Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[De_El]

Oh man oh man

I am excited to listen to new Hope Sandoval tunes

Thanks much for that.

[debaser]

Hope Sandoval up

A day may come when the courage of men fails, when we forsake our friends and break all bonds of fellowship.

But it is not this day.

An hour of wolves and shattered shields, when the age of men comes crashing down!

BUT IT IS NOT THIS DAY

[Orcusmars]

Went to Lollapalooza this weekend, got a couple signed albums - I'll put em up this week sometime.

[minus_the_david]

I don't know if anyone is interested in this, but i'll UP it anyways...

Kings of Leon - Live at Oxygen Fest 2008

http://www.mediaf!re.com/?zq2zqwmywwd

[pat101]

I don't know if anyone is interested in this, but i'll UP it anyways...

Kings of Leon - Live at Oxygen Fest 2008

http://www.mediaf!re.com/?zq2zqwmywwd

I'm certainly not... also the code button is the one you want.

Anyways,

O.V. Wright - A Nickle & A Nail & A Ace Of Space (1971) 192kbps

Code: [Select]

http://www.mediaf!re.com/?xnoiqtmhjyz
I`m not sure if this was ever released on CD, but for fans of classic soul, Stax records, and the like this is a phenomenal record. I first heard of him from the re-issue of his album Memphis Unlimited.

The All Music artist biography.

A truly incendiary deep soul performer. O. V. Wright's melismatic vocals and Willie Mitchell's vaunted Hi Rhythm Section combined to make classic Memphis soul during the early '70s. Overton Vertis Wright learned his trade on the gospel circuit with the Sunset Travelers before going secular in 1964 with the passionate ballad "That's How Strong My Love Is" for Goldwax in Memphis. Otis Redding liked the song so much that he covered it, killing any chance of Wright's version hitting. Since Wright was already under contract to Houston-based Peacock as a gospel act, owner Don Robey demanded his return, and from then on, Wright appeared on Robey's Backbeat subsidiary. Wright's sanctified sound oozes sweet soul on the spine-chilling "You're Gonna Make Me Cry," a 1965 smash, but it took Memphis producer Willie Mitchell to wring the best consistently from Wright. Utilizing Mitchell's surging house rhythm section, Wright's early-'70s Backbeat singles "Ace of Spades," "A Nickel and a Nail," and "I Can't Take It" rank among the very best Southern soul of their era. No disco bandwagon for O. V. Wright -- he kept right on pouring out his emotions through the '70s, convincing his faithful that "I'd Rather Be (Blind, Crippled & Crazy)" and that he was "Into Something (Can't Shake Loose)." Unfortunately, he apparently was -- drugs have often been cited as causing Wright's downfall; the soul great died at only 41 years of age in 1980.

[britany]

Debut album from fun. The new band of Nate Ruess from The Format.

Fun - Aim and Ignite

It is impossible for anyone to remain in a bad mood after listening to Aim & Ingite in full. It is one of the most fulfilling albums I’ve heard in a while. The brain trust of fun. - Ruess, Dost, and Antonoff - have something to be extremely proud of; an album that is and will be well received from critics and fans alike. Aim & Ignite is what a pop album should sound like. Hell, Aim & Ignite could even cheer up Rob Gordon. So turn those frowns upside down, as fun. has released the most essential pop album of 2009.

Code: [Select]

http://www.mediaf!re.com/?yyzmytiknzn
This link is pooped out.  =(

can you re-up PLZZZ?? 

[Mixitup]

Aim and Ignite
fun

Code: [Select]

http://www.mediafire.com/?ctjjjdixuj3

[JD]

ARCTIC MONKEYS - HUMBUG (2009)
[img]http://a.imagehost.org/0009/Arctic-Monkeys-Humbug-Cover-Art-Design.jpg[img]

Code: [Select]

http://www.mediaf!re.com/?mm5eyrmvnmn

Needs a Re-up

[variable_star]

ARCTIC MONKEYS - HUMBUG (2009)
[img]http://a.imagehost.org/0009/Arctic-Monkeys-Humbug-Cover-Art-Design.jpg[img]

Code: [Select]

http://www.mediaf!re.com/?mm5eyrmvnmn

Needs a Re-up

MF killed the bulk of my files. I'll re-up soon, unless someone else has a readily available link.

[britany]

dang, that MF is bein' a real MFer.

[Sox]

yeah, assholes. deleting protected content...
anybody would think that we're uploading .rar files with the album's names attached or something.

[variable_star]

Amen brother. Just because I'm aiding and abetting the distribution of illegal propert - wait a moment.

Let's go back to them being MFers.

Yeah! Fuck 'em!

[epoch]

I have some music for you guys. Hope you enjoy these!



The Format- Dog Problems

Code: [Select]

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


Lydia- Illuminate

Code: [Select]

http://www.mediaf!re.com/?zmz2ntqzirg


These Branches- Blank Pages & Blank Faces

Code: [Select]

http://www.mediaf!re.com/?n2kfqzmdn4z


Telefon Tel Aviv- Fahrenheit Far Enough

Code: [Select]

http://www.mediaf!re.com/?rjkzm2mjoyx

[variable_star]

PINK MOUNTAINTOPS - OUTSIDE LOVE (2009)

Code: [Select]

http://www.mediafire.com/?zi0mrtnmiom

Vancouver's Stephen McBean may be better known as the principal songwriter and frontman for the gritty psych outfit Black Mountain, but he also leads that group's gentler counterpart, Pink Mountaintops. Though Pink Mountaintops was originally conceived as a solo project, McBean clearly thrives in a collaborative environment. The project's third album, Outside Love, features input from an impressive cast of indie rock staples such as Sophie Trudeau of Godspeed You! Black Emperor/A Silver Mt. Zion, the Sweet Hereafter's Jesse Sykes, Josh Stevenson of Jackie O Motherfucker, and his longtime creative collaborator, Amber Webber of Black Mountain and Lightning Dust.

Although Pink Mountaintops were temporarily put on the back burner after the success of Black Mountain's self-titled sophomore album in 2005, McBean resurrected the group the following year with the release of Axis of Evol, on which he continued to explore his deep-rooted love of dark psychedelia with minimalist rhythmic patterns and spidery, hazy, lo-fi guitar. With Outside Love, McBean takes this theme on an adventurous journey to surprising heights, and the fully realized sound allows his ideas more room to breathe. The granular spaciousness of the production, when paired with intentionally sloppy drums and chiming guitars, imparts an atmospheric, almost gothic feel. This works beautifully on the Mazzy Star-esque "While You Were Dreaming" and on the outstanding opening track, "Axis: Thrones of Love", which expands with lackadaisical smokiness as a rinse of reverb settles like morning mist over the male-female co-sung chorus.

Despite the cloudy threads that crisscross through every song, Outside Love throws out some supremely positive vibes. On "Holiday", McBean declares that everyone he knows deserves a vacation in the sun "until the lions are off of their backs", and "The Gayest of Sunbeams" is a shambolic, joyous romp built on uptempo chord shifts and group vocals that burn with enthusiasm. But it takes multiple listens to uncover the complexity of Outside Love; despite its deceptively simple architecture, it's grounded by rich stylistic flickering. The folky ambiance of "And I Thank You" could have slipped out of Bill Callahan's back catalogue, while the string section that hangs in the background of "Vampire" has a discreet but haunting presence, like cobwebs diffusing light through a window. This kind of agile songwriting shows that Pink Mountaintops' substance lies not only in what they show, but in what they choose to hide; here on Outside Love, they move between shadows and light until the form is revealed. - Pitchfork Review

PAPERCUTS - YOU CAN HAVE WHAT YOU WANT (2009)

Code: [Select]

http://www.mediafire.com/?yt4jzjjzomn

A friend recently volunteered a capsule review of Papercuts' new album, You Can Have What You Want: "Catchy, but it'd be better if it wasn't so... muted. It's like the guy's singing through the wall." On one level, my friend's right. Jason Quever's one-man (plus guests) band makes blurred-edge music with damp organs, milky guitars, reverbed vocals, and sticky, half-familiar melodies seemingly snatched from some collective unconscious. And the album's opening couplet, "Once we walked in the sunlight/ Three years ago this July 4th", sums up Papercuts' temperamental pitch with tweet-like brevity. Their 2007 LP was titled Can't Go Back, but as a songwriter Quever can't help but indulge nostalgia, including its bitter constituents, regret and remorse.

Papercuts, however, aren't agoraphobic shut-ins exorcising romantic demons and venting life's inequities. A backward-- and inward—looking predilection actually serves the band artistically. Quever crafts his aesthetic from the raw materials of Zombies, Velvet Underground, and Galaxie 500 appreciation, Phil Spector worship, and an indie rock gospel that equates modest ambitions with really, really meaning it. And the Bay Area singer-songwriter has buffed this sound to a rose-colored finish playing in and touring with 60s-rock fetishists Vetiver and pop deconstructionists Beach House and Grizzly Bear-- folks who consider musicological context. So a shivering dirge like "Jet Plane" or the spacey ether-float of "A Peculiar Hallelujah" don't seem unduly muted. They're simply well-crafted examples of a certain introspective, highly melodic pop tradition.

Although YCHWYW doesn't offer a song as memorable as Can't Go Back's superb "John Brown", the tracklist's reasonably solid. First single "Future Primitive" is cool and minimal, pitting pulsed bass, throbbing toms, and biscuit-crisp snare hits and tambourines against Quaver's high, hazy croon. In the few moments before his voice enters the analog mix, you could almost imagine a smart-suited Smokey Robinson stepping up to the mic. Hypotensive organ droning opener "Once We Walked in the Sunlight" and a few other stretches drag, but punchier tracks like "A Dictator's Lament", with its infectious Paisley Underground chorus, and "The Void", which flips its slow-creeping intro for a psychedelic, honey-harmonied outro, redeem the record's narcoleptic drifts.

But then, warm bath and afternoon nap pop (or, as the "Future Primitive" video intimates, tunes for lone, swaddled journeys across post-apocalyptic landscapes), is what fans have come to expect from-- and love about-- Papercuts. If these songs are low-voltage wires that hum, buzz, whir, purr but rarely jolt, they yield just enough electricity to light the way forward. - Pitchfork

[DavidGrohl]

Aim and Ignite
fun

Wow . . one of the best albums I've heard in a LONG while.  Thanks!

[KvP]

More vinyl from Reckless -

I really like this one - I was led to believe by the record store that it was more of an electronic-oriented sort of record, but it turned out to be spacey, electronic-tinged latin folk. Upon first listen it sounds like the sort of thing you'll naturally like if you enjoy things like Animal Collective. An impulse purchase that really paid off.


Helado Negro - Owe Awe

Summery in an unexpected way befitting a project whose name translates to "black ice cream," Awe Owe puts folk, jazz, electronic, and pop music through a distinctly Latin filter, reflecting Helado Negro main man Roberto Carlos Lange's Ecuadorian heritage and Miami upbringing. Lange is also a member of Savath & Savalas, joining that group for their 2009 album Llama, and both projects combine tradition with experimentalism in a way that sets off both sides of their sound -- and since Savath & Savalas and Prefuse 73's Guillermo Scott Herren appear here as well, it's easy to see Helado Negro as a part of an extended collaboration between him and Lange. However, Awe Owe has its own nimble yet intimate approach, flitting from the breezy, acoustic album-opener "Venceremos" to "Espuma Negra"'s hazy strumming to "I Wish"'s electronics and tumbling drums with an organic flow. Helado Negro also ranges from more live-sounding songs like the surreal ballad "Dos Sueños" to wispily layered creations such as "Dahum," which builds from a simple drum loop into something as transporting as anything by Panda Bear or El Guincho. Lange and company sound just as strong with either approach: "Awe," an elaborate tour through a jungle of playful keyboards and hypnotic percussion, and "Deja," the album's darkly strummed closer, couldn't be more different, but they're both standouts. Even though Helado Negro never really repeats itself, Awe Owe holds together wonderfully, offering an immediately engaging listening experience that only gets richer with each listen.

Code: [Select]

http://www.mediaf!re.com/?m52hg5kdmn5



Lithops - Ye Viols!

Upon Googling “Lithops” for more information about Ye Viols!, several results appeared, none of which had anything to do with the album. Apparently, Lithops are plants that thrive in the barren desert regions of South Africa and Namibia, and their outer coverings resemble stones. Lithops, however, is also the solo guise of Jan St. Werner — member of Mouse on Mars, Von Südenfed, and Microstoria — and the pieces comprising Ye Viols! were created to accompany various installations and dance works by David Maljkovic, Rosa Barba, Illui Nanobac, and Lee Yaung.

As it happens, the curious lithops plant serves as an appropriate metaphor for the music of Jan St. Werner. Beneath the austere surface of each song lies a vibrant human core: “Inductech” was crafted as the score of a modern dance piece, and “Bacchus” was used to soundtrack a series of collages that conveyed the collapse of the ego. And even beneath the harsh, synthesized square waves of “Handed,” you can imagine a human hand manipulating oscillators, creating constantly evolving rhythmic variations.

While much of the music Jan St. Werner creates with Andi Toma as Mouse on Mars is highly accessible and playful, his work as Lithops veers toward the more ominous and mysterious. “In nitro,” for example, features dull pounding and strident metal scraping in a cavernous, resonating chamber, while the claustrophobic “Bacchus” sees St. Werner wrangling violent feedback and white noise into submission. While mostly dark and ambient, the album also features some interestingly beat-driven tracks that are near-danceable.

Admittedly, there’s a lack of cohesion among these songs (each one is culled from several very disparate sources) and most are likely too abstract for fans of, say, Mouse on Mars. Ye Viols! does, however, contain some undeniably fascinating sounds and atmospheres for those looking for a more challenging listen.

1. Graf
2. Handed
3. Sebquenz
4. 21.jhrdt
5. In Nitro
6. Apps 1
7. Apps 2
8. Bacchus
9. Penrose Ave
10. Inductech
11. Wammo

Code: [Select]

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

[mod_a]

Mute Math - Armistice

Code: [Select]

http://www.med!afire.com/?wzo0mnqvnxd
Easy aoty contender, puts all electronic pop/rock from this year to shame.

dead

[the_pied_piper]

Rules:

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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.

Repost the rules at the top of each new page.

[variable_star]

Mute Math - Armistice

Code: [Select]

http://www.med!afire.com/?wzo0mnqvnxd
Easy aoty contender, puts all electronic pop/rock from this year to shame.

dead

I have a Mute Math re-up.

Album Proper:

Code: [Select]

http://www.mediaf!re.com/?mumm0mwjnmz
Bonus Tracks:

Code: [Select]

http://www.mediaf!re.com/?vykoonmgmz1
Also, here's an Arctic Monkeys re-up.

Humbug:

Code: [Select]

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

[JD]

The Artic Monkeys-Humbug

Code: [Select]

http://www.mediaf!re.com/?nogmtxvylh2
Thank you google

Edit: two links are better than one, oh yes

[bedhead138]

Brendan Benson - My Old Familiar Friend (2009) ~ Mp3 V2

Code: [Select]

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

A lot of people had never heard of Brendan Benson before he formed The Raconteurs in 2005 with guitarist Jack White of The White Stripes. At the time, the band was (and, too often, continues to be) pitched as White's personal side project. But Benson had a solid solo career before The Raconteurs, and anyone familiar with his music will confirm that he's responsible for much of that band's hyper-infectious power-pop sound. You can hear as much on Benson's latest solo album, My Old, Familiar Friend, available here in its entirety two weeks before its official release.

Benson is a meticulous songwriter — and, as with his three previous solo releases, My Old, Familiar Friend is a work of carefully orchestrated precision. The songs are tightly wound, with ridiculously catchy hooks, perfectly placed handclaps and harmonies and sweet, buoyant melodies.

My Old, Familiar Friend also holds a few surprises. A track like "Garbage Day" can open with Motown-inspired strings, morph into a neo-psychedelic run reminiscent of The Beatles, then head back to Motown. "Don't Wanna Talk" opens with the rumbling drums of Gary Glitter's "Rock and Roll" before it suddenly turns into a sunny pop romp. The songs tread familiar territory — broken hearts and troubled relationships — but mix the dark imagery with a wink and touch of wit.

My Old, Familiar Friend will be released on Aug. 18.

1.A Whole Lot Better
2.Eyes on The Horizon
3.Garbage Day
4.Gonowhere
5.Feel Like Taking You Home
6.You Make a Fool Out of Me
7. Poised and Ready
8. Don’t Want To Talk
9. Misery
10. Lesson Learned
11. Borrow

[bedhead138]

Samian Mobile Disco - Temporary Pleasure (2009) ~ Mp3 320

Code: [Select]

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

Simian Mobile Disco have named their sophomore album Temporary Pleasure. It'll be out August 17. The cast of guest vocalists includes Beth Ditto, Jamie Lidell and Gruff Rhys (Super Furry Animals). Zan Rowe caught up with producer James Ford, who reported that some of the music was made here in Australia earlier this year when Simian Mobile Disco were touring with the Big Day Out. "Ten Thousand Horses we actually mixed in Australia in a studio in Australia. We had a day off and instead of going to the beach like everybody else on the tour we went in to the studio. And I think yeah, that was the mix that made it on to the record. Ford said that he was hoping to be back in Australia with Simian Mobile Disco again this summer.

1. Cream Dream (feat. Gruff Rhys) - 3:58
2. Audacity of Huge (feat. Chris Keating) - 3:48
3. 10,000 Horses Can't Be Wrong - 4:11
4. Cruel Intentions (feat. Beth Ditto) - 3:02
5. Off the Map (feat. Jamie Lidell) - 4:02
6. Synthesise - 4:53
7. Bad Blood (feat. Alexis Taylor) - 3:58
8. Turn Up The Dial (feat. Young Fathers) - 4:00
9. Ambulance - 5:40
10. Pinball (feat. Telepathe) - 3:56

[barista.babe]

Haven't posted in a while, here's some goodies that I've been listening to lately:

Jay Jay Pistolet - Happy Birthday You EP

Code: [Select]

http://www.mediaf!re.com/file/mbz2nidwmgm/Jay_Jay_Pistolet-Happy_Birthday_You-(Promo_EP)-2008.zip

Like an iced cold beverage on a summer day, this EP will leave you wanting more. Hailing from the UK, Jay Jay Pistolet (pronounce Pissed-o-Lay) provides your ears with tasty melodies that are reminiscent of acts like Slow Club, Johnny Flynn, Florence and the Machine and Noah & The Machine. "Happy Birthday To You" is probably my favourite track, nearly a tie with "Bags of Gold." Get it.

Fionn Regan - End of History

Code: [Select]

http://www.media!ire.com/file/lo4njwvmkyw/Fionn Regan {2006} The End of History.rar

Jump into my time machine and let's go back to 2006 when this CD got stuck inside of the CD player of my 1997 Ford Contour GL. It was a blessing in disguise, and perhaps a sign from the higher powers that this cd would have a song for my every mood and  provide me with catchy tunes while I drove to school, rolled a joint in the parking lot before work and even making out in the backseat. Fionn Regan is a singer songwriter from Ireland, who's work and material has gained so much attention that it's been used on television. Musically, he's like Connor Oberst meets Bon Iver. I recommend the tracks "Put A Penny In The Slot" and the title track "The End of History

Soko - Sokute EP

Code: [Select]

http://www.mediaf!re.com/file/kytnuwygztt/Soko.zip

She's a chick. She's french. She plays guitar. She's adorable as a baby covered in fucking diamonds while holding a puppy that's dressed like a colonial settler. Get this. She reminds me of Gregory and the Hawk but with an adorable french accent. Best song hands down on this EP is "Shitty Day" it will make you smile, but also make you sad because you will never be as adorable as she is.

Last but not least...
The Maccabees - Colour It In (2008 reissue)

Code: [Select]

http://www.mediaf!re.com/file/2yqgoqzzdwz/Mekkabees - Recolour it 08.zip

The original pressing on The Maccabbees 2007 release "Colour It In" was posted here before, but not this 2008 REISSUE WITH BONUS TRACKS. And let me tell you, the bonus tracks are what made me fall in love with it. I first found out about these guys in the summer of 2007 when I saw them play a show and it was love at first hear. I bought the original cd, but when I discovered the bonus tracks on the reissue, I couldn't help myself. If you downloaded this previously I HIGHLY SUGGEST YOU DOWNLOAD THIS VERSION FOR THE BONUS TRACKS. There are 6 new tracks (songs 14-20). I cannot reiterate how great this alubm is. My favourite of the bonus tracks is entitled "The Real Thing" which is similar (and I think better) than my original favourite album track "Toothpaste Kisses." Don't be a tampon, download this album and love it.

I should write reviews for everything...I just reread my post and "She's adorable as a baby covered in fucking diamonds while holding a puppy that's dressed like a colonial settler." that's gold...platinum even.

[Weepie McGee]

ames Yorkston - Folk Songs (2009)

thank you so f-ing much for this.  i first heard james yorkston & the athletes on the hallam foe soundtrack and was stunned.  been trying to find his albums since, and this is one step closer to my eternal happiness.  shit yeah.

[minus_the_david]

Figured i would post a couple from a couple bands that i saw at Lollapalooza last week.

The Gaslight Anthem - the '59 Sound

Code: [Select]

http://www.mediaf!re.com/?rmmzze2zntj


Manchester Orchestra - Mean everything to nothing

Code: [Select]

http://www.mediaf!re.com/?zh4hhqnnjmy

[variable_star]

BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON ONE (2004)

PART ONE

Code: [Select]

http://www.mediaf!re.com/?2mwnnvnzmu0 PART TWO

Code: [Select]

http://www.mediaf!re.com/?imrjz2jey0w
BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON TWO (2005)

PART ONE

Code: [Select]

http://www.mediaf!re.com/?zrmjzzmtktj PART TWO

Code: [Select]

http://www.mediaf!re.com/?e1zjdzm3nmq
BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON THREE (2007)

Code: [Select]

http://www.mediaf!re.com/?oomzter2zmm
BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON FOUR (2009)

DISC ONE, PART ONE

Code: [Select]

http://www.mediaf!re.com/?yyfw0zghzai DISC ONE, PART TWO

Code: [Select]

http://www.mediaf!re.com/?ngcdmnnnnkz DISC TWO, PART ONE

Code: [Select]

http://www.mediaf!re.com/?zjmok5mznhu DISC TWO, PART TWO

Code: [Select]

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

[JD]

Aim and Ignite
fun
[img]http://www.dailyeargasm.com/wp-content/uploads/2009/05/fun__aim-and-ignite.jpg[img]

Wow . . one of the best albums I've heard in a LONG while.  Thanks!

Oh my goodness gosh this is good

[Gridgm]

i agree but for some reason this sounds overly reminiscent of the black parade jsut done well....not that i've ever listened to MCR or anything...

[variable_star]

MORRISSEY - YOU ARE THE QUARRY [DELUXE EDITION] (2004)

PART ONE (MP3, 320 kbps)

Code: [Select]

http://www.mediafire.com/?kmyzmznen5i PART TWO (MP3, 320 kbps)

Code: [Select]

http://www.mediafire.com/?wczyqo0mmmm
1 - America Is Not the World
2 - Irish Blood, English Heart
3 - I Have Forgiven Jesus
4 - Come Back to Camden
5 - I'm Not Sorry
6 - The World Is Full of Crashing Bores
7 - How Can Anybody Possibly Know How I Feel?
8 - First of the Gang to Die
9 - Let Me Kiss You
10 - All the Lazy Dykes
11 - I Like You
12 - You Know I Couldn't Last
13 - Don't Make Fun of Daddy's Voice (B-Side from "Let Me Kiss You" Single)
14 - It's Hard to Walk Tall When You're Small (B-Side from "Irish Blood, English Heart" Single)
15 - Teenage Dad on His Estate (B-Side from "First of the Gang to Die" Single)
16 - Munich Air Disaster 1958 (B-Side from "Irish Blood, English Heart" Single)
17 - Friday Mourning (B-Side from "Let Me Kiss You" Single)
18 - The Never-Played Symphonies (B-Side from "Irish Blood, English Heart" Single)
19 - My Life Is a Succession of People Saying Goodbye (B-Side from "First of the Gang to Die" Single)
20 - I Am Two People (B-Side from "Let Me Kiss You" Single)
21 - Mexico (B-Side from "First of the Gang to Die" Single)

At his core, Morrissey has always been conservative -- not in his politics, of course, but in how he romanticizes the past and plays by the rules of a different time. His passions, whether it's the New York Dolls or '60s British cinema, exist out of time, and he's gone to great lengths to ensure that his music also can't be pinned to a particular era, which means all his solo albums share similar musical and theatrical traits, and they're subject to the whims of fashion. In the years following the Smiths, he could rarely set a foot wrong, but sometime after releasing his best solo album, Your Arsenal, in 1992, the British music press turned on him and he was not much better than a pariah during the mid-'90s heyday of Brit-pop, the very time that he should have been celebrated as one of the great figures of British pop music, particularly since the Smiths inspired every band of note, from Suede and Blur to Oasis and Pulp.

By the time he released Maladjusted in the summer of 1997, he was a forgotten legend, not even given approval of his album art, and instead of cranking out records to the diehards, he chose to move to Los Angeles and wait out the storm. He stayed quiet for seven years. During that time, fashions changed again, as they're prone to do, as Brit-pop turned toward the sullen art rock of Radiohead and Coldplay, the mainstream filled up with teen pop, and American rock music was either stuck in the death throes of grunge and punk-pop or in emo's heart-on-sleeve caterwauling, which owed no little debt to Mozzer's grandly theatric introspection in the Smiths. Instead of being seen as a has-been, as he had been in the latter half of the '90s, Morrissey was seen as a giant, name checked by artists as diverse as Ryan Adams and OutKast, so the time was ripe for a comeback.

But Morrissey had waited long enough to do it on his terms, rejecting major labels for Sanctuary (on the condition that they revive the reggae imprint Attack Records) and recording You Are the Quarry with his longtime touring band, with producer Jerry Finn, best-known for his work with neo-punk bands blink-182, Sum 41, and Green Day. Finn's presence suggests that Morrissey might be changing or modernizing his sound, designing a large-scale comeback, but that runs contrary to his character. Apart from some subtleties -- the glam on Your Arsenal, the gentleness on Vauxhall and I, the prog rock on Southpaw Grammar -- he's worked the same territory ever since Viva Hate, and there's no reason for him to change now. And he doesn't.

There are no surprises on You Are the Quarry. It delivers all the trademark wit, pathos, and surging mid-tempo guitar anthems that have been his stock-in-trade since the beginning of his solo career. It's not so much a return to form as it is a simple return, Morrissey picking up where he left off with Maladjusted, improving on that likeable album with a stronger set of songs and more muscular music (even if no single is as indelible as "Alma Matters"). If You Are the Quarry had been delivered in 1999, it would have been written off as more of the same, but since it's coming out at the end of a seven-year itch, he's back in fashion, so its reception is very warm. Frankly, it's nice to have his reputation restored, but that oversells the album, suggesting that it's either a breakthrough or a comeback when it's neither. It's merely a very good Morrissey album, living up to his legacy without expanding it greatly. But after such a long wait, that's more than enough. - Allmusic

MORRISSEY - LIVE AT EARLS COURT (2005)

PART ONE (MP3, 320kbps)

Code: [Select]

http://www.mediafire.com/?ydhinmeuk0j PART TWO (MP3, 320kbps)

Code: [Select]

http://www.mediafire.com/?zywzmkgly2m
1 - How Soon Is Now?
2 - First of the Gang to Die
3 - November Spawned a Monster
4 - Don't Make Fun of Daddy's Voice
5 - Bigmouth Strikes Again
6 - I Like You
7 - Redondo Beach
8 - Let Me Kiss You
9 - Subway Train - Munich Air Disaster 1985
10 - There Is a Light That Never Goes Out
11 - The More You Ignore Me, the Closer I Get
12 - Friday Mourning
13 - I Have Forgiven Jesus
14 - The World Is Full of Crashing Bores
15 - Shoplifters of the World Unite
16 - Irish Blood, English Heart
17 - You Know I Couldn't Last
18 - Last Night I Dreamt That Somebody Love Me

Live at Earls Court finds British rock icon Morrissey and his band performing in London at the end of the You Are the Quarry tour. Not to be confused with the DVD Who Put the "M" in Manchester? recorded at the beginning of the tour in May, Live at Earls Court is a completely different concert from December 2004 and features a vastly different set list. While past live Morrissey albums such as Beethoven Was Deaf featured the singer's penchant for beautifully ragged ersatz rockabilly, Earls Court showcases the more polished group sound developed out of the You Are the Quarry sessions, which isn't to say that Morrissey has lost his edge. On the contrary -- such songs as "I Have Forgiven Jesus" and "The World Is Full of Crashing Bores" prove that his legendary wit and sardonic tongue are fully intact and as sharp as ever. Similarly, his burnished baritone vocals have arguably never sounded better and the lush, muscular band arrangements frame him with a glam regality befitting his late-career resurgence. Although newer songs off You Are the Quarry are the focus, longtime Moz fans will be delighted at the amount of Smiths songs included here. In fact, the mix of the old, the new, and the unexpected -- he also performs some rare B-sides -- makes Live at Earls Court one of the most successful albums of Morrissey's career. - Allmusic

[scarred]

BATTLESTAR GALACTIPOST

Oh thanks so fucking much. I lost the 3rd season OST ages ago, and have been looking for it and 4 forever.

[JD]

Nerddddddd

[scarred]

I don't deny it. And I don't even have an epic wang with which to compensate for it.

[scarred]

BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON FOUR (2009)

DISC TWO, PART TWO

Code: [Select]

http://www.mediaf!re.com/?m3mmmmnt4jj

Tried downloading it twice - iz corrupt. CAN HAZ FIX?

[amok]

some slightly older stuff that is still awesome;

Code: [Select]

http://www.mediafire.com/?zzw2zzwiyjnAu4 - On: Audio (2006)

On Audio, the group’s full-length release, is an uplifting, ethereal trip through the rhythms of nature and the nature of dreams, mixing blissed-out ambience with melodic, fairytale songs.

review

Code: [Select]

http://www.mediafire.com/?lo2m2yzne2tLights Out Asia - Tanks & Recognizers (2007)
post-rock, ambient, shoegaze, electronic

Someone already posted their sublime album from last year, Eyes Like Brontide, earlier in the thread.  Here is the one that came before it.

review

Code: [Select]

http://www.mediafire.com/?ffenzjjgynlNiyaz - Niyaz (2005)

Niyaz (ﻧﻴﺎﺯ) is an Iranian musical trio. The group was created in 2005 by DJ, programmer/producer and remixer Carmen Rizzo, vocalist and hammered dulcimer player Azam Ali, formerly of the group Vas, and Loga Ramin Torkian of the Iranian crossover group Axiom Of Choice. Niyaz is a Turkish, Persian and Urdu word meaning “yearning”.
Niyaz’s music, described as “mystical music with a modern edge”, is primarily a blend of sufi mysticism and trance electronica. Niyaz adapts Persian, Turkish, and Indian folk songs and poetry, including the poetry of Sufi mystic Rumi, with electronic instrumentation and programming.

review

[variable_star]

BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON FOUR (2009)
DISC TWO, PART TWO

Code: [Select]

http://www.mediaf!re.com/?m3mmmmnt4jj

Tried downloading it twice - iz corrupt. CAN HAZ FIX?

Frack! I'll have it fixed by this evening.

EDIT: FIXED!

New link for BSG:S4 Disc Two, Part Two is here:

Code: [Select]

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

[variable_star]

Nerddddddd

No matter what your feelings on the program are, these soundtracks are worth checking out. They're among the most diverse and entertaining television soundtracks I've ever heard. My personal favorites are the Celtic-tinged cuts, the show uses them at all the right moments. Tracks like these:

BSG S1 OST: TRACK 6 - A GOOD LIGHTER

Code: [Select]

http://www.mediafire.com/?2gnndxqmlyn
BSG S1 OST: TRACK 23 - WANDER MY FRIENDS

Code: [Select]

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

[karl gambolputty...]

TEXAS RUUUULES

Johnboy - Claim Dedications

Johnboy's fiercely pummeling riffs and razor-sharp breaks made their 1993 debut one of the finest in noise rock since the Jesus Lizard. But on Claim Dedications, the Austin-based band further honed their monstrously heavy sound with an only slightly refined element to their grizzly, discordant approach. Produced by Steve Albini, the album is the stuff a noise rocker's dreams are made of: heavy, melodic, intense, cerebral, dissonant, urgent chaos.

Code: [Select]

http://www.mediafire.com/download.php?2y2kykjtewn
V/A - Love and Napalm Vol. 1



Trance Syndicate was basically the best record label of the 90's (ok maybe second best behind AmRep).  Love and Napalm are collections of singles they released.  Scuzzy, fucked up, acid-soaked noise rock at its finest.

Code: [Select]

http://www.mediafire.com/download.php?jdgfuqnj0mq
V/A - Live at Emo's

Didjits
Fuckemos
Gut
Ed Hall
Cows
Cherubs
Noodle
Seaweed
Glorium
Sockeye
Chaindrive
American Psycho Band

Pretty much a who's-who of awesome 90's noise-rock bands, live.

Code: [Select]

http://www.mediafire.com/download.php?mlmzhhnrklz
V/A - Trance Syndicate Cinco Anos!



More excellent singles from ridiculously awesome bands.

Code: [Select]

http://www.mediafire.com/download.php?gdn3zjzjzef

[sambillini]

some slightly older stuff that is still awesome;

Code: [Select]

http://www.mediaf!re.com/?zzw2zzwiyjnAu4 - On: Audio (2006)

On Audio, the group’s full-length release, is an uplifting, ethereal trip through the rhythms of nature and the nature of dreams, mixing blissed-out ambience with melodic, fairytale songs.

YES....GOOD.....LIKE.....THANK.

[JD]

Lemon Demon- Dinosaurchestra

Code: [Select]

http://www.mediaf!re.com/download.php?1zknndgnett
Bonus

Code: [Select]

http://www.mediaf!re.com/download.php?wj2nzwtykir
Think Patrick Wolf combined with the silliness of Natalie Portman's Shaved Head

[ALoveSupreme]

Fionn Regan - End of History

Be Good or Be Gone is one of the better music videos I've seen in a long time.

[variable_star]

Fionn Regan - End of History

Be Good or Be Gone is one of the better music videos I've seen in a long time.

I totally agree, it's one of those that made me enjoy the track that much more.

Also, I have to concede, the Coldplay video for "Life in Technicolor" is a perfect blend of awesomeness and hilarity.

[Scarychips]

The one with the puppets? Man, their latest video ("Strawberry Swing") is way better IMO.

Uh, yeah right now, I'm listening to And I Remember Every Kiss by Jens Lekman.

[variable_star]

Yeah, that one is well-made too. I'm not even the biggest fan of Coldplay, but they produce some of the most superlative video clips.

Also, it's nearly impossible to go wrong with Jens Lekman.

[edwinalink]

Was a bit suprised this one hadn't been posted yet
Saltillo-Ganglion

Portishead, one of the three distinctive jewels in the trip-hop crown, may finally quench the ever-increasing thirst of all of the genre’s fans tomorrow, with their first album release in over a decade, in ‘Third’. I am one of these fans, no doubt about that, but there is no swell in the back of my throat, in fact, my tongue is as wet as a water-fight in a carwash. Why? That is down to my recent discovery of movie-score and ‘Sunday Munich’ mastermind Menton J. Matthews’ trip-hop/modern classical project ‘Saltillo’ and their 2006 album “Ganglion”.

Borrowing and utilizing aspects which make each jewel shine so bright in the coveted crown; Saltillo has managed to make an album which is at once dark and solemnly moody, uplifting and heart-achingly intense, cool and dangerously catchy. Bobbing and weaving in and out of genres, Saltillo never quite stays still, and even when it does, it hides behind the pillars of ambiguity, and is all the better for it. The chamber orchestra compositions give the album a fierce individuality when showcased against its obvious influences, yet accessibility is never compromised as this is one of the most listenable trip-hop albums I’ve ever heard.

A sombre violin tune on ‘A Necessary End’ begins the album, to be closely followed by the first of many vocal samples sitting atop of expressively broken beats. Not opting for the upbeat first track, we are plunged into an ocean of melancholy, a tale of death and meaning, from which there seems no return. This track immediately showcases Matthews’ impeccable timing and his wife Sarah’s hauntingly poignant voice. But it is surpassed by the next track, ‘Giving In’, possibly my favourite track on the album. Sarah Matthews’ voice here is just stunningly moving in its mellow, fragile resonance and it really gives the song a humanly warming quality that would be lacking without it. ‘Remember Me?’ is the first track without vocals, and it flows with a splintered rhythm which is insanely hard to not tap along to.

‘Hair on the Head of John the Baptist’ is just an excellent track. If you are to download a track which puts Saltillo under the spotlight, this is the one. If DJ Shadow were around to score Shakespeare plays, they would have sounded something like this. A bluesy soulful voice bellows out the ultra-catchy line “hair on the head of John the Baptist” to a dense surrounding of intelligent breakbeats and simple pianos. One of the albums highlights is when the song appears to be over, ending to the quote of “I loved you not” only to suddenly pick back up again in dramatic fashion. Energetic and focused, ‘Blood and Milk’ highlights Matthews’ special talent of picking out and placing perfect samples in a way that only Shadow himself exceeds. Shadow’s ‘Right Thing’ may come to mind when listening to the trip-hop heavy ‘Backyard Pond’. Extremely scattered in its approach, an anaesthetizing melody is laid out over complicated blips and screeches and ethereal samples, all coming together to create a surreal jigsaw of easy-to-swallow, hard-to-digest complexities.

Rounding up the album, ‘Grafting’ sounds as if the earth itself managed to find a violin and a drum machine and construct an, ironically, otherworldly sound. Extremely organic but strangely disconnected, the plaintive violins are interrupted by the fluctuating raw intensities of Mercer’s distinctive voice, while the backbeats keep the song tied to the ground. Sarah Matthews returns for the penultimate track ‘I’m On the Wrong Side’ and is much welcomed by the listener. Her voice isn’t perfect, but it hangs so delicately in the album’s dark mist that you get the feeling that if it were any different it may just collapse. A very short track, it brings Portishead to the forefront of the memory bank. Finishing with a completely piano-made track, '002 F#m', Matthews brings the album to a close with elegance and style.

With “Ganglion”, Saltillo has truly thrown down the gauntlet over what it means to create a truly original trip-hop album in today’s music scene. It’s not perfect of course; ‘Praise’ is an oddly stale and skippable track and ‘A Simpler Test’, though a great song, features turntablism which is too frantic and electronics and samples too crude and impersonal when put against the record’s other more humane songs. Whether it will stand the test of time that the crown jewels have remains to be seen, but for now, it quite dramatically stakes a claim for there to be a new throne constructed in the trip-hop hierarchy, one which could only seat the intricacies of Saltillo’s beautiful, fractured, wholly immersive neo-classical creation.

Code: [Select]

http://www.mediaf!re.com/download.php?idbzdm2yjhj

this album changed who I am as a person. it really did...

also, it made me like Shakespeare a little.

[variable_star]

Though I have no interest in his novel, of which this record is intended as a companion piece, I had to check it out based solely on my affection for The Pernice Brothers. I particularly like the spirited covers of classics "I'm Your Puppet" and "I Go to Pieces".

JOE PERNICE - IT FEELS SO GOOD WHEN I STOP (2009) [MP3, 320kbps]

Code: [Select]

http://www.mediaf!re.com/?mzyhijrywod
1 - Used To Like That Song (Spoken Word Excerpt)
2 - Found a Little Baby (Plush cover)
3 - Go to Pieces (Del Shannon cover)
4 - I'm Your Puppet (James and Bobby Purify cover)
5 - Right Down There With Pat Boone (Spoken Word Excerpt)
6 - Soul and Fire (Sebadoh cover)
7 - Chevy Van (Sammy Johns cover)
8 - Tell Me When It's Over (The Dream Syndicate cover)
9 - Chim Chim Cheroo (Dick Van Dyke and Julie Andrews cover)
10 - Black Smoke, No Pope (The Young Accuser)
11 - That's How I Got to Memphis (Tom T. Hall cover)
12 - Todd Rundgren's Fault (Spoken Work Excerpt)
13 - Hello It's Me (Todd Rundgren cover)

Joe Pernice is an immensely talented songwriter, but he's not necessarily one of our most literary, at least not as the word is most commonly invoked. Unlike writers such as Ray Davies or Elvis Costello, Pernice isn't known for his tricky wordplay, tight character studies, or flights of fancy. Rather, as an erstwhile solo artist and the leader of the Scud Mountain Boys, Chappaquiddick Skyline, and, most prominently, the Pernice Brothers, he's focused on the big picture: the swoon of strings, the subtle interplay of chiming guitars, hook-enhancing harmonies, the whole slightly out-of-time chamber-pop package. Lyrics included, of course, but rarely are they specifically so clever or incisive to call undue attention to themselves. That's a tad ironic, since Pernice, unlike 99% of his peers, actually holds an MFA in creative writing from U Mass, but up until now one of the few documents of his fiction was his 2003 33 1/3 novella inspired by the Smiths' Meat Is Murder. Now comes It Feels So Good When I Stop, Pernice's debut novel, and it, too, features its fair share of autobiographical elements, an aspect which Pernice has cannily amplified by recording a companion "novel soundtrack" to the book containing several covers of songs referenced therein.

It's a smart way for a songwriter-turned-novelist to break the fourth wall without distracting from his prose, complementing the story (some snippets of which, as read by Pernice, appear interspersed through the disc) while emphasizing his parallel musical background and prowess. To that end, the covers here are particularly diverse, ranging from Sebadoh and Plush to Tom T. Hall and Todd Rundgren. Pernice's instinct for assembling the whole package comes in handy, too-- not just in the music's connection to the novel but how Pernice takes this eclectic slate of source material and fits it to his established melodic métier. Del Shannon's "I Go to Pieces", for example, undeniably reflects its 1960s rock'n'roll origins, but Pernice polishes it up and contemporizes it enough that it wouldn't sound particularly out of place on one of his more conventional records. The same goes for Dan Penn and Spooner Oldham's "I'm Your Puppet", a hit for James & Bobby Purify and here a laid-back jangle-pop breeze. On the indie rock tip, the jagged guitar lead of Pernice's wistful rendition of Sebadoh's "Soul and Fire" is the only nod to the skuzzier origins of the original.

Elsewhere Sammy Johns' smooth 1975 hit "Chevy Van" and Tom T. Hall's malleable new standard "That's How I Got to Memphis" are reminders that Pernice's career began in alt-country, while the Dream Syndicate's "Tell Me When It's Over" reminds us of the college rock and punk roots that made so many alt-country acts "alt" to begin with. "Black Smoke (No Pope)" hones closest to the novel, credited as it is to the Young Accuser, the name of the band featuring Pernice's page-bound protagonist. It's an easy-going instrumental that, in an instance of life-imitating-art-imitating-life, is getting its own separate 7" release (as a B-side) via Sub Pop, the label that gave Pernice his first break back in the Scud Mountain Boys' days. (Sub Pop calls it "the non-fiction version" of a fictional single). It bears mentioning that It Feels So Good When I Stop, the book-- which begins with a quote from Elvis Costello's King of America-era "Our Little Angel"-- also references such acts as the Pogues, the Clash, Naked Raygun, and the Chills (among many, many others), bands that might have pushed Pernice further outside his comfort zone. Even if as usual said comfort zone is nothing to complain about, Pernice's way with a pretty tune is pretty well documented. If It Feels So Good When I Stop expands his abilities as a writer, it'd be at least interesting to hear a record of his that does the same for his skills as a musician. - Pitchfork Review ( Overall Score: 6.8 )

THE SOUND OF ARROWS MEGAPOST (2009)

Code: [Select]

http://www.mediafire.com/download.php?qzyxan2memw
Includes "M.A.G.I.C." EP, "Danger" EP, and single track "Into the Clouds".

[Scarychips]

Yeah, that one is well-made too. I'm not even the biggest fan of Coldplay, but they produce some of the most superlative video clips.

Also, it's nearly impossible to go wrong with Jens Lekman.

I totally agree, and that's why I'm in the process of uploading Night Falls Over Kortedala and Oh You're So Silent Jens.

[karl gambolputty...]

oh my god seni my bandmate has the love and napalm art on a poster

it is not even funny how jealous i am of him

[Scarychips]

Night Falls Over Kortedala - Jens Lekman (2007)

Code: [Select]

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

Nothing on Jens Lekman's second album does anything to change the fact that he's a true pop music genius. Night Falls Over Kortadela is witty, pretty, silly, and wise; and filled with instantly memorable melodies, thrilling moments of surprise in the arrangements, and laugh-out-loud lyrics. As always, he draws from a wide range of musical influences, mixing in deft samples from sources as varied as Renaldo & the Loaf and fellow Swedes the Tough Alliance, and always sounding like a guy who is head over heels in love with music. This love translates into the joyous atmosphere that spills over the record like candy from a piñata as he leaps from disco-fied love songs (the blissful "Sipping on the Sweet Nectar") to doo wop-meets-hip-hop ballads ("Kanske Är Jag Kär I Dig"), from orchestral declarations of devotion ("And I Remember Every Kiss," with orchestra on loan from Enoch Light) to delightfully ramshackle rockers ("Friday Night at the Drive-In Bingo"). Lekman mixes and matches sounds and genres like the world's most adept DJ, coming up with practically his own style in the process. It's hard to think of another artist who so gracefully blends the acoustic with the electric, the real with the fake. Lyrically Lekman sticks mostly to love, finding it, losing it, sacrificing for it (his story of being his friend's boyfriend to fool her father on "A Postcard to Nina" provides the album's lyrical highlights), but most of all believing in it wholeheartedly. He also shows his talent for capturing the small moments of life — whether it's cutting the tip of your finger off while slicing avocados ("Your Arms Around Me") or worrying about your little sister ("The Opposite of Hallelujah") — hasn't dimmed at all. Jens Lekman is a craftsman, a showman, and a magician all wrapped up into one tuneful bundle of joy, and Night Falls Over Kortadela is his best album. It'll have you walking in the clouds before the first song is half over and have you filled with happiness for days afterward. What more could you ask for?

Oh, You're So Silent Jens -- Jens Lekman (2005)

Code: [Select]

http://www.mediafire.com/?1y1did2ywhm

If you haven't heard Jens Lekman yet, you're missing out on one of the true pop geniuses of the early 2000s. His sound is glittering and shiny bedroom pop built on gentle guitars, bold and often hilariously obvious samples, subtle orchestration and arrangement topped with lyrical turns that brings laughs, and heartfelt vocals that can bring tears. Lots of people have done the same thing but few are as sweet and sly, few have the musical skills, and few balance the smarts and soul quite so gracefully as Lekman — maybe Stephin Merritt in his prime, maybe Beck at his most intimate. Maybe. Oh You're So Silent Jens collects songs from singles, collections, and EPs released between 2003 and 2004 and as great as his 2004 album When I Said I Wanted to Be Your Dog is (and it is great), this is the place to truly experience the wonder and power of Lekman's music. There are so many highlights it would take as long to describe them as it would to listen to the disc. Still, a couple deserve mention, like the shimmering and quite wonderful "Maple Leaves," the achingly melancholy version of the Television Personalities' "Someone to Share My Life With," the loose-as-a-goose folk-rock charmer "I Saw Her in the Anti-War Demonstration," the insanely peppy and fun "A Sweet Summer's Night on Hammer Hill,"and the heartbreakingly lovely "Rocky Dennis' Farewell Song," which makes fine use of a Stylistics sample and Lekman's lyrical acumen. If you already have the three EPs that Secretly Canadian released, you'll still need this for the rare Swedish EP tracks, namely the near a cappella (with crickets) "Another Sweet Summer's Night on Hammer Hill" and "Pocketful of Money," which features one of the great goosebump-inducing moments for indie geeks when Lekman drops in a wholesale sample of Calvin Johnson singing the "I'll come runnin' with a heart on fire" hook from Beat Happening's "Gravedigger Blues" and then starts singing along. Almost worth the price of the record right there, but you also get the two songs from Lekman's first 7" release (the subdued "At the Dept. of Forgotten Songs" and the 7" version of "Maple Leaves"), "F-word" from an En Garde fanzine release, and the lilting and sweet "The Wrong Hands" from the Accelerator compilation. Then there is the folky and perky remix of "Julie" from When I Said I Wanted to Be Your Dog, which is beautiful as well. So you need this collection — no questions asked! Jens Lekman is a pop visionary. He is creating music no one can touch, and Oh You're So Quiet Jens collects most of his finest work. Simple as pie.

Reverie Sound Revue -- Reverie Sound Revue (2009)

Code: [Select]

http://www.mediafire.com/?whv0d4dzt1e

Without stating the obvious, 2003 was a long, long time ago. The sounds that dominated those years are long since forgotten and for most touring outfits that cut their teeth in that era, trying to successfully bridge the gap of changing landscapes and fans over a half decade in this increasingly inpatient industry is almost impossible.
Considering the fact Reverie Sound Revue broke up, sold out their original EP, got back together and haven’t released any material in the last five years makes the expectations heaped on their new LP even more surprising.
The more surprising fact is that not only did RSR meet the high expectations of fans that probably can barely remember the original members or their all too short EP, they exceeded them. Driven apart by school, location and time, Reverie Sound Revue shouldn’t have been able to create such a unique, swift slice of dreamy pop – Yes, they have the chops. They’ve always had the chops – but since reforming in 2005 they’ve never all been in the same room to record, and you’d be naive to expect such a confident record that personifies the fresh start the morning brings and moves without a single misstep.
The self-titled full length – out on Boompa now – shows that RSR is more than Lisa Lobsingers sexy coo; more than the fantastic guitar interplay Patrick Walls and Marc De Pape or a tight rhythm section. They took 5 years to record the songs, ensuring the final product was perfect and remarkably, by not rushing the process or trying to fall inline with the sounds of today, RSR has released one of the best pop records of the year.
Opening with An Anniversary Away, the band blends Lisa’s vocal presence with an airy groove that never tries to do too much. The band lets you settle into the ear pleasing tones of the dueling guitars and rapid fire drumming. When the follow it up with the bass and drum heavy, We are the Opposte of Thieves, a track that uses Libsinger’s falsetto so perfectly, you wonder if the band has used the first six-minutes to show their best work.
In reality however, the record is sequenced beautifully. Starting out of the gate with two quick moving pop nuggets they grab your attention, they pull the reigns and control the ride as Debut to a Prelude floats by like clouds, but the distorted tones the band puts over the harmonies gives it just enough traction to keep you interested. And that’s pretty well the best way to describe RSR really. Even while exploring the most pleasant melodies and dream-like textures, the band manages to keep on foot on the ground, resulting in a record that is full of singles (An Anniversary Now, Arrows, You Don't Exist if I Don't See You) but still cohesive and complete listen.
Somehow, during the extended recording and writing process, RSR stayed true to their sound but shifted enough to keep it modern and unique. I’d ask people to take a page from Reverie Sound Revue’s book, but if I had to wait another five years to hear something this good, it would be pretty tragic.

[JacquesLeRock]

You can't go wrong with Porcupine Tree.  If anyone wants anything else by them I would be more than happy to upload it.

Porcupine Tree - We Lost The Skyline

We Lost the Skyline is a live recording by Porcupine Tree, recorded during an in-store performance at Park Avenue CDs in Orlando, Florida, with 200 fans in attendance. Although it was originally planned that the full band would play, lack of space dictated that only the two guitarists/singers Steven Wilson and John Wesley did. This one-off performance was captured by a remote recording facility and the complete 8 song, 33 minute show is now being released in a mail order only CD, but the band are currently negotiating a low-key release for the CD through a number of independent stores in the USA that have supported Porcupine Tree over the last few years (including Park Avenue CDs itself). However, the CD was released in Poland in small quantity.

Code: [Select]

http://www.mediaf!re.com/?hikwijm1jyj
Porcupine Tree - Nil Recurring EP

Some months after the release date of the fantastic "Fear Of A Blank Planet", Steven Wilson and his band is back with a new original EP released by Peaceville Records, "Nil Recurring". This EP only features four songs but with approximately thirty minutes of music, this is obviously a must for all the people who like Porcupine Tree. Don't worry, this EP follows the road of their previous full length album so if you're still into dark melancholic progressive Rock/Metal, be sure that you'll check "Nil Recurring"!

Code: [Select]

http://www.mediaf!re.com/?o4yyz4moukt

[onewheelwizzard]

Guys.

GUYS.

Some months ago, perhaps even a year, me and fellow forumite Clintaga made some noise about a group called Beats Antique.

I am going to make some noise about them again, repost their albums, and throw in their newest EP.  Beats Antique are fucking incredible.  Think about belly dancers and subwoofers and horn sections and steampunk glitch DJs and weird acoustic instrumentation and you'll come close.  This is seriously some genius shit right here.  I haven't encountered anything else like it and I don't expect to.

BEATS ANTIQUE, an oakland based group featuring ZOE JAKES, DAVID SATORI, AND SIDECAR TOMMY, which has stumbled down the rabbit hole and emerged anew on the other side. BEATS ANTIQUE forges a curious alliance between middle eastern traditions and potent west coast circus, underground hip hop, breakbeat brass band, downtempo, glitch and dubstep.
Supporting their 2nd album, COLLIDE (2008 CIA records), BEATS ANTIQUE'S DJ sets on BASSNECTAR'S "THE OTHER SIDE" tour feature their diverse sound collage as the opening act for one of the nation's most well known DJ's. ZOE JAKES, nominated as Zaghareet's "Best Interpretive Artist 2007", presents a unique take on Tribal bellydance, influenced by Art Nouveau, tango, Breakdance, and Indian classical dance. BEATS ANTIQUE has brought the paradox of electro-acoustic music into the future.

Beats Antique - Tribal Derivations

Code: [Select]

http://www.mediafire.com/download.php?mqoztz20dyv
Beats Antique - Collide

Code: [Select]

http://www.mediafire.com/?khi1ncnmewa
Beats Antique - Contraption Vol. 1 EP

Code: [Select]

http://www.mediafire.com/?znmimrqljmz
There is also an INCREDIBLY sweet Michael Jackson / Martin Luther King mashup available for free at http://beatsantique.bandcamp.com/ (where you can buy the latest EP for 5 bucks, which I heartily recommend, because they deserve it.)