Fun Stuff > BAND
The M/F Thread 2009: The Quickening
JD:
Japanese appreciation week, woo
Mass Of The Fermenting Dregs-World Is Yours(2009)Genre: Post-rocky Shoegaze
--- Code: ---http://www.mediafire.com/?2zznz2kz2mm
--- End code ---
scarred:
--- Quote from: gospel on 17 Nov 2009, 18:20 ---Laura Veirs – July Flame [2010]
--- End quote ---
ohmygodohmygodohmygodOHMYGODOHMYGODOHMYGODOHMYGODOHMYGODOHMYGOD
gospel:
I suppose to honor (ha!) our Nipponese talent, here's a re-up of one of my favorite albums of 2008.
Shugo Tokumaru - Exit
--- Code: ---http://www.mediafire.com/?4ywfjhntz4k
--- End code ---
--- Quote from: allmusic ---Shugo Tokumaru is not (as many reviewers have assessed) the Japanese Sufjan Stevens. He may share some of Stevens' fascination with found instruments and eccentric acoustic arrangements, but that's where the similarities end. Tokumaru, in general, seems to go much deeper into his own musical world -- playing with sounds more and taking ideas much further. If comparisons must be made, it would better describe Tokumaru's trajectory to align him with the likes of a less predictable pop experimenter like Lindsey Buckingham. Like Buckingham, Tokumaru's songs can sound deceptively simple on the surface, but closer listening reveals a very sophisticated musician at work. Anyone can layer instruments on top of one another (and, with the advent of digital home recording, often to a ludicrous level), but it takes a real talent to sort out how they should fit together. This is where Tokumaru shines, especially on his album Exit -- a home-recorded affair that flirts with indulgence but rarely succumbs to it. That's an important point because a song like Exit's opener, "Parachute" -- with its multi-layered fingerpicked guitar propulsion and more melody lines than you could shake a stick at -- could have been just a predictable lo-fi mélange had someone else been at the helm. In Tokumaru's hands, indulgence is tempered with taste and taste is augmented by confident individuality and competent musicianship. That individuality and musical prowess are evident enough -- as Tokumaru is clearly at ease on a number of different instruments -- but all of that would amount to beans if you couldn't put it together just as expertly. In the arrangement department, Tokumaru displays both skill and mischievousness. He has a Brian Wilson-like penchant for playing instruments off of each other to achieve a greater result (just listen to the Pet Sounds playfulness of "La La Radio") and is fearless in his use of dissonance (check the gradually twisted interplay between the recorders and melodicas on "Clocca"). Ambitious as some of that may seem, Exit never feels like a show-off record -- just a thoughtfully put-together one.
--- End quote ---
--- Quote from: scarred on 17 Nov 2009, 22:47 ---
--- Quote from: gospel on 17 Nov 2009, 18:20 ---Laura Veirs – July Flame [2010]
--- End quote ---
ohmygodohmygodohmygodOHMYGODOHMYGODOHMYGODOHMYGODOHMYGODOHMYGOD
--- End quote ---
Laura Veirs - Carbon Glacier (2004)
--- Code: ---http://www.mediafire.com/?4wrngwrhzah
--- End code ---
--- Quote ---Laura Veirs' Seattle is not a city plagued by rain and enormous bowls of coffee; rather, it's a metropolitan snow globe trapped in a solid sheet of ice. The 13 songs that make up her fourth album (and Nonesuch debut), Carbon Glacier, rely on Veirs' free associating motor-mouth imagery to dig them out the tundra, and it's a testament to her skills as an interpreter that the majority of them break through. That's also thanks in part to the intricate arrangements and superb musicianship from her "Tortured Souls," Steve Moore, Karl Blau, and producer/drummer Tucker Martine (Modest Mouse). Martine allows the experimentation to bloom in all the right places, resulting in a record that never overworks itself, despite being packed to the gills with ghostly glockenspiels, organs, random percussion, and trombone. Veirs' hypnotic voice cuts through it all with deadpan sincerity -- she's equally capable of pitch-perfect beauty ("Lonely Angel Dust") or tightrope uneasiness ("Icebound Stream") -- that comes off somewhere between Nina Nastasia and Jolie Holland. Her ability to sound as comfortable singing over grungy and compressed drum loops as she does on simple folk tunes is admirable, and it makes all of the genre-hopping exceptionally fluid. Even at her warmest, she exudes a certain collegiate coolness, and when Carbon Glacier begins to drag -- and it does near the end -- Veirs manages to retain and command a level of anticipation/fascination that's the mark of a true artist.
--- End quote ---
Mr. Tool:
Blakroc
This is the Black Keys' collaboration with the world of hip-hop. It's pretty much the best rap-rock record ever made. Check out the first video here if you need convincing.
--- Quote --- 1. Coochie (featuring Ludacris, Ol' Dirty Bastard) – 4:10
2. On the Vista (featuring Mos Def) – 2:39
3. Hard Times (featuring NOE) – 2:38
4. Dollaz & Sense (featuring RZA, Pharoahe Monch) – 3:47
5. Why Can’t I Forget Him (featuring Nicole Wray) – 4:16
6. Stay Off the Fuckin’ Flowers (featuring Raekwon) – 2:31
7. Ain't Nothing Like You (Hoochie Coo) (featuring Mos Def, Jim Jones) – 3:23
8. Hope You’re Happy (featuring Billy Danze of M.O.P., Q-Tip, Nicole Wray)
9. Tellin’ Me Things (featuring RZA) – 2:39
10. What You Do to Me (featuring Billy Danze, Jim Jones, Nicole Wray) – 5:14
11. Done Did It (featuring Nicole Wray, NOE) – 3:29
--- End quote ---
--- Code: ---http://www.mediafire.com/?dnfardfjykz
--- End code ---
E. Spaceman:
--- Code: ---http://www.mediafire.com/?wmn22td0tjj
--- End code ---
Boredoms Wednesday
Navigation
[0] Message Index
[#] Next page
[*] Previous page
Go to full version