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[E. Spaceman]

We want it. Here is an idea: make a mix of what you have and upload it here.



This is a thing I would like other people to do actually.

[rednightmare]

Hey Braintoad I'm glad you enjoyed the Bezed'h album. I am downloading your post right now. I was going to post some Gogol Bordello as I think a lot of people would like it. I did a quick search of the forums first though; and that brought up quite a few posts about them. So I will hold off on that as they seem pretty well known around here.

So instead I thought I would post a couple of albums that sound absolutely nothing like them.

Dead Can Dance - Spleen & Ideal

Review by way of All Music Guide

With this amazing album, Dead Can Dance fully took the plunge into the heady mix of musical traditions that would come to define its sound and style for the remainder of its career. The straightforward goth affectations are exchanged for a sonic palette and range of imagination. Calling it "haunting" and "atmospheric" barely scratches even the initial surface of the album's power. The common identification of the duo with a consciously medieval European sound starts here -- quite understandable, when one considers the mystic titles of songs, references to Latin, choirs, and other touches that make the album sound like it was recorded in an immense cathedral.

I had a really hard time deciding which Dead Can Dance album to upload as there are quite a few really good ones. I find that the Kilimanjaro Darkjazz Ensemble (posted earlier in this thread) really reminds me of this group. I think it has to do with the mood of the music and I find that both bands provide very moody and dark music. Really worth a listen if you haven't heard the band before. Don't get turned away by the gothic tag that is slapped on the band; they are much, much more.

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http://www.mediaf!re.com/?eqrode2vxyx
Discipline - Unfolded Like Staircase

Review by way of All Music Guide

What we have is four long pieces or musical acts each being divided into movements or scenes. We open with "Canto IV," superbly, forcefully launched with a determined, I've-got-something-to-say-angst attitude. It stomps over you with that Led Zeppelin "Kashmir" progression. At times I heard Traffic when Parmenter's sax slipped in. Much Kansas washed over me. Parmenter's vocals are compelling, strong, and you are gripped quickly. He even uses a modified howling late in the CD, calling to mind Warren Zevon's "Werewolves of London". It is not overdone in the slightest.

This album is everything that modern prog rock should be. This is not just an indie band with a concept album or something with way too much keyboard. This is not something with prog influences or a band imitating the 70's, and it is definitely not metal. This is powerful, turbulent, and polished rock music. 

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http://www.mediaf!re.com/?yj5zzmjryde

[casbah]

Ok I'll open up my uploads with this:
The Living End- From Here On In
This CD is a collection of all the band's singles and a few really killer B-sides. In Australia this band is fairly mainstream  these days with every music nerd I know professing that they liked them more when they weren't so overplayed (that being said I haven't heard any of their new songs once on the radio) but I'm not sure if you've even heard of them.

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http://www.mediafire.com/?sharekey=54843bc39a2030d5d2db6fb9a8902bdaThey play an eclectic mix of Rockabilly, Punk, Hardcore and Rock in Australian accents that is extremely refreshing for anyone who is sick of the same whiny punk singer sound. They've sung songs about union riots and development in Melbourne. I highly reccomend them.

[the_pied_piper]

We want it. Here is an idea: make a mix of what you have and upload it here.



This is a thing I would like other people to do actually.

Do you mean mixtapes? If so, maybe another thread would be good? There was one in the past but its gone to that thread cloud in the sky now.

[valley_parade]

To be fair, that's only because Muxtape went down.

I'd really dig a mixtape thread, though.

[pulpfiction21]

People could just take a bunch of songs from their music folder, zip them into a folder, and then upload it to mediafire. Then instead of album art, just put a tracklisting for the mixtape. Eh?

[the_pied_piper]

Well, i've started a thread now so might as well make use of it.

[screamingfool]

i posted these some time ago and was requested to put them up again, so here you are;


2 foot yard - s/t

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http://www.mediaf!re.com/?n1n2zeedh4g
2 foot yard - borrowed arms

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http://www.mediaf!re.com/?nwdvndtdbvy
the front woman of this band, carla kihlstedt, is amazing. She's founded the jazz group tin hat trio, a founding member of 'sleepytime gorilla museum' which is a reincarnation of the famed 'idiot flesh' - has been in a punk/funk band that covers traditional bulgarian and and jewish folk songs, has been playing with tom waits since alice and is just generally amazing. This is her personal project where she plays with pop, classical, folk and avant garde sounds to great effect. She's also a really brilliant conversationalist and hug giver.

cheers!

[pulpfiction21]

So I am not a fan of the ska genre. Dont know why, just something about it doesnt do it for me. But about 5 years ago, I came across a band called A Billion Ernies. They do Screamo/Ska/ Christian music. Although they sing a lot about god, and I mean like stuff like "give yourself to god", stuff like that, and they are ska, the hardcore aspect of them is really enjoyable.

A Billion Ernies - Please Do Not Reveal The Ending (2004)

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http://www.mediaf!re.com/?hiwdnny2nhj
No Review, but just read above and if you like ska then check them out. Just listen to Doomsday Robot Army and tell me its not fucking sweet for a christian ska band.


Arms and Sleepers - Black Paris 86

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http://www.mediaf!re.com/?1qgywmzzmxz
Review off of amazon

From the very first listen, Arms and Sleepers immediately grabbed my attention. The band's music is fast paced, catchy, and mellow -- exactly the type of music I dream about and easily fall in love with. The style they achieve on Black Paris 86 is a type of electronic/ambient fusion akin to bands like Radium88 and Lights Out Asia, though there's certainly enough individuality on the album to differentiate them from their peers. After a few listens I was completely hooked on A&S' dynamic sound, then when I got my hands on their previous CDs I gained even more appreciation for the band's newest effort. Black Paris 86 shows us a completely different band then the Arms and Sleepers we've come to know and expect. Previous releases were completely ambient driven and had very little substance and very little to hook the listener in. Thankfully enough, for me at least, the band has focused and condensed its music and reinvented themselves for the new album. What we get is a band that has morphed itself into a model for what the trip-hop ambient fusion genre has to offer. Black Paris 86 draws influences from a variety of genres and this is reflected in the stylistic changes across the album. One minute I'm convinced that I'm listening to a tighter version of Radium88, with electronic and trip hop vibes running strong. The next I am reminded of Small Sails, but in a darker, more mysterious mood. Moans/undecipherable vocals are periodically used throughout the album in tracks such as Black Paris 86 and Warm. Speaking of Warm, it isn t a new track to the band; it was released in 2006 on their EP titled Bliss Was It In That Dawn To Be Alive, however I couldn t possibly see anyone arguing over the band's choice to put the track on another release. "Warm" is as addicting as most tracks get, featuring subtle electronics coupled with deep drones and a beat which easily gets stuck in the listener's head. Butterflycatcher, my personal favorite track from the album, only has one issue: it doesn t fit in with any of the other tracks -- it s far too happy for the release, featuring bells, horns, claps, electronic beats, and a girl seemingly trying to recreate the sounds of a whale. And, in reality, when have all those things blended together ever produced something bad? After Butterflycatcher, the album goes back to its dark and mellow ways and finishes up abruptly, perfectly leading perfectly to the beginning of the album. Granted, it is still early, but I can easily see Black Paris 86 staying at the top of my favorites list through the year. From the first time my ears were graced by its presence, I was hooked, and after a countless number of listens, I find myself still intrigued with each listen. For anyone looking for a refreshing new change of pace, I have little doubt that Arms and Sleepers could be the stimulus you are looking for

Lemuria & Kind Of Like Spitting - Your Living Room's All Over Me (2006)

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From Punknews

Your Living Room’s All Over Me pairs veteran emo supergroup Kind of Like Spitting with the female-fronted pop-punk of Lemuria.

The first seven songs come from relative newcomers, Lemuria. Aside from two songs sung by drummer Alexander Kerns, guitarist Sheena Ozzella controls the vocal duties for Lemuria and does a fantastic job. With a singing style somewhat reminiscent of Cruiserweight’s Stella Maxwell, Ozzella has the ability to deliver emotions ranging from cute, like in album opener “Hours,” to absolutely jaded as in “Bristles and Whiskers.” The latter, which is credited to Kerns in the lyrics booklet, contains some of the more biting lines on the album, which says a lot since Lemuria is paired with Kind of Like Spitting; “They don’t make love, they fuck / And he assumes it’s enough / They both pretend to come with a common image of another man filling them with love.” In fact, Kerns delivers powerful lyrics on five of the seven songs, with “Rough Draft” being another exceptional instance with the lines, “Everyone I fall in love with already has fallen in love with someone I respect / So now I’m an altruist / Oh fuck, just this once can I root for the home team? I’m always the bee to kamikaze to save the precious queen.” Lemuria impresses throughout Living Room, a promising feat considering it’s both their longest release at seven songs, and their most prominent, being paired with Kind of Like Spitting.

Led by seemingly miserable and despondent frontman Ben Barnett, Kind of Like Spitting helped usher in emo’s popularity in the late `90s with stylistic and lyrical comparisons to Gainesville, Florida’s I Hate Myself. With an exasperated, slightly off-key singing voice, Barnett spends the greater part of his songs in vocal self-reflection, bouncing schizophrenically between optimism and pessimism in a futile search for clarity. Kind of Like Spitting’s half begins with the wrenching “Shallow Doses” in typical KOLS fashion: “Lay your hands on me / A tempo I can see / 24 ribs create a seam / No debate / If you’re the captain, regulate / Yes-men sway, tell me it’s OK.” While most of the songs are played in a slower, more indie-oriented fashion, the blistering “You I Seek” (actually a Thermals track, Barnett’s other band) pulls in punk elements coupled with wailing emo vocals. There are also some surprisingly positive lyrics on Living Room. On “Team Reasonable,” Barnett closes with the lines, “As history moves on / I can only hope to learn and not repeat my wrongs / I cradle it closely / Something to be proud of in the end.”

Drive By Argument - Drive By Argument (2008)
This is starting to become one of my favorite albums of 2008. Not because it breaks any new ground but mainly because it really is such a catchy album and great to just have on at any given time. If you havent heard of this band or gotten this album, please do so now.

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http://www.mediaf!re.com/?izfimtiniyy
From This Is Fake DIY

Despite not being entirely original, either in their formation or in their style, the enthusiasm that they bring to the table manages to shine through in an unashamedly bouncy, frothy melding of influences. While their much vaunted 'four-to-the-floor happy hardcore' is hardly a brand-spanking new innovation (step forward Enter Shikari, or even The Prodigy), their splicing of electronica and punk-pop reaps rich rewards. The thrilling pulse of the synthesisers on 'Dance Like No-One's Watching You' drop-kicks the rest of the song into life, and former single 'Sex Lines are Expensive Comedy' is catchier than ebola. Meanwhile, 'The Fish Star Fish Eye' is an inverted love song that collapses in a wailing squall of electronic despair; by contrast, 'We Techno Prisoners' is the album's poppiest moment, with the kind of nagging guitar hook that would feel right at home on a Kylie album.

Despite lead singer Stoke sounding like the biologically-improbable son of Luke Pritchard from The Kooks and Brendon Urie from Panic At The Disco, the band as a whole manages to escape the constraints of flaccid indie-pop of the former and the forced eclecticism of the latter. While their debut may not have entirely escaped the received musical approach of their background, it could give a lot of other bands an education.

[ALoveSupreme]

I will finally contribute.

This is my favorite songwriter from the town I currently live in (DeKalb, IL), Andy Hearld.  The project is called Icarus Syndrome.  These are two of his albums.

Tremepelau Side A

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http://www.mediafire.com/?oz0mybimypj
Foggy Night (unfortunately I could never acquire the track titles for this album)

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http://www.mediafire.com/?xi2c1dt1rtz
It's sort of intentionally poorly recorded stuff with occasional full band work (accompanied by various dekalb musicians who are notable in their own right).  I guess I can't really describe it.  Off Side A, if you listen to Continental Breakfast you will be hooked, I'm pretty sure.  Off Foggy Night, "track 8" is probably one of the best pop songs I've ever heard.


oh, and thanks for posting those Arms and Sleepers and KoLS/Lemuria albums.  Awesome stuff.

[Elk]

The Reptilian - Boy's Life

You know that scene in Back to the Future, when the guitarist, whom hand was broken, was watching Fox shred on Johny be Good, called his manager and said, "You know that new sound you've been lookin' for?  Well listen to this!".  That's exactly how I feel around these times. 

I'm sure all of you who read this blog have listened to Native.  Well, this band is another band emerging that encompasses this sound. 

... I'll try explaining it again.  Twiddly guitar, intricate bass lines, dancy melodies, aggressive shouting type vocals with lots of revurb, all wrapped up in a genre that we all can agree is hardcore.  So, yes, there are also gang vocals. 

If that description was wrong or compeltely turned you off, go fuck yourself.  I didn't want to do it in the first place.  This whole blog thing is for you anyway.  So download this four-song EP, which is completely new and has not been released yet, and support the band. 

Again, if you loved Native, this band will make you feel the same way.  And you better support them!  Buy their shit, make comments on their myspace, go to their shows, learn their lyrics and make a fool of yourself.  Bands like this don't come around too often.

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http://www.mediaf!re.com/?khozx2mwjz3
Mimas - The Worries

The quartet’s sound has been compared with such different bands as Do Make Say Think, Pavement, Why?, Menomena and Mogwai.
Mimas will release their debut album ‘The Worries’ in the UK through oxford label Big Scary Monsters in early October. ROW will be February 2009.

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http://www.mediafire.com/?neh5inmnhyt

[onewheelwizzard]

Continuing the dance-music kick I've been on ...

Stylus Rex - Blatant and the Special 12''

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http://www.mediafire.com/?mq1ly3dhzt3
Stylus Rex - Cops on Coke 12''

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http://www.mediafire.com/?oimezztmyew
Stylus Rex - Serious Wobble 12''

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http://www.mediafire.com/?oijen4z5yw2
Stylus Rex - Squelch Freak 12''

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http://www.mediafire.com/?duwmtxy5rjz
This will sound awesome to anyone who enjoys Soulwax, Bassnectar, Simian Mobile Disco, and most things eminently danceable.  2 tracks per 12'', they're all awesome.

[casbah]

Casbah the Aussie music nerd again. I'm working on a mixtape/bunch of songs by The Presets. They should be uploaded (Upload speed 14 kb/s, !@#$) by some time this weekend, so if anyone is a fan of Dance/Electro/Techno/House type music then stay tuned because your record collection should not be without them.

[casbah]

...and here it is a .rar full of great Presets dance/electro/techno songs. However I noticed that no-one was actually downloading the album from my previous post so I thought maybe I should have included a sample song to download, so I have, in this post I have a sample of some Living End songs as well as a bunch of Presets songs, so if you end up not liking them then you haven't downloaded 60mb+ just to see what the sound like.

The Living End samples:

Can't remember the name but it's a great song about young people:

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http://www.mediafire.com/?0fmmuqwemtyRoll On, A song about a union riot:

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http://www.mediafire.com/?ulk3yz3omnz
The Presets samples:
My People (radio edit), This is a song about riots in refugee/illegal immigrant detainment camps in Australia's desert, it is superb. Also I don't think I put it in the .rar file so you should download it anyway

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http://www.mediafire.com/?xrmv3zmhmzwA New Sky, wait for this one to get started before making any judgements.

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http://www.mediafire.com/?2dyjhleki3zThis Boy's In Love, uber catchy

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http://www.mediafire.com/?zwiyy5mtdym
The Presets Song Mix:
If you liked even one of those songs this compilation of songs from several of their albums is for you! 

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http://www.mediafire.com/?tymgmdttnmc
Like I said these guys are a great electro/techno/dance duo, howver alot of their songs are a little dark and melancholy. These guys also put on a great live show.

Soon I'll post some Aussie/New Zealander Hip Hop/Skip Hop/Rap in the form of Bliss N Eso and The Hilltop Hoods

[ex_penumbrae]

For those who like experimental sound-art, here are all of the cassette releases by Gregory Whitehead, about whom Discogs has this to say:

“Gregory Whitehead is a writer, audio artist, and the director of sea-crow media. He has produced over fifty radio features, voice works, and earplays for programmes in the United States and abroad. Drawing on his background in improvised music and experimental theatre, Whitehead has created a body of radiophonic work distinguished by its playfully provocative blend of text, concept, voice, music, and pure sound.”

They're all fascinating pieces, bringing together aspects of field recordings, musique concrète, radio plays & more into utterly original sonic creations. The works were all released on single-sided cassettes, of which these are excellent quality rips. The artwork's a bit large & unwieldy to show here, but is included in the zip files.

Dead Letters (1985)

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http://www.mediaf!re.com/?qk2je1g0etz
Disorder Speech (1985)

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http://www.mediaf!re.com/?uguy2dij2nl
Display Wounds (1986)

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http://www.mediaf!re.com/?v3njh5d1ozf
Beyond The Pleasure Principle (1987)

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http://www.mediaf!re.com/?hmytizzzziy
Phantom Pain (1987)

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http://www.mediaf!re.com/?yjrxznj2nzm
The Pleasure of Ruins (1988)

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http://www.mediaf!re.com/?dmwe5idytzh
Writing On Air (1988)

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http://www.mediaf!re.com/?mjenvo5zetz
Reptiles And Wildfire (1989)

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http://www.mediaf!re.com/?myztmjxyz3j
The Respirator and other outcasts (1989)

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http://www.mediaf!re.com/?yyjnzotmvkt
Lovely Ways To Burn (1990)

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http://www.mediaf!re.com/?xhwqd02x2tz

[Yossarian]

Kate Bush – The Dreaming (1982)



So, with Ra Ra Riot doing a (not too bad, but slightly lukewarm) cover of Suspended in Gaffa, I guess it's about time to give credit to the original. Referring to it as her „Her-Gone-Crazy-Album“, The Dreaming certainly was a departure from Bush's previous ways. Taking production into her own hands for the first time, she delved head first into the opportunities opened up at the time by electronics. Thus, for example, she made extensive use of the Fairlight CMI. Also, she didn't go for obvious hits – with Sat in your lap being the only, comparably minor hit – resulting in lackluster sales numbers.
Over the years, The Dreaming increased its fanbase, up to a point where it's nowadays often regarded as Bush's most groundbreaking and consistent effort. I know that her high-pitched voice is not for everyone to enjoy, but whoever thought, that Kate Bush was just Wuthering Heights-, Cloudbusting-, Running up the hill- sweetness and a couple of duets with other famous artists should definitely have a listen.

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http://www.mediafire.com/?qjiymxzjghj
Róisín Murphy – Ruby Blue (2005)



To go with Kate, I think another great female voice fits best. Róisín Murphy was the singer in one of my favourite acts in the 90s and early 00s: Moloko. On this, her solo-debut, she teamed up with sample-maniac Matthew Herbert. And they really went at it. Murphy's wonderfully versatile voice is suitably energized by Herbert's beats and bleeps. Yet, despite all the electronics and club-sounds, a record with a distinctly jazzy feel to it, that I return to, whenever I'm in need of some energy.

This is Allmusic's take on Ruby Blue:

As brilliant as Moloko could be — on both their most eccentric and most conventionally pop moments — their albums never quite jelled into something as uniformly great as Roisin Murphy's solo debut, Ruby Blue. By teaming up with producer Matthew Herbert, who remixed Moloko's "Sing It Back" back in the I Am Not a Doctor days, Murphy keeps the alluring sensuality and unpredictable quirks that made Moloko unique, without sounding like she's rehashing where she's already been. Both Murphy and Herbert are artists who are equally at home with the wildest and most accessible sounds (and especially when they bring those extremes together), so their reunion on Ruby Blue feels very natural, and gives the album a smoother, more organic sound than might be expected from a debut. Herbert's concept was to build the album around Murphy — not just her gorgeous voice, but her life as well, and Ruby Blue reflects this with his skillful, witty use of environmental sounds throughout the album. Coughing, rustling, and other studio noise become a rhythm that in turn unfolds the gorgeously summery keyboards of "Through Time," while the more literal-minded "Dear Diary" surrounds Murphy with everyday noises like ringing telephones, buzzing doorbells, and what sounds like a ball bouncing on pavement. As quirky as the album might be — and it doesn't get much quirkier than the spring-loaded, tribal rhythms of "Rama Lama" — Ruby Blue never feels off-putting, because its flights of fancy are in service of the songs instead of distracting from them. The mix of '20s-style hot jazz and cool synths on the surreally sexy "Night of the Dancing Flame," the title track's elegant mischief, and "Sow Into You"'s crisp layers of vocals and brass are all mini-masterpieces of avant electronic pop. Indeed, the first two-thirds of Ruby Blue are almost too smooth, too perfectly realized to be the work of someone involved with a group as eccentric as Moloko was, so more experimental, unruly tracks like "Off on It" and "Prelude to Love in the Making" almost come as a relief (and act as a palate cleanser before Ruby Blue's striking piano ballad finale, "Closing of Doors"). As Murphy herself sings on "Through Time," "Could there be such a thing as beautifully flawed?" Ruby Blue flirts with perfection and settles for being the perfect start to the next phase of Roisin Murphy's career instead.

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[abel]

hola,
for my first contribution i'd thought i'd take it old school with the homie miles.
miles davis - birth of the cool  1957

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http://www.mediafire.com/?tmjcjimmmqrmiles davis - bitches brew    1969

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http://www.mediafire.com/?yikmtuntonm
¡enjoy!

[pulpfiction21]

I noticed that at the beginning of this thread someone posted  the La Dispute - Vancouver album.  That shit is pretty killer but their second album is so much better and I don't think anyone posted it.


La Dispute - Somewhere At The Bottom Of The River Between Vega and Altair (2008)
This is screaming vocals at its best. Singer kind of "raps"/"spoken words" alot of his lyrics, but when he screams, it sounds so emotional that it just makes you feel it all so much more. Love this entire album, fucking amazing. The lyrics on the 12+ minute song The Last Lost Continent are so great that it gives me goosebumps.

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http://www.mediafire.com/?xjitnddylnj
Review from Punknews

I haven't done this for a while: listen to a compilation and actually like a band on it. I either already know the band and the label (Fat Wreck, Hellcat, etc.), or the music is so generic it's hard to know A from B (see: the Punx United compilation). So after downloading the recent Revolution Records online freebie, and skipping through the whinier parts, my ears came to rest on La Dispute.

    You had my hand in your hand; my lips in your teeth; you had my heart on your sleeve...

It's that part: “You had my heart on your sleeve.” I don't really care what this song is supposed to be about; in many ways, it's immaterial what the writer intended; it only matters how it is interpreted. The song could be about a girl, but it could just as easily be about music; for what else is the music that you listen to apart from your heart on their sleeve?

There’s an intensity on their album, Somewhere at the Bottom of the River Between Vega and Altair that can match Sick of it All, or the first Against Me! album. It drags you in; it involves; it makes you want to shout/scream along. The vocal performance, the poetic verbal diarrhea on display Jordan Dreyer feels like a stream of intense, desperate consciousness.

He’s backed by a band that complement everything, bursting forth and shutting up with massive riffs, the occasional picked guitar and the tease of horns. The music is much like Guns N’ Roses being played by a hardcore band with the Darkest Hour lyricist on the verge of crumbling.

The words follow the concept of love and the loss of it, and all its trials. They can be read as a ‘human relationship’ album á la a ‘post’-hardcore Dear You (Jawbreaker), but there are parts of the lyrics that would suggest more -- that would suggest it’s also about the struggle with life, society, music, heroes and villains.

This is a deep album, a strong album and a sound I would normally fob off but I just can’t. The lyrics offer much depth and just enough ambiguity not just to be about boys and girls (or boys and boys or girls and girls) and the music puts in a perfect frame.

This is not about haircuts, nor how tight your jeans our. This album has the power to reach beyond fashion, beyond petty elitism and bad writing. It’s one of the few times that I don’t care how experimental or intelligent this band is, because they’re just so good at what they do, it's just lucky that they are.

Slow Runner - Mermaids (2008)
Alternative/Indie stuff. Great listen. "Make You Love Me" sounds like something you should have been listening to years ago.

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http://www.mediafire.com/?wzonknznkln
Review from some where

Soft, sweet, and harmless tracks are littered across the new album, with painful love ballads tossed in for good measure. “Vocals” is the magic word for Mermaids, which is great for listeners since singer/songwriter Michael Flynn has perfected the strained voice, turning songs with simple percussion and a slow guitar line into complex, intricate love songs. Highlights include “The Stakes Were Raised”, which features the best instrumentation on the album, and “Trying to Put Your Heart Back Together”, which holds its own against the likes of Neko Case in the growing alt-country genre.

Inkwell - These Stars Are Monsters (2007)
Indie Rock. This shit is great. When I took a road trip to San Diego, this album was in rotation more than a couple of times. Just a great all around listen.
"Don't, Don't trust the Atlantic, look what its done to me, Don't, Don't trust the Atlantic, she's not what she used to be" The band has lyrics throughout that really are well written. Love this stuff.

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http://www.mediafire.com/?k1uroryzwfi
The Burning Paris - Coral City Ruin
Soft Indie stuff. Chill and relaxing as fuck. This is out of print.

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http://www.mediafire.com/?njnjkd3n122
From Status Magazine

For as unknown as this band truly was, The Burning Paris will surprise most that take time to listen. Now known as On Fire, TBP from Boston played a melancholy indie rock not unlike Mogwai or Explosions In The Sky with less emphasis on the volume swells and more on the rock protions of their songs. Half Truths... is everything the band professionally recorded during their existence and even some enreleased live goodies. Magic Bullet knows how to pick them and if you are a fan at all of the mellow, comtemplative side of indie rock then this is the BEST place to begin your training.

[pulpfiction21]

Oh and plus I was stoned as shit earlier and realized that Saosin used to fucking rule. Translating The Name was one of my alltime favorites in high school. Thought I'd throw it up here, in case ya'll hadnt given it a listen in a while.

Saosin - Translating the Name EP

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http://www.mediafire.com/?kwhiwtnnnwt

And if by some chance you have never heard of the band, its Anthony Green's first band.

[medicatesleep]

The Amazing Baby - Infinite Fucking Cross EP

http://www.theamazingbaby.com/download/ep.zip

I am not gonna code it cause it's available for free on their webite. 4 songs. Sexy drug rock n roll. Don Devore from Ink & Dagger plays bass for these dudes and they are on tour currently w/ MGNT.

Get down with the sound or get outta town.

[MobyDickhole]

hola,
for my first contribution i'd thought i'd take it old school with the homie miles.
miles davis - birth of the cool  1957

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http://www.mediaf!re.com/?tmjcjimmmqrmiles davis - bitches brew    1969

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http://www.mediaf!re.com/?yikmtuntonm
¡enjoy!

You are off to a hell of a start...

I want to get both of these albums on vinyl. so badly...
then maybe I'll go for some Sam Cooke

[yipinglim]

Arab Strap - Elephant Shoe



AMG Review

All of the same words ("languid," "somnolent," "depressing," "miserable," et al.) employed to describe Arab Strap's first two efforts apply to their third as well, but a virtually imperceptible shift is afoot on Elephant Shoe -- a shift that none of their previous work hinted at. If both The Week Never Starts Round Here and Philophobia were one-night stands put to music, Elephant Shoe turns out to be skeptical domestication. It is an album unmistakably touched by the vulnerability of being in love -- or at least trying to love -- as opposed to remembering, yearning for, or altogether avoiding it. Whereas the title of their previous album literally translated to "fear of falling in love," "elephant shoe" is a phrase uttered by Scottish youth afraid of saying, "I love you," a way of implying the sentiment while deflecting its articulation. Elephant Shoe, in a sense, then, is Arab Strap's warped way of saying those three powerful little words. That doesn't hinder the typical brutal honesty of Aidan Moffat's lyrics. Even his most peaceful and content emotions are infused with hints of violence and misgiving. He is frequently scathing, spitting out ultimatums like "If you go/Go for good," but such a breakup couplet suggests a long-term relationship in the first place. There are a fair share of cabaret-soaked moments -- funereal soundscapes, mournful cello, lounge piano -- but even in the face of Malcolm Middleton's beautifully forlorn electric guitar strumming, an underlying buoyancy is manifested in the use of punchy drum-machine rhythms on songs such as "Cherubs," "One Four Seven One," and "The Drinking Eye." The sex is no longer dirty, the guilt no longer flailing in the dark, and the misery no longer entirely hopeless. It is an emotional step forward that may not be an entirely convincing evolution for Arab Strap -- and may, as is love's nature, prove short-lived -- but it is palpable, and considering their history, it is a courageous progression. Still, the album fits in the record collection next to Nick Cave, Nick Drake, Joy Division, Portishead, the Smiths, and Tindersticks.

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http://www.mediafire.com/?fgzlhynq2j5

Arab Strap - The Red Thread



AMG Review

Scotland's answer to Walter Becker and Donald Fagen return for their fourth studio record in five years, offering ten more tracks of ribald slack that clock in at an hour. By now, the comparisons to any U.S. indie bands that preceded them seem silly -- at no point did Aidan Moffat's tales of infidelity, fidelity, paranoia, and other degrees of romantic unease remotely resemble the bands that they were endlessly linked to. What becomes most evident now is that the comparisons were attributed to slow tempos and little else. It's not that Arab Strap have developed considerably since their first single. Their prolific output since then has been more about refinements than finding their own ground, because they've always been comfortable with their position. Moffat's tales fit somewhere between Pulp's Jarvis Cocker and the Afghan Whigs' Greg Dulli at their darkest, never really committing to either side but striking a sometimes clever but always blunt edge that neither would think to traipse upon. Anyone who has ever heard an Arab Strap song (understood might be a better term) will know what Moffat's talking about when he asks to be given something to wipe with on "Infrared." Shattering their previous best moment, "Love Detective" catches Moffat in a Woody Allen moment, as a paranoiac rummaging through a lover's "wee red cashbox" of memorabilia after she mistakenly leaves the key behind. Arab Strap's gradual refinements have hit a peak, but don't expect anything new. Slithery programmed beats, tingly guitars, plodding rhythms, and whispered/warbled sing-speak lead the way yet again, with occasional piano licks and strings thrown in for very good atmospheric measure. Just like Becker and Fagen, Moffat and Middleton stubbornly carry on with their unique wares and do so with excellence. Fittingly, both duos are named after sexual implements.

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http://www.mediafire.com/?qtm4dzm3ceb

[yipinglim]

The Delta 72 - The R&B of Membership



AMG Review

The Delta 72's debut album is a bracing set of jumped-up R&B tracks done indie-style, with heavy emphasis on distorted vocals and helter-skelter riffing. Though tracks sometimes run into each other and are often quite similar, The R&B of Membership is energetic enough to entertain most listeners.

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http://www.mediafire.com/?lz42mlbmyz0
The Delta 72 - The Soul of a New Machine



AMG Review

By 1997, Philadelphia's the Delta 72 had cemented themselves as leaders of the frantic R&B-based punk scene, gaining new fans across the world with their energetic live shows and the diverse sounds on their records. The disc begins with the sampled statement, "Ladies and gentlemen, it's star time!" That opening line of "Introduction, Pt. 2" gives way to Sarah Stolfa's soulful organ, chaotic guitar riffs, and Gregg Foreman's punchy vocals. Through songs like the funky "Floorboard Shake" and fuzzy stop-and-start atmosphere of "I've Dreamt of Leaving Ever Since You Told Me," the bandmembers made it clear that they were not hesitant to take chances. The blistering and bluesy "Scratch" is followed by the rollicking and frenetic "Up in the High Numbers." The pace often changes, like with the jaunty and sometimes low-key "Blow Out." The irony is evident on the blues-heavy and vibrant "We Hate the Blues." The album as a whole is dynamic and daring. It was recorded in March 1997 and released later that year on Chicago's Touch & Go Records.

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http://www.mediafire.com/?jnqjyzdndnm

[valley_parade]

Ramones - Rocket to Russia

Ah man. That is REQUIRED listening for everyone. My favorite punk album of all time (I can't totally call London Calling punk as much as it was "whatever the hell the Clash were doing at the time").

[pat101]

Speaking of Glass Candy,

Glass Candy - Collection of Singles, B-Sides, and Rarities

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http://www.mediafire.com/?ktjzynfn2ik


It's fairly self explanatory, if you're a fan quite worthwhile. (If you haven't heard them, check out B/E/A/T/B/O/X a few posts above first)

[Krylancello]

Persuader - When Eden Burns

The third album released by these guys.  It's a mix of power and thrash.  Two of the members are ex-Savage Circus, and one of the guys is formerly of Blind Guardian.  Ever since I started listening to their albums a couple of months ago, I can't get enough.  The power they exude continues to blow me away.  I suggest this to anyone who enjoys the high range vocals of power metal and the sound of thrash behind it.

Blah blah blah - google a review.  Or better yet, just download this album.

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http://www.mediafire.com/download.php?mmnq4qdnn2w
I have their other two albums if there is any interest.

[valley_parade]

tweeeeeeeeee! AMG once called these guys the cutest band ever.

Bunnygrunt - Jen-Fi

Packing 15 near-perfect pop gems into just a little over half an hour, Bunnygrunt's sophomore effort, Jen-Fi, is a fizzy delight; anchored by Jen Wolfe's propulsive basslines, the record is a quantum leap over its predecessor, Action Pants!, reflecting a sharper sense of songcraft and improved musical skills. Which is not to suggest that Bunnygunt has grown up -- Jen-Fi is the very epitome of pop innocence, buoyed by Matt Harnish and Karen Reed's cracked boy-girl harmonies, crashing melodies and song titles like "AM Is for Talkin', FM Is for Rockin'!," "We Suspect He Was Trying to Spell Monkey" and "I Just Had Broken-Heart Surgery, Love Won't Bypass Me Again."

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http://www.mediafire.com/?j0zawgmmmww

[ackblom12]

Persuader - When Eden Burns

I have their other two albums if there is any interest.

Yes please!

[barista.babe]

oh man...so stoked for bunnygrunt! they're like cub but cuter.

[paradoxtitan]

MSTRKRFT - Fist of God

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http://www.mediafire.com/download.php?nionmgwjmymIt's a Valentines to all of you!

[pulpfiction21]

did you not put the album art with it cause it's such a shitty cover?

[yipinglim]

Slick Rick - The Art of Storytelling



AMG Review

If there's one thing Slick Rick has mastered, it is The Art of Storytelling. Ever since his debut, The Great Adventures of Slick Rick, he has been known for his literate, winding narratives, but his career was marred by legal troubles that kept him in prison for much of the '90s. Consequently, The Art of Storytelling is only his fourth album, but it's the first to rank as a worthy sequel to his classic debut. The Ruler's Back came close to capturing the feel of The Great Adventures, but The Art has a continually stunning set of stories and tales, and the presence of guest artists -- even rappers as talented as OutKast, Nas, Raekwon, and Snoop Dogg -- only emphasizes what a singular talent Rick is. The smooth production may be a little bit mired in contemporary rap clichés, but it's all enjoyable. Besides, Rick is about the lyrics, not the music, and he has written a stellar set of songs here, songs that are continually surprising and thought-provoking. It's a masterful set from one of the true lyrical masters of hip-hop.

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http://www.mediafire.com/?lztjho1tkdh

[pulpfiction21]

Holy shit dude, that slick rick album was probably the first CD I remember buying as a kid. I think I was like 10 or so and my mom and I saw the "Street Talkin" video on tv and we immediately went out and i bought the CD. That brings back some crazy memories. I think my second CD that i remember buying was some Drag-On CD. I was a 10 year old gangster. I wish i could find that drag-on CD so i could post it up, it had some funny ass skits on it. Loved that CD tho, thanks for posting it cause i dont have it any more, just a d/l of street talkin.

[pulpfiction21]

damn its downloading really slow. It's worth it.

[Slick]

The Vermicious Knid - We're Running Out Of Places to Drive

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I am totally digging this album and got a little wet when I heard the blade runner track.

[meanwhile]

Four Tet - Rounds

Rounds offers something to nearly every audience that could approach it, with a bit of a groove for electronic fans, an obtuse sense of music-making for experimentalists, and a dreamy melodicism sure to endear it to indie-pop fans. The opener, "Hands," is especially breathtaking; it begins with a few seconds of drum samples, surgically inserted and ill-timed, but opens into a warm, melodic production with a simple frame-kit beat outlining Hebden's guitar-and-keyboard atmospherics. "My Angel Rocks Back and Forth" features a music-box melody playing against softly shaded backmasked guitar and a subdued, grating percussion line reminiscent of an iron lung. The nine-minute "Unspoken" alternates guitar and piano playing the same beatific melody, over another simple beat and tambourine claps. Though Rounds is experimental by nature, Kieran Hebden's gift for melody and emotional shading allows his records to be enjoyed by an audience wider than merely experimental listeners.

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Great post, I think this album is so timeless and flawless. Are the things on the album cover bullet holes, hence the name Rounds? I've always wondered.

And thanks for the Studio album, that Love is All remix is wonderful.

[Clapyourhandssaywhhaatt]

I have been away from my computer for a week and have been unable to obtain or give any new music.
BUT* Thanks for the Drive By Argument!!
It is speaking to me in volumes.

[abel]

hola!
here's the classic l.a. punk rock comp. hell comes to your house.

hell comes to your house was originally released in 1981 by bemis brain records, modern warfare's singer john bemis' label, and showcased many up and coming bands out of the so.cal punk and death rock scene.this is the first time social distortion recorded in a studio, the first christian death song, red cross before they were forced to change to red kross, very early 45 grave and the only time the conservatives released any material. 100 flowers in an off shoot of the infamous urinals, jack grishom of t.s.o.l. sites rhino 39 as an early influence after the band played his birthday party in the 70's and, steve darrow of super heroines played with axl rose in the pre guns n roses band hollywood rose. now if your not familiar with the early '80s so cal punk scene then you probably have no clue what the hell i'm talking about, but if you do then you know that this album was a jump off for many bands and the music featured here influenced a whole generation of musicians. it was released in '98 on cd by mystic records

1. Lude Boy - Social Distortion                               
2.Telling Them - Social Distortion
3. Evil - 45 Grave
4. Concerned Citizen - 45 Grave
5. 45 Grave - 45 Grave
6. Puss 'N' Boots - Red Cross
7. Dogs - Christian Death 
8. Reject Yourself - 100 Flowers
9. Daddy's Gone Mad - Legal Weapon
10. Death on the Elevator - Super Heroines
11. Embalmed Love - Super Heroines
12. Out of My Head - Modern Warfare
13. Street Fightin' Man - Modern Warfare
14. Deception - Secret Hate
15. New Routine / Suicide - Secret Hate
16. Suburban Bitch - Conservatives
17. Just Cuz / Nervous - Conservatives
18. Marry It - Rhino 39

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http://www.mediafire.com/?govgzwd5mmn

[kaelling]

Kathleen Edwards - Asking for Flowers

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http://www.mediaf!re.com/download.php?z22czy13nzh

Kathleen Edwards' 2005 album Back to Me was the sort of record that grows and reveals new secrets each time you gave it a listen, so it's tempting not to trust immediate impressions after three spins of her next set, 2008's Asking for Flowers. But if one has to leap to a relative snap judgment, Edwards' new record sounds just as strong as its fine predecessor, and shows that she is gaining strength and confidence as a songwriter, qualities she hardly lacked before. Produced by Jim Scott and featuring a handful of top-notch American studio players (Benmont Tench, Greg Leisz), Don Heffington) alongside members of Edwards' Canadian road band (Colin Cripps, Jim Bryson), Asking for Flowers shows a broader range of colors than her first two albums (both lyrically and musically) than her earlier work. The playful wit of "I Make the Dough, You Get the Glory" ("You're cool and cred like Fogerty/I'm Elvis Presley in the Seventies") and "The Cheapest Key" ("Here comes my softer side/And there it goes!") is livelier than her previous work, but the gravity of "Alicia Ross" (based on a true story of a murdered teenager) and "Oh Canada" (a rant against social injustice in her homeland) cuts deep into the heart, and "Oil Man's War" is a tale of a draft-age man fleeing to Canada during the Vietnam War that's affecting and sadly relevant. The music is beautifully rendered and moves with the emotional peaks and valleys with surety and grace. And when Edwards sings about love, as she does often, it's with a naked honesty that's genuinely touching and reinforced by the rough but sweet tone of her voice. Back to Me was the work of a singer/songwriter well on her way to becoming a major artist; Asking for Flowers leaves no doubt that Kathleen Edwards has arrived and made an album that's funny, startling, poignant, and (once again) worthy of repeated play.

From AMG

[Nicky Thrice]

CRAZY FUN FOLK POP!!!!! (a few random ass bands from back home)
The electric lemonade project are a lighter side of life folk band and the nectarines are a chilled out alt./folk rock band with hilarious lyrics and catchy hooks.

The Electric Lemonade Project - Lila Burns's Album (the bad grammar is part of the title)

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The Electric Lemonade Project - FoofaRAW (their second album)

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http://www.mediaf!re.com/download.php?dmzmydmaf33
The Nectarines S/t (legit shit fo sho)

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

[Metope]

Loney, Dear - Loney, Noir

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http://www.mediaf!re.com/download.php?xnwb0mz0mdz

Invigorating as a blast of Scandinavian air, Loney, Dear (otherwise known as Emil Svanängen) makes his Sub Pop debut with Loney, Noir. This is power pop mellowed by chamber pop sensibilities, but Svanängen shouldn't be confused with other indie multi-instrumentalists. In opposition to the typical "more is more" attitude of American indie acts like Sufjan Stevens (the artist to whom Svanängen will probably be likened, for better or worse), the throaty flutes and clarinets, optimistic handclaps, and tambourines embroider these songs rather than dominate them. As with other like-minded Swedes (Timo Raisanen, Jens Lekman, and Hello Saferide, just to name a few), Svanängen is a hook-builder, and his sophomore effort is built on breezy, straightforward pop rather than Stevens-esque orchestral noodling. Svanängen, like Raisanen, is blessed with an unbelievably high falsetto, especially apparent on "Saturday Waits." He also possesses a peculiar, rasping voice (when he isn't singing falsetto) and an apparent love of Brian Wilson, as demonstrated by the tight, soaring harmonies. The best moments on Loney, Noir are glowing, rushing, and immediately infectious. The album's first single, "I Am John," encapsulates this with its ebullient drums and breathless, surging vocals. It's the kind of song that becomes the soundtrack for an entire summer. Loney, Noir is an adolescent album, not because Svanängen hasn't yet reached his full potential as a songwriter, but because these songs are deeply interested in adolescent experience ("I'm a teenager, I'm anxious"). More than anything, Loney, Noir is almost ridiculously sweet, and this is by no means a bad thing.

Loney, Dear - Dear John

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Since his debut in 2007, Emil Svanängen (the man behind Loney, Dear) has managed to evade easy categorization. It's simply not enough to say that he sounds like Jens Lekman, seeing how the main draw of Svanängen's work has less to do with his lyrics and more to do with mood. He's more like pop-oriented multi-instrumentalists like Tobias Fröberg and Sufjan Stevens; Loney, Dear is a quirky, bittersweet master of atmosphere. Svanängen sophomore effort, 2009's Dear John, picks up where his first album left off; like Loney, Noir, Dear John is chock-full of luminous instrumental textures and heartfelt lyrics. That said, Dear John is clearly more adult than its predecessor; the production is sleeker, the arrangements are more studied. Thankfully, Dear John's maturity doesn't mean that it lacks the fun stuff that made Svanängen's first album shine. Dear John's upbeat moments, ranging from the chic synth flourishes of "Airport Surroundings" to the joyful whistling on "I Was Only Going Out," are simply a delight. Similar to Svanängen's debut, Dear John is strongest when it strikes a balance between mournfulness and optimism. The album only sags when Svanängen lets things get a mite too plodding and somber; "Harm/Slow," perhaps sentencing itself to sogginess by borrowing its tune from Tomaso Albinoni's "Adagio," is simply not the most engaging moment on the album. That said, this is the disc's only real stumble, and overall Svanängen seems to have learned a lesson or two about pacing since Loney, Noir. Dear John shows that Svanängen has really gotten his act together; it makes good on all the tremulous, tender, wistful promise of his debut.

[KvP]

Distance - Repercussions / Chestplate

On Greg Sanders' sophomore effort, the dubstep titan begins exploring the gritty borderlands between his normal territory and industrial music. It's a hugely promising fusion, and if the results are sometimes just a bit conceptually thin the music is still very enjoyable all the way through. The two genres blend most fruitfully on tracks like "Koncrete," with its grinding guitar pulses, and the sharp but cool "Skeleton Grin." "Loosen My Grip" is great for the first minute or two but doesn't develop enough new material to justify its length, and the same is true of "Mirror Tell" and the title track. However, "Sending Chills" employs a nifty flute loop that contrasts nicely with the track's overall dark, spare ambience.

part 1

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http://www.mediaf!re.com/?2hfg0myqdwjpart 2

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http://www.mediaf!re.com/?hdvenbnejy3

Luke Vibert - Chicago, Detroit, Redruth

Luke Vibert began his rude-ass tinkering ways in hip-hop with a Beasties-like group in the late ’80s, before refocusing his efforts as a bedroom producer. In the early ’90s, the developing influences on his solo efforts quickly filled his artistic mug, spilling into multiple expressions of electronica. Consequently, Vibert began adopting pseudonyms to cope with all the variety. The first Wagon Christ album appeared in ’94 as an outlet for Vibert’s more ambient-based work, while his first drum & bass ego, Plug, popped up a couple years later. By ’99, he had begun collecting personalities like most of us collect STDs: "Kerrier District" handled his mutant disco house, "Amen Andrew" uses the Amen Break for all his drum ’n’ bass, "Spac Hand Luke" covered grime, and recently "Ace Of Clubs" became a pure acid outlet. Despite the multiple personalities, Vibert also released music under his own name, which dealt with more hip-hop- and acid-oriented flows. So, where does that leave his second eponymous album for Planet Mu?

Judging from the hodgepodge of styles and sounds within, Chicago, Detroit, Redruth seems to be a home for Vibert’s newer tracks that aren’t easily classifiable. With Ace Of Club’s debut taking care of his acid-hop itch earlier this year, it now appears that aimless variety is the order of the day, with Vibert’s incredibly bright, creative guiding light holding the center of attention. Drawing on all his various styles, “Comfycozy” blends some ambient organica with his Plug-style drum ‘n’ bass, while “Brain Rave,” “Radio Savalas,” and “Argument Fly” bring all the 303 acid you can handle. “Breakbeat Metal Music” channels deep house through speak-and-spell hell, with “God” pimping Enigma doing huge bass trip-hop madness and “Rotting Flesh Bags” covering straight-up space hip-hop territory. Acid sounds and Luke’s trademark warm, analog beats are the eye of the aural storm, where anything and everything else goes.

Now, I don’t believe Chicago, Detroit, Redruth is Vibert’s best work to date – that definitely falls to personal preference – but newbies have to start somewhere. Chicago, Detroit, Redruth is just as good a place as anywhere else, made more so by the unique electronic jumble it has to offer. Once you’re in, though, prepare to hunt down a lot of back catalog. There’s a lotta gold in them thar hills.

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

Luke Vibert - Lover's Acid

Lotta acid in 2005. Apparently the long elliptical orbit of music fashion has brought the squelchy buzz of the 303 back into view. It's just the tip of the iceberg, I'm sure, but in the last couple months I've sifted through all the AFX Analord releases, digested Uwe Schmidt's faux comp Acid Evolution 1988-2003, Soul Jazz's Chicago acid house disc, and this, Luke Vibert's collection of three acid-themed 12-inches put out by Planet Mu. Of the newly recorded material, this is the best of that lot.

I've never been a huge Vibert fan in any of his various guises (Plug, Wagon Christ, etc). His music has always seemed workmanlike and consistently listenable, but I was never able to tease out much in the way of personality. Lover's Acid, though, reveals Vibert as a producer with a keen sense of musical humor and an abiding interest in funkiness. "Funky Acid Stuff" from the "'95-'99" 12-inch is an excellent opener-- a James Brown bassline sample combined with big, splashy drums, which drives an wonderfully obnoxious acid line through the center of the thing. The breaks on "Acid2000" also draw rhythmic inspiration from hip-hop, with a simple piano progression serves as a delicious contrast to the busy electronics. On these tracks it's enjoyable to hear Vibert's instrumental hip-hop Ninja Tune aesthetic with the lead 303 way out front.

The pure machine tracks are slightly less interesting but still good. "Lover's Acid" is a spacey mid-tempo number that's basically just dinky analog drum programming behind a lead squiggle, and the late-90s track "Analord" has a vintage palette quite similar to the recent AFX project of the same name. Vibert's take on the sound is simpler and more pop, with regular hints of sing-songy new wave in the melody. "Come on Chaos", a rougher electro track out of a sci-fi film chase scene, loses some energy with clichŽd "C-c-c-c come on!" vocal samples. Two tracks, the Mo' Wax-style trip-hop "Prick Tat" and the faux-exotica "Gwithian", forego the acid theme entirely, and both come across as the same sort of solid but unexceptional material Vibert has been making for a long time.

All told Lover's Acid is a lot of fun despite a few dull patches. These dozen tracks recorded over the course of eight or nine years show little reference for any particular genre, and seem to grab from whatever's handy and might provide a laugh. Where the AFX Analord records followed the gurgle of the 303 straight into the guts of the machine to mediate on the physics of vintage electronics, Vibert uses the essential ridiculousness of the sound as a foundation on which to build effective party music.

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http://www.mediaf!re.com/?aygjg2tygmm

[E. Spaceman]

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http://www.mediafire.com/download.php?4hmduyyzxnm


A guy from a Krautrock band decides to goof around with a guitar, a drum machine and some synth, invente modern electronic dance music. This album is from 1981 and it still sounds contemporary.

[Nicky Thrice]

Dan Deacon - Bromst LEEEEEEAAAAAAAAAK
Pt. 1

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http://www.med!afire.com/download.php?zj2yjqwnnvmPt. 2

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http://www.mediaf!re.com/download.php?5zdttvyyoyb

[kaelling]

Joanna Newsom - The Milk-Eyed Mender

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http://www.mediaf!re.com/download.php?mnymeqwy0tj

Classically trained harpist Joanna Newsom uses her appreciation of Appalachian folk and bluegrass for an oddly alluring set of indie rock melodies. Milk-Eyed Mender, which follows her homemade EP releases Walnut Whales and Yarn and Glue, is rich in harvest colors. Newsom's childlike voice brings an unstudied grace to an innocent setting of songs, and such quirkiness is hard to find among most guitar-driven indie acts. From the more whimsical moments of "Peach, Plum, Pear" and "Inflammatory Writ" to the dovelike ballad "This Side of the Blue," Newsom welcomes the listener to sink into its imagination. Delicate harp arrangements are nicely sprinkled among specks of pianos, organs, and a harpsichord, only adding to the fascination that is Milk-Eyed Mender. Some may find the album to be overly sweet in spots due to Newsom's girlish voice; however, the fairytale-like appeal of Milk-Eyed Mender is far too intriguing to dismiss. Newsom exists in several musical spheres, one being a member of the Pleased, while not forgetting how wonderful it is to live in a warm place that leaves you bright-eyed and hopeful for only what is good in life.

From AMG

[mod_a]

Sweetheart Compilation + Originals

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Full (Single RAR) : http://rapidshare.com/files/198687775/Sweethearts.rar.html

Part 1: http://www.mediaf!re.com/?uzqyny4tvjz
Part 2: http://www.mediaf!re.com/?vommhfgbddo
I took some time and corralled up all of the originals of these covers.

Notes...
-> Files named in an order that lets you list them and listen to cover, original, cover, original...
-> MP3 Tracks tagged by 'album' so you can sort to listen one full album at a time

Death Cab For Cutie - "Love Song" (Cure cover)
Katy Perry - "Black And Gold" (Sam Sparro cover)
DeVotchKa - "Hot Burrito #1" (Flying Burrito Brothers cover)
Department Of Eagles - "Love Me" (Elvis Presley cover)
Jessica Lea Mayfield - "Words Of Love" (Buddy Holly cover)
Ben Bridwell - "Your Love Is Forever" (George Harrison cover)
Kate Tucker - "I'm On Fire" (Bruce Springsteen cover)
Rogue Wave - "Maps" (Yeah Yeah Yeahs cover)
A.C. Newman - "Take On Me" (a-ha cover)
Jem - "Yellow" (Coldplay cover)
Richard Hawley - "Early Morning Rain" (Gordon Lightfoot cover)
Daniel Martin Moore - "I Hear Music" (Billie Holiday cover)
She & Him - "I Put A Spell On You" (Screamin' Jay Hawkins cover)
Lila Downs - "My One And Only Love" (Frank Sinatra cover)

The Cure - Lovesong
Sam Sparro  - Black and Gold
Flying Burrito Brothers - Hot Burrito #1
Elvis Presley - Love Me
Buddy Holly - Words Of Love
George Harrison - Your Love Is Forever
Bruce Springsteen - I'm on Fire
Yeah Yeah Yeahs - Maps
A-Ha - Take On Me
Coldplay - Yellow
Gordon Lightfoot - Early Morning Rain
Billie Holiday - Hear Music
Screamin' Jay Hawkins - I Put A Spell On You
Frank Sinatra - My One And Only Love

Enjoy!!

[ferdydurke]

kate bush - the kick inside


here's kate bush's debut album, featuring the wonderful 'wuthering heights'.  if you haven't seen the accompanying music video, you should probably be looking it up on youtube right now.

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http://www.mediaf!re.com/?sharekey=c852937531596bbbd2db6fb9a8902bda

[Yossarian]

First of all: this post definitely does in no way represent the entirety of the german music scene. I just want to share some of the better recent acts that happened to make it into my record collection. I'm sure, there are a number of board-members who might contribute much more profoundly in that direction.

Blackmail - Bliss, Please (2001)



These four guys from Koblenz certainly are one of the best guitar-based indie-noise-rock bands ever to emerge from provincial Germany, and this, in my view, their most refined effort to date. Not only do they know how to create massive walls of guitar-sound, but there is some neat songwriting to be found here, too. Unfortunately they recently broke up, or rather the singer left the band. But the remaining bandmates seem to be willing to continue with another singer. Yet, at this very moment it's pretty much up in the air for Blackmail. Since there is not much to be found about them on the likes of AMG, P4K a.s.o. here is the link to their WP-entry:

http://en.wikipedia.org/wiki/Blackmail_(band)

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http://www.mediafire.com/?maliwcdnytm
Readymade - It doesn't make sense (1998)



Germany certainly isn't famous for lofi garage-rock. Yet, for as long as it existed (until 2004), this four men outfit from Wiesbaden pretty convincingly dodged this preconception. Some even related their sound to Britpop, but probably only because at the time, this label was used inflationary for anything remotely reminiscent of Oasis or Blur. Actually on this - their full-length debut - they offer a bunch straightforward songs in the line of grunge and garage-rock, with conveniently jarring guitars and a slightly "deranged" singer. Over the years I've really come to cherish this record for its uniqueness in german popular music. Again not much to be found on them on the net, so I leave it at that.

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http://www.mediafire.com/?nt1z4amimz1
Slut - Still No1 (2008)



Yes, the bandname is... well... what it is . But apart from that, when it comes to german indie-pop, they are among the fistful of bands, that can actually pull off a pop-hymn without sounding completely over the top. When this came out, I was also listening to "Do you like rock music?", and although British Sea Power sound more energetic, both records not only feature an equally pompous album-title, but also share the impetus of aiming at a stadium-sized sound. So in my perception, both releases are somewhat linked. And despite the fact, that there certainly are much more profound acts out there (e.g. The Notwist), Slut offer a number of solid songs with great hooks and melodies. Once more very little to be found in English on either band or album.

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http://www.mediafire.com/?vvym4nnx1mm
PeterLicht - 14 Lieder (2001)



PeterLicht is probably the preeminent exponent of german electro-pop right now. Though being deliberately elusive to the public eye (for a long time, there existed absolutely no photographs of him in the public space, and still there is hardly anything to be found) he continuously gained in popularity, not only for his music, but also as an author. Unfortunately for non-german-speakers, his songs rely at least as heavily on their lyrics (which are highly associative in nature and more often than not crossing the line towards the absurd) as on the music. But nevertheless I think, that you can enjoy them even without understanding a single word that is being said. They are playful and have a pretty unique sound to them. “Sonnendeck“ was a huge hit in the german summer of '01, but there is no perceivable decrease in quality, when it comes to the other songs.

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http://www.mediafire.com/?hzbzimmt05u
Freundeskreis - Esperanto (1999)



Finally, I want to give an example of the huge hip-hop- and rap-scene that has developed in Germany over the years. Since the younger artists nowadays often confine themselves to „outgangstering“ each other, I opted for something older but classy. Freundeskreis only released two full-lengths, but both were extremely influential in german hip-hop. After a little more conventional debut with “Die Quadratur des Kreises“ the follow-up offered a much broader scope, not only musically by employing elements of reggae, funk, soul and jazz, but also in that it featured songs/raps in German, English, French and (as the title indicates) Esperanto. Here is what WP has to say on them as a group:

http://en.wikipedia.org/wiki/Freundeskreis

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http://www.mediafire.com/?docz2m4mmfn

[pat101]

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http://www.mediaf!re.com/download.php?4hmduyyzxnm


A guy from a Krautrock band decides to goof around with a guitar, a drum machine and some synth, invente modern electronic dance music. This album is from 1981 and it still sounds contemporary.

some bizarre vortex in the bowels of my hard drive stole this album away from me, awesome to have it back.

[dancarter]

Per discussion on the listening thread:
Bitcrush - Epilogue in Waves

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http://www.mediafire.com/download.php?jvzwim0mo4m
It’s pretty much a given that an n5MD release is going to provide exquisitely recorded beauty and melancholy. Evolving from it’s original IDM roots it now can almost single-handedly lay claim to defining post-rock blends of electronics and instrumental rock. It comes as no surprise then, that label founder Mike Cadoo, going under the guise of Bitcrush, is capable of delivering an album that is a quintessential summation of where the label is currently at.

Acoustic drums with plenty of room reverb clang under the washes of synth and guitar drone, accentuated by electronic pulses and blips. The sound is huge, the epic-ness Cadoo strives for is achieved with aplomb. A spattering of vocal tracks - ‘Of Days’, ‘Epilogue To Tides’ and ‘To Drown’ add a layer of variety to the otherwise distant wall of sound aesthetic. “To Drown’ is also notable for it’s overt use of programmed rhythms, as opposed to the organic drums of the rest of the album. The album can have a tendency to wash over the listener in the wrong context, with it’s consistently languid tempos and simple chordal progressions but, in the right place - and I would suggest up loud and in the dark - its a moving and peaceful body of work.
(Review courtesy: Cyclic Defrost)