Fun Stuff > BAND
The M/F Thread 2009: The Quickening
rednightmare:
--- Quote ---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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
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Bezed'h - Les Illumines
Until I heard this album I had no idea that their was local Celtic music in France. Apparently there is. This is a really good Celtic Rock album with heavier than average guitar and some great violin. The majority of the lyrics are in French but that just adds to the fun of the album. I could not fiind any reviews for the album but rest assured this is good.
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pulpfiction21:
Alright first things first, is there a limit to how many posts I can make on this thread per day? I'll probably be putting 3 or 4 albums per post, is that two many per? I just have alot of stuff that i don't see on here and I wanted to put it all up since I have taken so much off this thread already. Let me know if I am saturated the thread to much and if yall want me to slow it down.
Okay so besides that, I got 4 more albums to post.
Culture Reject - Culture Reject
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Review from musicemissions.com
--- Quote ---The Toronto project of one Michael O'Connell known as Culture Reject is very new to me. It won't take long before this wonderful project becomes well known in the college music market. Michael likes to play a myriad of instruments, all in the warmth of his bedroom, to the point it feels like this tower of lush sound is going to collapse. Culture Reject just feels like the perfect name for this album as well. The music contained would never be accepted by the masses even though it is very accessible.
The musicianship cannot be denied either. I love the Latin flavored "Overflow", which has a huge Andrew Bird feel to it. Some of the times Michael likes to sing in a haunting falsetto like on "Oh Remain". Download "Inside The Cinema" over there on the side bar and check out the push "single" from the album. It sounds a little like Isaac Brock in Modest Mouse.
Apparently Culture Reject impresses in a live setting as well, able to pull all the loops, samples and instruments together in person.
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Mr. Hudson & The Library - A Tale Of Two Cities
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Review from Allmusic
--- Quote ---Mr. Hudson & the Library accomplish at least two great things on their debut record, A Tale of Two Cities. First, since there's no lack of musicians to chronicle life in England (taking in everyone from Arctic Monkeys to Robbie Williams), a newcomer can't timidly knock at the door, but instead, has to thrust it open and stride right through. Hudson himself is as wry and witty as the best, dispensing excellent cutting lyrics that only occasionally admit to some affection ("You'll never be a cover girl, just facing facts, your face isn't right, but I'll never want another girl"). He wrenches a pair of vocal standards into the 21st century, turning "On the Street Where You Live" on its head ("And oh! What a nauseous feeling") and wryly updating "Everything Happens to Me" ("I've emailed and I've phoned, sent a text message or two/ You told me to piss off, for that respect is due"). Secondly, they understand that musical economy can pay unexpected rewards. Imagine Jarvis Cocker and Pulp subsisting musically on as little as possible: a few bass-drum hits and electronic snares, swinging (and surprisingly bruising) basslines only on the choruses, skeletal piano or keyboards that force listeners to play connect-the-dots. This method not only gives additional focus to melodies or musical ideas, but changes the perspective when a production suddenly flowers (as on "Ask the DJ"). Hudson has a surprising past as a grime beat-maker, and it's this quality in action that makes Mr. Hudson & the Library so interesting; the songwriting material may not be worthy of Steven Morrissey or Paul Weller just yet, but the production is note-perfect. For those who can't decide between the Streets' Mike Skinner and the Divine Comedy's Neil Hannon, Hudson has the answer: "I'd like to think there'll come a day when drum machines and troubadours smile, when grime MC's give away their MPC's."
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13 & God - 13 & God
Members from German indie greats,The Notwist, and rappers, themselves.
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Review from allmusic
--- Quote ---Though it looks somewhat better on paper than it sounds as a completed album, 13 & God is a compelling experiment of indie collaboration. Like so many projects of its nature, this self-titled album began with tapes and discs traded in the mail between artists. Eventually the two parties, Germany's glitchy electronic rockers the Notwist and U.S. left-field hip-hoppers Themselves, assembled together in Germany to recorded the finishing touches that would glue the fragments and puzzle pieces together. The finished piece is a decidedly dark and murky musical excursion into a realm of percolating electronics, moody jazz elements, bizarre raps, ethereal acoustic guitars, and sad pianos. As would be expected, some tracks sound untouched by one-half of the collaborators. "Men of Station" comes across like a Neon Golden B-side, and it's difficult to understand what Themselves could have added, because it contains every earmark of the Notwist but nothing more. Likewise, "Ghostwork" feels like a typical offering from Doseone and crew, with perhaps just a scattering of xylophone and a skittering sampler contributed by the Acher brothers. Thus, it's likely that fans of either band might appreciate only half of the album, as the artists' musical oeuvres are so different. But while some of the album feels like a compilation of the two bands, truly collaborative songs where creative input seems evenly spread, such as "Perfect Speed," present something fresh and innovative. Indeed, there are moments such as "Tin Strong" and "Walk" that come across as so musically alien in outright genre-splicing that a listener would be hard-pressed to describe just what musical style is being heard. Is it quirky underground rap, ambient electronica, moody industrial dirge, or John Cage-style experimentation? It is likely that fans of the Notwist's traditional melodies might find many of these ten songs a difficult listen, and it's equally likely that anyone enamored with Themselves might not appreciate some of the album's wistful vocals and dreamy keyboards. While there's a sense that both artists went a bit too heavy on dark atmosphere, given that both usually inject more whimsy into their creations, 13 & God is still a consistently intriguing, frequently beautiful experiment that offers ample rewards with each new listen.
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Avast! - Faultlines
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Review from sputnikmusic
--- Quote ---What's great about this record too is it's energy. Just opener 'Faultlines' is enough to get you excited about this band and record with it's jaw-droppingly fast yet tight, tom-heavy drumming pattern, distained guitar chords, and simply likeable lyrics 'As a child/I was awkward/grow-ing up' with a wonderfully charming vocal delivery from Andrew. The rest of the record may not be as fast paced, or as immediate, but the wonderful examples of subtly written melody and songwriting on such songs as 'Koribuki' or the aggressive 'Ahab' are truly something else.
Plus, there's the stunning use of instruments, which are technical, but not overwhelming, and show every member (essential really, for a three-piece) performing at their best. The guitars, although no way near as technical as say, Maps and Atlases, give enough variation to really flicker through a range of sounds appropriate to each song, with some wonderful arpeggios dropped in as well as lines which slide beautifully up and down the next; truly inspired writing, particularly featured on Instrumental closer 'Coelacanth'.
This is by no means perfect, and there are times where you feel AVAST! could do with a touch more variation, but for a debut record this is very impressive. It's teaming with energy and emotion but manages to withhold itself from going too over the top. Personally, I can't wait to see what this band does next, but for now, make sure you pick up this fantastic record.
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Bubba_Zanetti:
Hi all. Long time lurker, first time blah blah blah. Here's something you folks might like:
The Sunburned Hand of the Man - Headdress
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Pitchfork Review:
--- Quote ---When Carl Jung carved his symbols of mankind onto the face of his beloved cubic lawn jockey, among the archetypes of the collective unconscious present was surely the open hand. Part invitation and part warning, very few pictorial representations-- with the exception of the smile or frown-- are so readily recognized as the forward stare of the uncurled hand. With one glance at the album cover of The Sunburned Hand of the Man's latest release, Headdress, it's apparent that the spirit of the deceased Swiss psychiatrist is alive and well in this musical collective hailing from the darkest recesses of Massachusetts.
The knit hand encircled by a background of stars embodies both the welcome and caution inherent in the music that is in turn violently cruel and unconformably beautiful. The fact that it's a patchwork appendage, obviously tailor-made with minor imperfections magnified, displays the collective approach that more than likely went into the creation of the musical product itself. One imagines a procession line of long-haired bohemians printing and then hand-gluing album covers, inserting fresh-pressed vinyl into protective sleeves made from recycled rolling papers, then boxing and shipping the fresh goods away from the confines of an abandoned barn surrounded by three feet of mostly white snow.
It's from this natural and mystical bond that the music emanates effortlessly. The opening track "Shitless" presents all of the musical motifs at the band's command upfront for aural inspection. A funky bassline and a smattering of odd percussion act as the soil and ground from which the guitars grow forth, as a recorder eventually pushes forward against a barrage of wails and grunts, more animal than human. "Sense of the Senseless" develops from this with a steady hypnotic drone cut intermittently by bird-chirps and struck bells. A polyphonic chant arises-- a modern Dies Irae-- as a whistle signals a tempo change that finds solace solely in the errant harmony of frantic shouting. The song ends with a lamenting cry to "learn from experience," before fading far too quickly into the harmonica-driven track "The Illness".
With any luck, the band will heed their own plea, as the album's only true criticism can be that, at times, it sounds more like a collection of inspired moments that are cut far too short than a fully developed composition, more than likely a consequence of its finite medium. Brief windows of ingenuity such as the echo and din of the title track or the droning ebb and flow of "A Second Guess" would find more time to breathe, develop, and recapitulate given the format of a double album. As is, though, songs such as "Yes, Your Highness" don't have time to pick up the momentum of such Varèse-pleasing ideas as the use of sirens and strong complex rhythms incorporated into regular song structure.
This is not to say that the entire album feels abruptly halted or rushed, as "The Underground Press" proves contrary. Easily the most developed piece, if not the best, this is the swaying back and forth number on the album that allows the girl wearing the kitten ears at the live show to feel that she's comfortable enough with the crowd and herself to take off her shirt. Stravinsky himself would be proud of this unadulterated use of rhythm and beat, augmented by loud hypnotic chords pulsing from a variety of instruments, ultimately falling prey to the screams and whoops that herald its necessary finale.
Acting as a subtle trend in the album, the sense of prevalent necessity from song to song further merits one of the superior critiques that can be lauded upon a work of art, the discrimination of timelessness. This is not to say that the album could have been released at any given time with similar acclaim-- though it undoubtedly could have-- it's only a comment upon how the music flows so readily with complete and utter disdain for trend and fashion that it feels simultaneously primitive and advanced, while retaining every bit of its musical relevance. In the end, the music leaves one with a sense of somber contentment and satisfaction as mysterious in origin as the warmth received from the open-hand greeting of a stranger.
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Have fun!
KurtMcAllister:
--- Quote from: ex_penumbrae on 06 Feb 2009, 14:53 ---Simon Bookish - Everything/Everything
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This is really fantastic, thank you!
gospel:
Enjoy or hate. Have a few more vinyls rips of theirs in the works, but they're pretty enormous to upload.
Big Star - Third/Sister Lovers (Rykodisc)
NOTE: I apologize about the 4 files. This is encoded in FLAC, and the total size is over 340mb (about ~95mb per part). Includes artwork.
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--- Quote from: allmusic ---A shambling wreck of an album, Big Star's Third/Sister Lovers ranks among the most harrowing experiences in pop music; impassioned, erratic, and stark, it's the slow, sinking sound of a band falling apart. Recorded with their label, Stax, poised on the verge of bankruptcy, the album finds Alex Chilton at the end of his rope, sabotaging his own music long before it can ever reach the wrecking crew of poor distribution, indifferent marketing, and disinterested pop radio; his songs are haphazardly brilliant, a head-on collision between inspiration and frustration. The album is a kind of self-fulfilling prophecy, each song smacking of utter defeat and desperation; the result is either one of the most vividly emotional experiences in pop music or a completely wasted opportunity, and while the truth probably lies somewhere in between, there's no denying Third's magnetic pull -- it's like an undertow. Although previously issued on a variety of different labels, Rykodisc's 1992 release is the initially definitive edition of this unfinished masterpiece, its 19 tracks most closely approximating the original planned running order while restoring the music's intended impact; in addition to unearthing a blistering cover of the Kinks' "At the End of the Day" and a haunting rendition of Nat King Cole's "Nature Boy," it also appends the disturbing "Dream Lover," which distills the album's messiest themes into less than four minutes of psychic torment.
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