mabel Joy (5:17)
Norah Jones - The Fall (2009) ~ Mp3 V0
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--- Quote ---"The Fall" is the new studio album by American singer-songwriter Norah Jones. Jones' official website has stated that she "has taken a new direction on the The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits, and Modest Mouse among others. Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partner Jesse Harris. King also helped Jones put together a new group of musicians to perform on the album, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer)". Jones has also revealed the cover artwork for the album, which features a portrait by photographer Autumn de Wilde.
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01. Chasing Pirates
02. Even Though
03. Light As a Feather
04. Young Blood
05. I Wouldn't Need You
06. Waiting
07. It's Gonna Be
08. You've Ruined Me
09. Back To Manhattan
10. Stuck
11. December
12. Tell Yer Mama
13. Man Of The Hour
The Killers - Live from the Royal Albert Hall (2009) ~ Mp3 V2
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1. Human
2. This Is Your Life
3. Somebody Told Me
4. The World We Live In
5. I Can't Stay
6. Bling (Confession of A King)
7. Shadowplay
8. Smile Like You Mean It
9. Losing Touch
10. Spaceman
11. A Dustland Fairytale
12. Sam's Town (Acoustic)
13. Read My Mind
14. Mr. Brightside
15. All These Things That I've Done
16. Jenny Was A Friend Of Mine
17. When You Were Young
SirJuggles:
I honestly did not think Dashboard Confessional was still making music. Nonetheless, thank you.
gospel:
Neil Landstrumm – Bambaataa Eats His Breakfast
MySpace
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--- Quote from: MME ---A funny thing about Neil Landstrumm’s music: it used to get filed, in genre-crazed dance shops at any rate, under ‘wonky’, which referred to off-kilter, glitchy techno producers largely listened to by those entrenched in the scene. A few years on, the Scotsman has kept his ears open to the roughest dubstep and neo-rave tackle, fed it into his machines, and now he’s on the fringes of the new wonky, which has nothing to do with the other one. Wild! Anyway, this half-hour of chiptune-electro glee, shimmering dub melody and breastplate-shattering low end is both an ideal introduction to Landstrumm’s killer dancefloor skills, and a companion piece to last year’s ‘Lord For £39’ album.
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This may be my intermittent, shameful pop indulgences rearing its head like a bad case of herpes. Yet, for some reason, I've got the bug for this artist.
Marina and The Diamonds
MySpace
--- Quote from: allmusic ---Marina and the Diamonds, really just Marina Diamandis (the Diamonds are the fans), was born in Wales to Welsh and Greek parents in 1986, although she has often claimed to be from Ancient Greece. After dropping out of four different music courses at four different universities, Marina decided to make her own way in music, and began writing her own unique brand of left-field pop songs under her new stage name. Early on, she claimed that her inspirations were Britney Spears and Gwen Stefani -- who she often covered at live gigs -- but her songs have a soulful edge pointing to a deeper source of influence.
Her piano/keyboard-driven songs vary from melancholic ballads to out-and-out glam-pop, but her unique voice and melodic style are omnipresent in her music. Essentially a solo artist, Marina wrote the bulk of her early material alone, arranging it for a band to ensure her live shows carried the full energy of her studio recordings. Quick to distance herself from comparisons to the rest of the female solo artists who broke through in 2009, Marina was also open about voicing her opinions on more established musical peers including Lily Allen and Kate Nash. In interviews she often showed a dislike of being grouped together with other emerging artists, especially when she had nothing in common with them except gender. The variety in her music made it hard to classify or pigeonhole, and comparisons were made with artists as diverse as Regina Spektor and Elvis Costello. The startling "cuckoo!" refrain of "Mowgli's Road" and the introspective balladry of "Obsessions" could not be more different, but it was the ever-present charm in Marina's music that brought her cult success in the early part of her career.
Her first single, "Obsessions/Mowgli's Road" was issued by indie label Neon Gold in the U.S., also home to electro-indie Americans Passion Pit, and was followed later in 2009 by The Crown Jewels EP, which contained three new songs, including an electronic remix of fan favorite "I Am Not a Robot." After playing the exhausting British festival circuit in the summer of 2009, Marina briefly retired to the studio to polish off her debut album, The Family Jewels, before quickly hitting the road again in late 2009.
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Marina and the Diamonds – Obsessions[/img]
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*FIXED*
Marina and the Diamonds - The Crown Jewels
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Shilpa Ray & Her Happy Hookers– A Fish Hook An Open Eye
MySpace
MV (YouTube)
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--- Quote from: qromag ---New York’s Beat the Devil long stood out on the indie music scene, and not just because it was the lone drums-bass-harmonium trio. It was frontwoman Shilpa Ray’s distinct voice, along with her harmonium playing (sort of an accordion played on a table, imported from Europe to India in the nineteenth century and popularized there), which was the band’s signature. As bassist Mishka Shubaly (now of Freshkills – QRO live review) put it in an independent documentary about the band, “Shilpa Ray sounds like Shilpa Ray… and no one else.” Now operating solo, Ray’s baritone bellow stands out even more – but is it special, or any good? No, no it isn’t.
Beat the Devil had been a somewhat divisive band on the New York music scene, loved by a few, but loathed by many, especially as they most often opened for other bands, and the audience for the headliner wasn’t prepared for or interested in what Beat the Devil was trying to do (they were received – and played – much better when headlining – QRO live review). They were kind of that stereotypical ‘critic’s choice’ band, the kind of act that seemed to find favor with critics because they had a ‘weird’ hook & seemed designed to shun the mainstream. All of that has apparently gone to Ray’s head, as she ditched the other two-thirds of Beat the Devil to go solo with a backing band, Her Happy Hookers. Their debut record, A Fish Hook An Open Eye, is what you didn’t like about Beat the Devil – only more so.
Mostly, that’s Ray’s voice. Her baritone bellow-yell is certainly not usually heard, but maybe that’s because no one wants to hear it. There might just be a reason that centuries of music have passed over the sound of a woman sing-yelling in a low register, just the way male voices done in a high-pitched tone are only used as a joke (Tiny Tim, Alvin & The Chipmunks…). It’s hard to describe, but think of when Daphne Zuniga is imprisoned in Mel Brooks’ classic Spaceballs, and ‘sings’ “Nobody Knows the Trouble I’ve Seen” (the bass voice is obviously dubbed in from a male singer). Think of that, but of a woman actually trying to do it.
A harmonium is popular – at least in India. But its exotic roots aside, Ray’s harmonium isn’t that special, as it mostly just sounds like an accordion or weak organ. And it isn’t even delivered with the kind of energy one finds in polka, or sadness as in cabaret, but it’s just… there. Sometimes on A Fish Hook, Ray actually lets Her Happy Hookers add something, but that something usually either isn’t noteworthy in its own right (like the garage-road beat to “Coward Cracked the Dawn”, or full-on girl-garage – including fifties garage-guitar solo – to the following “I’m Not Frigid… Yet”), or can even detract further: the spastic drumming in the verse of “I Only Have Eyes For You” is nauseating, and the lame grandeur of “What the F**k Was I Thinking?” only heightens Ray’s poor qualities.
The catchy backbeat & tones of “Filthy & Free” is the only real ‘good’ addition to Ray’s work on A Fish Hook, but even there, the song just become catchy backbeat & tones – dragged down by Shilpa Ray. Far more exemplifying of the record are the opener & closer, “Beating St. Louis” and “Looking For Mr. Goodbar”, respectively. The over-bellow & un-special harmonium is right there in front of you to start on “Beating”, at least letting the many who don’t like it a chance to quickly stop the record. “Looking” (not going to denigrate the fines folks in St. Louis & at Mr. Goodbar by shortening those song titles to their names…) is stripped to just Ray’s voice & instrument; it’s everything that’s not special & not good about Shilpa Ray & A Fish Hook An Open Eye.
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Various Artists – Legends of Benin
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--- Quote ---“It’s funk, but refracted through a slightly bizarre prism. This music from Benin, recorded in the ’70s, is definitely funky, and you can hear the American influence — El Rego is a James Brown wannabe at times, although his band is looser — but it’s also strongly African in thought and execution. This excellent compilation focuses on four productive artists from the period, each of whom has his own take on the Benin sound, like different facets of a whole. The music of Antoine Dougbé flows, powered by guitar and percussion (just like all the bands here) and with some explosive brass and dynamic guitar work on “Honton Soukpo Gnon.” Gnossas Pedro can take a poppier approach — “Dadje Von O Von Non” wouldn’t have sounded out of place in the Hot 100 in the 1960s — but all of them can get rootsy under the Western influence. Imagine the Chambers Brothers crossed with the Super Rail Band and a touch of Fela Kuti and you have a rough approximation of the groups here, with Honore Avolonto very African on the percolating “Tin Lin Non.” But what unites all the music here is a strong, thick groove, soulful and deep, with El Rego’s “Djobime” particularly explosive. The men themselves are true characters, with professions ranging from brothel owner to voodoo priest. All in all, it’s a storming collection and a very in-depth look at a time and place that’s been ignored for far too long.”
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Mountain Man - s/t
Listen/Download individual tracks (Band Camp)
"Animal Tracks" (YouTube)
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--- Quote ---Mountain Man is a group of three young women- Amelia Meath, Molly Sarle, and Alex Sauser-Monnig- who sing with or without Alex’s guitar. It is incredible what they are able to do with their voices- they have huge ranges, great precision, and a frighteningly smooth blend.
It’s impossible to pinpoint what they are doing, each song is like this beautiful lattice sphere. They weave in and out of eachother – only the most careful inspection will reveal that they often switch their positions multiple times in one phrase. And although their songwriting is influenced by the comfortable history of American folk, there is something very vibrant and new about the compositions.
There’s a fragile balance between the three very different styles and personalities in these three young women. They are all songwriters, and having all three approaches with the same treatment on the same album is really satisfying. There is Alex’s guitar based songs, with deep, slow moving roots. Amelia, writing for voices alone, creates rising complicated lattice structures. Molly also writes for guitar, but with space for more weight, drama, and tension.
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Ola Podrida – Belly of the Lion
MySpace
"Your Father's Basement" (YouTube)
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--- Quote from: Austin Chronicle ---"Cinematic scope" gets too many close-ups in critic-speak, but 35mm perspective comes naturally to Ola Podrida leader David Wingo. The Dallas native and longtime Austinite first garnered national praise after scoring the acclaimed indie films of director and close friend David Gordon Green, most notably All the Real Girls and George Washington (see "Vision and Focus," Screens, Nov. 12, 2004). The latter soundtrack was released in 2002 on local label Emperor Jones.
Wingo does his best work in scenes, crafting imagistic snapshots over a Hill Country backdrop, combining Iron & Wine's dusty lore with the breathy melancholy of Nick Drake. What's not said is often as important as what is, an uncertain anxiety lurking in shadowy details. This deceptively complex balance of atmosphere and tension made Ola Podrida's eponymous debut one of the sleeper hits of 2007.
"With soundtracks, the director already has an idea for the emotion for a certain scene or the mood, and I have to approach it with the end result in mind," relates Wingo, who recently moved back to Austin after a stint in Brooklyn. "Now that's just etched into my process."
That much is evident on Ola Podrida's sophomore effort and Western Vinyl debut, Belly of the Lion, due Nov. 10. The album was written and recorded late last year in his Brooklyn apartment between session work for Gentlemen Broncos, the new comedy from Napoleon Dynamite director Jared Hess that premieres at the Paramount Theatre on Thursday, Sept. 24, as part of Fantastic Fest.
Belly of the Lion, on which Wingo plays every instrument except a few drum tracks, should push Ola Podrida into the thick of indie rock's folk awakening. It puts a rural twist on modern dream pop, at times recalling Pink Floyd's Wish You Were Here spun at half-speed and steeped in the nocturnal 1990s haze of Trance Syndicate's slow-core movement. In fact, American Analog Set's Andrew Kenny was a touring member of Ola Podrida when the then-quintet swooned Central Presbyterian Church at South by Southwest 2008.
"It's a guitar record for sure," Wingo enthuses. "I've been having some fun plugging in effects pedals again."
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Malcolm Holcombe – For the Mission Baby
MySpace
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--- Quote from: Stereo Subversion ---For The Mission Baby is as honest and gritty as it gets. The messages herein come from a place deep within Holcombe and oozes out through his gritty vocals and bluesy musical approach. Joined by heavyweights like David Roe (upright bass), Lynn Williams (drums), and the multifaceted Tim O’Brien and you’re standing on firm ground. Add in the harmony vocals of fellow artists Siobhan Maher and one of my favorites, Mary Gauthier, and you can’t lose.
And Holcombe doesn’t. Bursting out of the gate with the plodding “Bigtime Blues,” the artist bites off his lyrics with gusto, charging them with energy and down home passion. You can almost hear the booze being poured. An Appalachian tale is told through the story of “Hannah’s Tradin’ Post” while “Leonard’s Pigpen” bring a compelling blues/folk jam to bear with some great dobro work by Jared Tyler.
“You Have It All” is one of the album’s highlights, offering up the image of one who’s always struggling with the idea that “I ain’t got what I want it’s never enough,” ultimately coming to the conclusion, “There’s a taste in my mouth bitter as gold/ I cant swallow the blues and keep my eyes closed/ Well the cat ate the bird he’s grinnin’ for sure/ Buzzards flyin’ low bringin’ a cure.”
Holcombe wisely follows that track up with the levity of “Short Street Blues” which segues nicely back into more introspective themes with the faith questions of “A Bigger Plan” and the heartbreak of the title track, strangely contrasted with a jaunty backdrop. “Another One Gone” slows the tempo again and showcases some nice fiddle work from O’Brien while “Doncha Miss That Water” keeps the pace steady.
“Straight and Tall” is another album highlight, finding Holcombe seemingly channel a bit of Dylan for this understated near prayer. Holcombe sings: “A warm shirt for the cold/ A lil’ food to fill the void/ So kindly make your plans/ Use my back and arms/ Make me straight and tall.” “Whenever I Pray” is a lovely ode to small-town country life that would make Wendell Berry proud and album closer, “Someone Left Behind,” offers up a snippet of hope without offering easy answers. It simply makes you wishing there was more.
Malcolm Holcombe is a guy that has lived the life, has been down and out, and has seen his way to some sense of light. The songs contained on For The Mission Baby and keen snapshots and reflections on those times and experiences and are well worth experiencing yourself. If you’re looking for honest music, look no further. Holcombe’s your guy.
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spoon_of_grimbo:
listening to the Ink & Dagger album that medicatesleep posted back there - it's a bit of a headfuck and i honestly can't decide if i like it or hate it, but it's intrigued me enough to order it off amazon and give it several more listens...
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