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[JD]

Which do you recommend the most?

[onewheelwizzard]

Tribal Derivations has more acoustics and Indian-style drumming, Collide is crunkier, and the new EP delves more into established styles like dubstep and the like.  Collide is probably the best place to start.  If you like it, both the others are worth the download.

[scarred]

Lemon Demon- Dinosaurchestra

Sexy., I found him yeaaaars ago with the "Word Disassociation" video on albinoblacksheep (barely remember that place), and LimeWire'd (LOL) a bunch of his songs. Haven't had a full album, though. Definitely downloading. Thanks!

[bedhead138]

Taken By Trees - East of Eden (2009) ~ Mp3 256

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

Victoria Bergsman (best known for her work with the concretes and peter bjorn and john's worldwide smash hit single 'young folks') wanted to travel to record in a mysterious, relatively uncharted area avoiding the usual clinical studio experience which she has always disliked and found to be an uncreative environment. she chose pakistan. sole accompanying musician soderstrom's powerful, often minimal guitar work, victoria's sublime, mysterious vocals and enigmatic lyrics, powered by the sounds, beats and rhythms of genuine local pakistani musicianship (some who play with abida parveen and nusrat fateh ali khan) has created a magical musical concoction. add to this the production skills of dan lissvik (one half of the ultra creative swedish duo studio) who pieced the whole project together back in sweden, and you really have a genuine album of the year contender. standout's are the opening track 'to lose someone' which sets the scene perfectly on this magical experience and the cover of animal collective's 'my girls', which victoria has re-interpreted as 'my boys'.

[bedhead138]

LCD Soundsystem - 45:33 Remixes (2009) ~ Mp3 320

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Part 1 - http://www.mediaf!re.com/?mzjgyo12jya
Part 2 - http://www.mediaf!re.com/?duomymkawwg

Back in 2005, LCD Soundsystem released 45:33, a 45-minute, 33-second-long, continuous piece of endlessly mutating space-disco. Nike commissioned the album-length track for a utilitarian purpose: it was supposed to soundtrack a jog. Since then, Nike has commissioned similar running mixes from folks like De La Soul and A-Trak, but no one has, thus far, been able to approach 45:33's dizzy heights.

When I interviewed LCD frontman James Murphy a few years back, he had this to say about the piece: "A company like [Nike] is pretty brand-heavy, and I thought maybe it wouldn't fit in with that. But they totally put it out, and I'm very, very proud of it. It's one of my favorite things I've ever made. I'm as proud or more proud of it than anything I've ever made."

Since 2005, 45:33 has taken on a life of its own, not least because Murphy turned part of it into the backing track for the Sound of Silver highlight "Someone Great". Originally an iTunes exclusive, DFA released 45:33 on CD and vinyl in 2007.

On September 14, the same label, in conjunction with Parlophone, will release a full album's worth of 45:33 remixes called, appropriately enough, 45:33 Remixes. Dance music titans like Prins Thomas and Pilooski will contribute. Before the release date, DFA will release the individual remixes as a series of 12" singles. Tracklist below.


Meanwhile, LCD Soundsystem are currently working on their third official full-length, which can't come soon enough.

1 45:33 (Runaway Remix) 10:07
2 45:33 (Prince Language Remix) 13:15
3 45:33 (Prins Thomas Diskomiks Remix) 9:01
4 45:33 (Theo Parrish's Space Cadet Remix) 7:55
5 45:33 (Trus'Me Remix) 6:58
6 45:33 (Padded Cell Remix) 7:53
7 45:33 (Pilooski Remix) 7:33
8 45:33 (Riley Rienhold Remix) 7:32

[ellis]

Northern Portrait seems to be gone - is there any chance of a re-up?  The positive reviews and comparison to Voxtrot were getting me all hot and bothered for it.
Thank you!

[JD]

Napoleon Sweetheart

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http://www.mediafire.com/download.php?1m2nnmidyjj
The Fallen Aristocracy

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

[scarred]

Flight of the Conchords - The Unofficial HBO TV Show Songbook (Season 2) [2009]



01 Opening Theme [2nd Season Mix] (0:35)
02 Rejected (1:45)
03 Rock Band (0:34)
04 Jemaine's Guitar Interlude (0:06)
05 Femident Toothpaste (0:39)
06 Angels (2:19)
07 Sugalumps [Album Version] (2:15)
08 You Don't Have to Be a Prostitute (2:49)
09 Rap (Not Very Good) (0:31)
10 Hurt Feelings (2:26)
11 Hurt Feelings (Reprise) (1:37)
12 Stay Cool (1:50)
13 Like in My Dreams (1:56)
14 Friends (2:07)
15 Too Many Dicks on the Dance Floor (1:43)
16 Do Australians Feel Love? (0:14)
17 Carol Brown [Album Version] (3:22)
18 Waiting for Keitha (0:28)
19 We're Both in Love with a Sexy Lady (2:36)
20 Canine Improvisations (0:26)
21 Love is a Weapon of Choice (1:47)
22 Epileptic Dogs (1:13)
23 Demon Woman (1:59)
24 Korean Karaoke (Oh, Dance, Baby) (1:34)
25 Fashion is Danger (1:54)
26 No Gel (0:27)
27 Bus Driver's Song End Credits Theme (Faded) (0:17)
28 Bret's Day (3:07)
29 Fish Interlude (0:10)
30 I Told You I Was Freekie [Album Version] (3:17)
31 Morning in America (1:37)
32 Petrov, Yelyena and Me (2:35)
33 Flight of the Conchords Musical Highlights (3:43)
34 Morning in New Zealand (1:25)

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Worth the download for "Sugalumps," "Hurt Feelings," "Fashion Is Danger," and the timeless "Too Many Dicks On The Dancefloor" alone.

[JD]

I love you

[ALoveSupreme]

Beats Antique

yeah, ok, uhm, this stuff is (if you'll pardon the expression) the shit.  Awesome, thanks.

[kitchenraider]

Youngblood Brass Band - Unlearn
Riot Jazz/Hip-hop/Dixieland/New Orleans Jazz

Hailing from Madison, WI, the Youngblood Brass Band parlay America’s continued (?) fascination with brass bands into a very nice album. Unlearn’s brand of hip-hop is always entertaining but leaves room for improvement.

Always stretching their limits, the Youngblood mesh a heavy dose of hip-hop into the brass band equation. This is nothing new. A little-know group from New Orleans, Coolbone, had it down pat years ago. Even jazz artists (like Lester Bowie) have explored hip-hop with brass. The Youngblood are always enjoyable. The group has developed a sound very different from the New Orleans sound of the Dirty Dozens Brass Band or the Mahogany Brass Band. The Youngblood Brass Band has an outsider’s view on hip-hop and traditional New Orleans music.  They have a strong harmonic and lyrical foundation, but need to interact as a group a bit more to reach the next level.

Most of Unlearn’s cuts are instrumentals, but guest vocal spots from Talib Kweli and Ike Willis freshen the palette. The highlight of the album is Kweli’s appearance on “Ya’ll Stay Up.” He rightfully takes the spotlight and elevates the group to new heights. Though the rhymes are somewhat simple, the mere presence of Kweli makes all the difference. The Youngblood do know their hip-hop and Talib Kweli is it. The band has accomplished a great deal if their crossover music introduces just a few listeners to hip-hop.

The high-energy scream of a brass band has to be witnessed live for full effect, but Unlearn captures this band at their best. This album is their best performance to date. Though immediately enjoyable, the record lacks depth. The straightforward references to Stevie Wonder, Lauryn Hill, and the Roots are fine, but often lack originality. At the very least, they have paid respect to some of the top artists of our time. The performances are slick and educated. The polished playing doesn’t translate well to the solos though, which sound over-rehearsed at times. Surprises still lurk—the horn solo on “Chinatown” keeps things interesting.

Before the Youngblood, perhaps four years ago, a group called Mama Digdown’s Bass Junction appeared in Madison at open mics and street sides. Crowds loved the Digdowns. The group worked well together, comprised of many familiar Madison musicians. Essentially a side-project, they did release a string of albums. Many members worked with local groups like Phat Phunktion or pursued music degrees. At some point Mama Digdowns seemed to change dramatically, with the original members moving on. The new lineup never lived up to the original group. Yet, there was still a craving in the Madison scene for brass bands. Enter the Youngblood Brass Band, taking the spotlight as Madison’s premier pop “marching” band. While predecessors the Digdowns were traditional, the Youngblood strive to turn that corner.

The Youngblood Brass Band still getting started. They have talent, but are still searching for that spark: something to fuel their own voice and provide more feeling. Hopefully they stick around to offer up more and better albums in the future. Unlearn is quite an achievement, which is remarkable for being a self-released album.

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http://www.mediaf!re.com/download.php?tbnnmyh5mny
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[variable_star]

While I await my most-wanted leaks (including Kings of Convenience, Caliban, David Gray, and The Avett Brothers), I've found albums like the new Mute Math and this one from Dappled Cities provide fine distractions in the meantime.

DAPPLED CITIES - ZOUNDS (2009)

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http://www.mediafire.com/?z1wwywwnxw1 

Trying to dissect Dappled Cities is a bit like trying to pin down a mirage. On the one hand, the Sydney band has some very identifiable characteristics: Flaming Lips-worthy psychedelia, ’80s-style synth-pop, and chipper post/disco-punk (cue the hi-hats). On the other hands, no one else really sounds like them, and their albums are so soupy with effects that it’s easy to get lost in the mirror maze of it all. Following 2006’s sophomore effort, Granddance, which saw the five-piece focus more on a shot at success in the States, the long-gestating Zounds is similarly likeable yet unwieldy.

Perhaps the best guide through the album’s twists and turns is new recruit Allan Kumpulainen (replacing exiting founding member Hugh Boyce), whose shifty, streaming drum work commands as much attention as the helium vocals and cosmic synths once you hone in on it. In fact, his twitchy presence is one of the first things we hear on Zounds as it weaves beneath opener ‘Hold Your Back’. The song builds from there with Alex Moore’s bass, Ned Cooke’s keys, and the pillow-y voices of guitarist Tim Derricourt and guitarist/keyboardist Dave Rennick. It also establishes a loose pattern for the rest of the record; sparkling effects, ’80s tinges to the guitar and bass lines, and vocals that swing between smarmy and dramatic, depending on who’s singing.

Upbeat and even danceable, ‘The Price’ is an obvious choice for the first single, although the earlier track ‘Answer Is Zero’ has the album’s catchiest refrain with the gently cooed line “Measure my distance from the sun.” ‘Wooden Ships’ and ‘Miniature Atlas’ are also punchier than expected, while the centrepiece ‘The Night Is Young At Heart’ lingers nicely. Competing with the drums for secret-weapon status on the album are the vocal harmonies that surface on nearly every track. They prove most effective on ‘Kid’ and on the twangy, insistent ‘Stepshadows’, which caps things on a definite up note.

Zounds didn’t have the easiest birth. Firstly, Dappled Cities struggled with the album’s American co-producer, Chris Coady, who has worked with TV On The Radio and the Yeah Yeah Yeahs. Then two other producers were enlisted to mix some of the songs. But with the band signed to the L.A. indie label Dangerbird (home to Silversun Pickups and Sea Wolf) in the States and receiving advice from A&R guru and pro bassist Justin Meldal-Johnsen, there could be a significant breakthrough following this album. The band certainly deserves it, mining  a unique sound since their inception in 1997.

Even if worldwide success doesn’t come, Dappled Cities will be just fine. They’re beloved here in Australia, and with their Disney-stamped children’s show Alphabreaks putting them in front of impressionable toddlers, the band could widen its influence to include entire an new generations of devoted - and equally doe-eyed - fans. - The Vine Review

[bedhead138]

Third Eye Blind - Ursa Major (2009) ~ Mp3 320

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Part 1 - http://www.mediaf!re.com/?ymzzymwd0iy
Part 2 - http://www.mediaf!re.com/?tynnwjnyvbo

Third Eye Blind blasted out of San Francisco when "Semi-Charmed Life" went to # 1 at Modern Rock and their self-titled album sold 5 million copies worldwide. This debut album contained several other chart-topping singles such as Jumper, How s It Going To Be, Graduate and others cementing the band's place in music history. The unique combination of brutal and controversial lyrics mixed with infectious melodies made an indelible connection with fans it s a phenomenon that defines Third Eye Blind and has made them the most requested band on college campuses. The band s song Jumper was recently used in Jim Carrey s movie Yes Man and regularly sells over 5,000 singles a week, 10 years after its release.

Third Eye Blind is an unprecedented story of a band coming into focus with the help of an entirely new youth culture and causing an underground sensation it s a fan relationship that had driven the band and Ursa Major, their first album in six years. In a sense, Third Eye Blind s fans are so inextricably linked that they re considered another member of the band.

From 2007 2009, the band performed before a remarkable 1 million people, marking them the most-requested artist at colleges nationwide. Pure and authentic, a canon of songs with no media coverage or radio play have compelled a new generation of followers by organic word of mouth alone. Fans attached themselves to songs like Slow Motion and Motorcycle Drive By, the former of which was censored by their record company but began appearing on file-sharing sites with full lyrics, and is now hailed as a masterpiece being covered by countless other bands.

Emotional, reflective, aggressive, and sometimes outwardly political, Ursa Major features some of the most intense music of Third Eye Blind s career.

01. Can You Take Me 03:21
02. Don't Believe A Word 04:00
03. Bonfire 04:08
04. Sharp Knife 04:26
05. One In Ten 02:50
06. About To Break 03:56
07. Summer Town 04:52
08. Why Can't You Be 05:25
09. Water Landing 04:29
10. Dao Of St. Paul 04:05
11. Monotov's Private Opera 04:19
12. Carnival Barker (Instrumental) 01:23


Calvin Harris - Ready for the Weekend (2009) ~ Mp3 160

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

2009 sophomore album from Scottish Dance artist/producer Calvin Harris who shot to fame with his 2007 debut album I Created Disco. After working as producer for Kylie Minogue and being nominated for various awards including a Brit for best single, this is another collection of Pop inspired Dance tracks taking in everything from Electro House to the anthemic Pop Trance of the lead single 'I'm Not Alone'. Also features 'Dance With Me' and the title track.

1. "The Rain" 4:36
2. "Ready for the Weekend" 3:37
3. "Stars Come Out" 4:28
4. "You Used to Hold Me" 3:49
5. "Blue" 3:40
6. "I'm Not Alone" 3:31
7. "Flashback" 3:48
8. "Worst Day" (featuring Izza Kizza) 3:46
9. "Relax" 3:48
10. "Limits" 3:41
11. "Burns Night" 2:19
12. "Yeah Yeah Yeah La La La" 3:16
13. "Dance wiv Me" (with Dizzee Rascal & Chrome) 4:23
14. "5iliconeator" 3:29

[variable_star]

DESTROYER - BAY OF PIGS (2009 EP)

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1) Bay of Pigs (13:39)
2) Ravers (7:51)

"So listen," Destroyer's Dan Bejar confides/boasts at the top of "Bay of Pigs", "I've been drinking." It's a line you could affix to the front of just about any of Bejar's glam-folk tunes; he does, after all, tend to sing like he's trying to blow the last fleck of Chianti from his bottom lip. But here it is, leading off what's now Destroyer's longest track (by several minutes) in a catalog peppered with epics. The rumors were indeed true, as "Bay of Pigs" is in fact an "ambient disco" number, a couple of genres that even for the ever-eclectic Bejar seems oddly foreign on paper. I mean, Destroyer goes disco? The guy must've been under the goddamned table when he came up with that one.

This sprawl, paired with that succinct, near-summation of a first line-- oh yeah, and the dozen-minute screed that follows-- makes "Bay of Pigs", if not the single best Destroyer song, certainly the ultimate. It's an exceptional work, a surrealistic epic rich in novelistic tone and texture and sometimes shockingly vivid in its imagery. But it's also a 13-and-half-minute long Destroyer song in a spacey, eventually lite-disco style, and it's rife with all the quirk and self-reference of your favorite Bejar song, and then some. An entry point for curious New Pornographers fans this ain't.

The narrative is as troubled and prone to time-lapse and footnotes as you'd expect from Bejar's longest-ever tome; the tune is ostensibly about the botched 1961 Cuban invasion, but for an aside or 12 our narrator cops to being 20 years old in 1992, throwing up in an English garden, his antler-wearing conquest all the while lost in the desert. And, hey, maybe there's Christine, stowing away from Destroyer's Rubies' "Painter in Your Pocket", to whom Bejar refers as the rage-inducing object of his affections. Getting one's head around a tale this sinewy and sprawling is no easy task, and while Bejar's done exceptionally well in widescreen, the blowhard majesty of his compositions can wear one down after the third rave-up. But "Bay of Pigs" feels about half as long as the actually half-as-long "Shooting Rockets" from last year's fine Trouble in Dreams, and, weirdly enough, it's the disco that keeps you from flagging out around minute nine.

That said, don't go looking for your minimal dubstep Balearic whaddyacallit here; "Bay of Pigs" sounds like a synth rock band playing disco, and more specifically, like Destroyer playing disco, having never met a big build they didn't like. As such, the track burbles to a slow start, synths twinkling around Bejar as he explains away the booze on his breath. It's essentially one synth wash after another for a spell, swarming around Bejar's words before settling into a stuttery New Ordery synth pattern, a wet slap of a beat, and a little Spanish guitar. You'd look awfully funny trying to dance to the largely low-end-deficient first half or so, but "Pigs" gets a pretty good groove going about halfway through, pulling in all the elements from before and marrying them with a startlingly apt dancefloor refrain: "Free and easy/ Gentle gentle/ The wind through the trees makes you mental/ For me". The track stays out of Bejar's way when need be, helps carry over some of the wordier verses on the back of a thumpa or two, gets real good around the chorus, and then backs out slowly; it hangs onto the song like a rumpled sportcoat, the kind Bejar himself favors.

Talk about your self-reference; on the flip of "Pigs" is "Ravers", a stripped-down, slowed-up take on Trouble in Dreams' "Rivers". It took me a minute, honestly; "Rivers" was a fairly peppy tune about "a standoff with the fucking horizon," more notable for its easygoing chorus melody than its words, but "Ravers" finds Bejar sounding pickled and determined as he moans those very same lyrics over an even spacier synth wash than "Pigs". To hear Bejar, who sounds almost like he's being propped up to get through this one, wail this one out into the ether is practically to hear a completely different tune, and he imbues the song's central lines with a lot more feeling and pathos than the livelier LP version. Bejar's long been a songwriter of the highest order-- and "Pigs", butt-minded sonics and all, is one of his finest-- but his powers of performance and interpretation have nearly caught up in the last few years. Bay of Pigs draws a clear line under that part of the Destroyer equation, as both songs here owe their successes to execution just as much as his early work got by on intent. I'd assume Bay of Pigs' disco diversion to be just that in the long run, but after the relatively wagon-gathering summary of Trouble in Dreams, this certainly feels like a break and, perhaps, the first blush of something new. Cheers to that. - Pitchfork Review

[bedhead138]

As Tall As Lions - You Can't Take It With You (2009) ~ Mp3 V2

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http://www.mediaf!re.com/?iouuzyg4yao

As Tall As Lions are back with 'You Can't Take It With You', the highly anticipated follow up to 2006's self-titled full-length. As Tall As Lions already has a solid fanbase in place and has been supported by writers at Alternative Press, Stereogum, Death & Taxes and Spin among many others. The NY-based band has shared the stage with Superdrag, Circa Survive and Sparta where crowds arrived early on each evening due to the band's huge buzz.

The third full-length album by New York's As Tall As Lions, 'You Can't Take It With You'', is a thoughtful, textured tour de force of soundscapes, vocal harmonies, melodies and insightful lyrics about the modern world. The songs' subject matter faces head-on the politics of God, love, war, and the human condition while examining everyday struggles such as anxiety, isolation, and money." With You Can't Take It With You', the band; vocalist-guitarist Dan Nigro, guitarist Saen Fitzgerald, bassist Julio Tavarez and drummer Cliff Sarcona, has made its smartest and most impressive album to date.

This might be in part to it being the most difficult to make. Before ATAL had made 2006's 'As Tall As Lions', the group, who had formed while in high school, had finally gelled as a unit and were ready to make a mature, well polished album. Having accomplished that goal, the musicians now pushed themselves harder and vowed this time to recreate the feel of their live performance for 'You Can't Take It With You'. In the nearly two years it took them to write and record the disc, they changed producers three times, traveled cross country to record it (with no studio time booked) and not surprisingly nearly imploded. "Listening to it now, and not being in the thick of it, I can respect all the trials and tribulations", Fitzgerald says. "I was often frustrated about the length of the process, but we couldn't have made an album like this any other way."

The group began thinking about the follow-up to the sophomore release as far back as fall 2007. Around that time, the phrase You can't take it with you popped into Fitzgerald's head. Envisioning how it related to modern society and culture, especially in regard to how people were becoming detached from one another because of technology, he thought it was particularly relevant. It was only later he learned of the 1938 movie of the same name and how the phrase had since become ubiquitous. "I think I saw it in an advertisement", he says. "It concerned me at first, and then I laughed. I said, 'Wait a minute, that's kind of what this is about anyway.' That phrase in an advertisement actually makes it perfect." The title's concept would soon be a major theme in much of the album's lyrics.

The band decided to head out to California in January to begin tracking with Mark Howard (Dylan, U2, Daniel Lanois). While they got some gold out of those sessions ("Sleepyhead" and "We's Been Waitin"), ultimately, the pairing proved dysfunctional and ended abruptly. They found themselves desperately needing to find someone new on short notice in Los Angeles. "We almost broke up numerous times", Fitzgerald says. "The band was very unstable for a while, because we took such an ass-backwards approach to it." Eventually, after consulting with several producers, they met Noah Shain. After recording one track with him, they were impressed with his passion for the songs and they never left his studio.

By the time the group finished the album, they felt a greater sense of accomplishment than on any previous recording. It was the most arduous journey As Tall as Lions has made together, but they all agree, it was worth it. "There was a black cloud over this album the entire time", Fitzgerald says. "But looking back on it now that the work is done, I can say, 'You know what? We went through all that shit, and I'm so glad we did because it gave the album grit and tension and character. It shaped it into something special.' We're all extremely proud of it."

With the release of 'You Can't Take It With You' this summer and tour plans with Dredg and Rx Bandits, 2009 is sure to be busy and rewarding year for As Tall As Lions.

1. Circles
2. Sixes & Sevens
3. You Can't Take It With You
4. Go Easy
5. Duermete
6. In Case of Rapture
7. We's Been Waitin'
8. Is This Tomorrow?
9. Sleepyhead
10. The Narrows
11. Lost My Mind
Deluxe Edition Bonus Tracks:
12. Home Is Where You’re Happy
13. That’s What You Get
14. Sleepyhead (demo)

[bedhead138]

Squarepusher - Solo Electric Bass 1 (2009) ~ Mp3 V0

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http://www.mediaf!re.com/?oza2wtygmz2

Squarepusher’s excursions as a solo bass virtuoso will be immortalised with the forthcoming release of 'Solo Electric Bass 1', out on August 17th on Limited CD and Digital.

This live recording was taken from one of his spellbinding solo bass performances at Cité de la Musique, Paris in September 2007. A performance that only consists of Squarepusher on stage with a bass and a small amp.

It should be noted that the recording of this bare live show has been represented in its truest form ie. in one take with no editing afterwards. All compositions on this record are his own.

This strictly limited release is a rare documentation for fans of the 'pusher and anyone who wishes to explore some highly interesting, and technically astounding compositions with the bass guitar. Anyone who has witnessed him live will already know of his mesmerising unique style which he incorporates into his big production live shows.

Squarepusher’s progression to this pure musical form has always been hinted at in his recording work prior to this release; with instrumental tracks on Ultravisitor such as 'I Fulcrum' and 'Andrei', the jazz trio sets of his 2005 UK tour and his first solo bass performance in Turin the same year alongside the London Sinfonietta, as time has gone on Tom Jenkinson – Squarepusher - has voiced his exploration of this expression more and more culminating in a small European tour in 2007 which included a sold out headline performance at the Royal Festival Hall.

01 - S.E.B. 1
02 - S.E.B. 9
03 - S.E.B. 10
04 - S.E.B. 4
05 - S.E.B. 6
06 - S.E.B. 2
07 - S.E.B. 3
08 - S.E.B. 5
09 - S.E.B. 7
10 - S.E.B. 8
11 - S.E.B. 11
12 - S.E.B. 12


Soulsavers - Broken (2009) ~ Mp3 320

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Part 1 - http://www.mediafire.com/?rz0uhzmymbw
Part 2 - http://www.mediafire.com/?zvgn2jyklvg

When Soulsavers recorded 2007's It's Not How Far You Fall, It's How You Land they were out of contract, scraping by on credit cards and had just begun working with Mark Lanegan; not known for his frivolity. Unsurprisingly, it emerged as dark and depressed. Two years, a major label record deal and mountains of ecstatic reviews later, and the duo's prospects have brightened considerably, though their sound – as their fans will be relieved to hear – has not.

Like its predecessor, Broken fuses delta blues, grizzled gospel and comedown electronica to create an atmosphere that is both grand and bleak. In fact, on initial listens the mood is so downbeat that songs blur oppressively into each other, not helped by a hoary blues vocabulary where blood is always ''cursed'', wounds ''never heal'' and bones are always ''weary.''

Understandably, many will lack the appetite for second helpings. But for those who persevere, there are enough gleams of light poking through the cloud cover, and enough slowly revealed surprises to make the effort worthwhile. So while Death Bells is too dourly self-regarding to truly love, and the long, creaky Gene Clark cover Some Misunderstanding sounds distressingly like Chris Rea, other songs see Soulsavers live up to their considerable reputation.

One is Unbalanced Pieces, where the solemnity of Lanegan's central melody is lifted by a skulking, hypnotic bass and one of the album's few big, hummable choruses. You’ll Miss Me When I Burn is far starker, based around little more than a mournful, circling piano, but is all the more moving for its simplicity.

Unusually, the album saves its best surprises for the end, when Red Ghost makes a late, strangely uplifting appearance. On the sweet, sad-eyed lullaby of Praying Ground, the Australian sings with an authority and assurance remarkable in a newcomer. Even more boldly, she more than holds her own on her duet with Lanegan, Rolling Sky, which is as menacing and unpredictable as an approaching storm.

Broken is probably too stubborn and idiosyncratic to win over many who haven't already acquired a taste for either Soulsavers or Lanegan. But those who have are likely to love it deeply and fiercely.

1 The Seventh Proof
2 Death Bells
3 Unbalanced Pieces
4 You Will Miss Me When I Burn
5 Some Misunderstanding
6 All the Way Down
7 Shadows Fall
8 Can’t Catch the Train
9 Pharaoh’s Chariot
10 Praying Ground
11 Rolling Sky
12 Wise Blood
13 By My Side

[Tom]

DESTROYER - BAY OF PIGS (2009 EP)

YAY!!!!!

[Koremora]

Got two amazing drone/noise artists for you guys. They both opened for the Deerhunter/Dan Deacon/No Age round robin tour. Both use keyboards, distorted vocals, guitars, and pedals to make some sweet, sweet cathartic textures and drones. Highly recommended, these guys need some more listeners.


Infinite Body (currently unsigned) - White Hymn (2007)



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White Rainbow (signed to Kranky Records) - New Clouds (2009)



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http://www.mediaf!re.com/download.php?mq4o5nyzee4Part 2

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http://www.mediaf!re.com/download.php?wm3moazijwm

[JD]

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.

[Elk]

Poetry for the Beat Generation - Jack Kerouac + Steve Allen

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http://www.mediafire.com/download.php?mbuzdj0fztm

Kerouac's friend Steve Allen provided the accompaniment at the piano, with results so impressive that it would lead Kerouac to a short but dazzling career as a recording artist. The first result was this album, which came at the suggestion of either Allen or his friend, producer Bob Thiele, who was working for Dot Records at the time. The record was cut in a single session and a single take for each piece. Allen's graceful piano opens the recording and Kerouac comes in, reading "October in the Railroad Earth" for seven minutes, off of a roll of paper in front of him. Kerouac's reading are in a class by themselves, and separate from Allen -- the two performances co-exist and weave together without ever really joining, and the result is a peculiar form of jazz; Kerouac did his thing, Allen did his, and the result was a spellbinding performance, and it was musical, despite Kerouac's seeming monotone reading, which never slowed or otherwise interacted with Allen's piano -- his voice dances to its own beat, with Allen embellishing and working around him

[JD]

Lemon Demon- Dinosaurchestra

Sexy., I found him yeaaaars ago with the "Word Disassociation" video on albinoblacksheep (barely remember that place), and LimeWire'd (LOL) a bunch of his songs. Haven't had a full album, though. Definitely downloading. Thanks!

You can get some more of them here

Dinosaurchestra is still my favorite though

[scarred]

Holy shit. Myy up of Delorean's Ayrton Senna EP has (as of right now) 2016 downloads. Unless Mediafire is telling me lies.

[JD]

It is pretty good.

[scarred]

I didn't even know there were 2016 members  (read: active) of this forum, haha.

[bedhead138]

Poetry for the Beat Generation - Jack Kerouac + Steve Allen

Code: [Select]

http://www.mediaf!re.com/download.php?mbuzdj0fztm

Kerouac's friend Steve Allen provided the accompaniment at the piano, with results so impressive that it would lead Kerouac to a short but dazzling career as a recording artist. The first result was this album, which came at the suggestion of either Allen or his friend, producer Bob Thiele, who was working for Dot Records at the time. The record was cut in a single session and a single take for each piece. Allen's graceful piano opens the recording and Kerouac comes in, reading "October in the Railroad Earth" for seven minutes, off of a roll of paper in front of him. Kerouac's reading are in a class by themselves, and separate from Allen -- the two performances co-exist and weave together without ever really joining, and the result is a peculiar form of jazz; Kerouac did his thing, Allen did his, and the result was a spellbinding performance, and it was musical, despite Kerouac's seeming monotone reading, which never slowed or otherwise interacted with Allen's piano -- his voice dances to its own beat, with Allen embellishing and working around him

such a great album. the piano really helps make this album

[Tom]

I didn't even know there were 2016 members  (read: active) of this forum, haha.

Perhaps, people have shared the link around. After all, p4k gave them a nice write-up.

[Down623]

As Tall As Lions - You Can't Take It With You (2009) ~ Mp3 V2

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http://www.mediaf!re.com/?iouuzyg4yao

Oh, fantastic. I didn't even know they had another release on the way

[David_Dovey]

Holy shit. Myy up of Delorean's Ayrton Senna EP has (as of right now) 2016 downloads. Unless mediaf!re is telling me lies.

I am thinkng there are a lot of people who use this thread who are not even registered for the forum. The fact that this thread has over 500 000 views makes me think what I am thinking is right.

P.S; New Calvin Harris, Whoopeeeeee!

[JD]

Jaydiohead

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

To my knowledge Jay-Z and Radiohead have never performed on the same bill, let alone the same stage. Perhaps organisers should take note here; it could be a very, very good idea. Granted, the rap king of New York coupled with Oxfords favourite indie titans doesn’t immediately light many fires. Well not until you’ve actually sat down and listened to this album and appreciated how well the contrasting sounds complement each other. One interesting aspect is being able to listen to Jay-Z’s rapping without the big hip hop production that usually accompanies it. Never been a Jay-Z fan? This could well change your opinion and perspective.

Brainchild of New York producer/DJ Minty Fresh Beats, ‘Jaydiohead’ takes its lead from Danger Mouse’s notorious ‘Grey Album’; the subject of mass panic in the music industry and several cease and desist orders from EMI. Where as Danger Mouse focused entirely on sampling the Beatles ’White Album’ and laying vocal tracks from Jay-Z’s ’Black Album’, ‘Jaydiohead’ utilises various material in Radiohead and Jay-Z’s respective cannons. Radiohead fans will recognise well sampled hooks from the likes of ‘I Might Be Wrong’, ‘Karma Police’, Jigsaw Falling Into Place’ and ‘The National Anthem’ fitting seamlessly with Jay-Z’s brilliant delivery.

Album opener ‘Wrong Prayer’ sets the standard, which remains excellent throughout. Jay-Z’s vocals are crisp and full of clarity as they cannon along next to slide guitar refrains and key samples from ‘I Might Be Wrong’. Up next is the track that people are most likely to head straight for, ‘99 Anthems’. As such is the popularity of Jay-Z’s ‘99 Problems’ tackling it seems a bit fool hardy, if the original Rick Rubin mix isn’t its pinnacle then surely the AC/DC sampling version aired at Glastonbury is the peak? Maybe not, this version really is a fine piece of work and repeated listens indent it into your brain quickly. Familiar vocals are tightly underpinned by the distorted and growling bass line from ’The National Anthem’ with flecks of Thom Yorke’s vocal floating in and out.

‘Karma Police’ makes its appearance next alongside Jay-Z’s ‘No Hook’ from the ‘American Gangster’ album. I wasn’t overly keep on the album version, it lacked the punch and originality of a lot of Jay-Z tracks, this however is a different matter entirely. ‘No Karma’ features some of the best sampling on the album. ‘Karma Police’ has been expertly picked apart, rearranged and fused with the vocals to create something so impressive sounding that not being generally available does it a disservice. The campaign to hereby release this track into the charts starts here!

The album continues to bounce along at a stunning rate with Radiohead tracks ‘Jigsaw Falling Into Place’, ‘Optimist’ and ‘15 Step’ all making an appearance in various guises. Far from just stringing samples and beats together to support Jay’Z’s vocals, Minty Fresh Beats is obviously a master of his art as drums, keys and guitars are all meticulously used in creative and usual ways to build and elevate the tracks. If this man isn’t already producing for big projects and labels then this release should see his work roster bolstered ten fold for the rest of the year.

To say this album comes highly recommended is an understatement. I’ve purposely not listed each and every track and vocal that’s sampled on it as not to ruin it. If you are a Radiohead and a Jay-Z fan then this is quite literally a must; you will enjoy experiencing the two artists music side by side, breathing in harmony together. If you are only a fan of one or the other it is still worth picking up and experiencing a new angle on either artist. A worthy addition to any music collection and one that’s destined to be on my stereo for the foreseeable future. Oxford just got bling, who’d have thunk it?

Everyone should download this, it's fantastic.


Gary Go-Gary Go

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http://www.mediafire.com/?5arzyy2zozy

Gary Go rose to attention after touring the U.K. with Take That, and his self-titled debut offers the same sort of epic, polished pop that Take That embraced post-reunion. This is unapologetically commercial stuff, laced with touches of symphonic strings and fueled by choruses that aim for the cheap seats at Wembley Stadium. The genre is certainly familiar -- a veritable melting pot of Keane, the Script, and greeting card sentiment -- yet Go still manages to carve out his own identity, appropriating the chimes of U2's guitars and the polished piano balladry of Coldplay without succumbing to complete imitation. Of course, it doesn't hurt that he simply doesn't look like a pop star, preferring tailored suits and prominent eyeglasses to the more informal attire of his contemporaries. The emphasis here remains on his music, though, all of which was self-produced by Go on a relatively shoestring budget. Songs like "Wonderful" and "Engines" are the sort of anthemic tracks often dreamed up in million-dollar studios, but Go helms them at half the price, filling his sonic canvas with double-tracked vocals, keyboard loops, and enough palpable yearning to garner radio attention. The fact that the end results sound similar to Go's machine-made rivals proves to be a double-edged sword, however, both attracting fans for its genuine approach and repelling others for its similarity to manufactured pop.

If you like Death Cab for Cutie, you'll like this guy

[variable_star]

Gary Go-Gary Go

The name and album art aren't doing him any favors, but that's some satisfying pop music there. Good find.

[bedhead138]

Anthony Da Costa - Not Afraid of Nothing (2009) ~ Mp3 192

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http://www.mediaf!re.com/?qt232no4tjt

Anthony da Costa, a “WFUV 2009 New Artist to Watch” and an “MSNBC.com 2009 Top Five Up-&-Coming Young Singer,” has released a new record, “Not Afraid of Nothing.” His music combines indie, alt, folk, rock, Americana and pop, plus what it’s like to be “a very, very young man, with a very, very old soul” (Pete Fornatale, WFUV).

Anthony da Costa IS not afraid of nothing. A public statement, a self-realization, an album title, a cool chance to use a double negative…or all of the above.  Not sure. But one thing is certain: Anthony’s new record is anything but careful.

In 2007, at 16, he became the youngest winner ever at the Falcon Ridge and Kerrville Folk Festivals. In 2008, at 17, he released two, critically- acclaimed albums. He also played prestigious folk festivals, including the Philadelphia Folk Festival and Tonder Festival in Denmark, and opened for music icons, like Loretta Lynn and Dan Bern.

Now, in 2009, at 18, and before heading off to Columbia University this fall, he’s released a new record, “Not Afraid of Nothing.” But, in this album, his eighth, Anthony ventures into new musical territory. While one foot’s in folk, the other foot’s loose and wandering into various genres, influenced by the work of Elliott Smith, Ryan Adams and some other, less-obvious artists, like The Smiths and Jay-Z.

“I needed to get to someplace else with this record — someplace with a little groove.”

“Not Afraid of Nothing” is a homegrown record, recorded mostly on a Macbook Pro with an MBox in living rooms and basements throughout Anthony’s hometown of Pleasantville, NY. As for the songs, they document his last year in high school — a year of clarity and confusion, love and loneliness, change and nostalgia and, ultimately, renewal.

“This album is definitely the most of me that I’ve put out there, but I hope it can be about all of us in a way. If it’s not, than I’m not doing my job.”

1. Bells and Birds
2. If You Want It
3. I Am Way Too Much
4. For A While
5. Matters of the Heart
6. Big Brother
7. Maybe I Should Lie
8. Love is Not Enough
9. Lovestain
10. Leave You Lonely
11. Heart Without a Home
12. November
13. Crazy
14. Sleeping on the Couch

[bedhead138]

The Cave Singers - Welcome Joy (2009) ~ Mp3 320

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http://www.mediaf!re.com/?ehn0i22fzf1

Dear Cave Singers,

I’ve got to be honest with you. The thing we had last summer, it was great. It opened my eyes to a lot of things, and honestly, I’m grateful for the time we spent together. Do you remember those times when I put ‘Helen’ on every compilation that I made last year, because everything about it was so perfect? You were in my head from June to the end of August. It was an intense time, and one that I’ll always treasure. But that’s all in the past now. It’s over. I still love you, but I’m not in love with you.

That’s not to say we can’t be friends. There are things about your new album Welcome Joy that I really like. The instrumentation is still as sharp as it’s every been, many beautiful guitar melodies, delicate interplay between instruments, and Peter Quirk’s voice is still the same. The opener ‘Summer Light’ is a crisp and airy standout; ‘At The Cut’ is sensational too, thudding along thanks to Derek Fudesco’s delicious bass-heavy guitar riff and a driven vocal performance. It’s easily the best thing on Welcome Joy. But there’s something different about this new endeavour. Invitation Songs had production values, it felt like it there had been some serious thought into each segment of a song. It was the work of craftsmen, everything was just so, and the sequencing was especially good. With this new one, while there’s still no doubting the artisan levels of skill, those talents are obscured, like there’s a low fog over almost everything.

Track selection seems arbitrary. The mix is muddy, and sometimes it just seems like the whole thing has either been rushed to completion or cut off early. If you were going in a new direction, if it was going somewhere, I’d understand. But that’s just it. There’s no change at all. It’s like the groove has been mined so hard that the ideas have been exhausted. The whole sky has been reduced to a single point of light. Lyrical themes repeat from the first album, but there’s no weight behind them. There are only one or two moments that get vaguely close to the stuff of old. If there were a couple more of those, there wouldn’t be this palpable sense of disappointment.

You’re still a band who are definitely worth seeing live. And there’s a better album than this left in you, I’m sure of it. It’s just there was the expectation of more, and this has left me a bit cold. It isn’t all your fault, and maybe my expectations were too high. Maybe it’s just how I am, wanting new things, needing surprises, idealizing you, craving the romance of it all, and then when the excitement wears off, the cracks in the glaze become apparent. I’m very critical about everything, but you knew that already. Maybe when you come back around we can get a drink and catch up?

1. Summer Light
2. Leap
3. At The Cut
4. Shrine
5. Hen Of The Woods
6. Beach House
7. VV
8. I Don’t Mind
9. Townships
10. Bramble

[variable_star]

MARK KNOPFLER - GET LUCKY (2009)

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http://www.mediafire.com/?ju5my3gru2t
1 - Border Reiver
2 - Hard Shoulder
3 - You Can't Beat The House
4 - Before Gas & TV
5 - Monteleone
6 - Cleaning My Gun
7 - The Car Was The One
8 - Remembrance Day
9 - Get Lucky
10 - So Far From The Clyde
11 - Piper To The End

[JD]

Soulwax - Nite Versions(2005)

Back in the early '80s, when extended dance mixes were crossing over from the late-'70s disco scene into mainstream pop music, the idea was particularly embraced by the British dance-pop acts of the time. Among the most ardent remixers circa 1982 were Duran Duran, who always dubbed their extended remixes/re-recordings "night versions." Nearly a quarter-century later, Belgian dance-rock conceptualists Soulwax borrowed that bit of pop culture ephemera as the title of their remix project Nite Versions. Radical dance-oriented remixes and reconstructions of tracks from Soulwax's 2005 album, Any Minute Now, Nite Versions is an unabashed celebration of the sound of early-'80s dance mixes, with ironic samples ("NY Lipps" blatantly lifts Lipps Inc.'s cheesetastic masterpiece "Funkytown" for all of its main hooks) and regular use of all of the clichés of the era. This isn't just a sarcastic joke, however; both due to Soulwax's natural talents and to their obvious affection for the style they're working in, Nite Versions is a fluffy, frivolous, but utterly enjoyable listen.

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http://www.mediafire.com/?zmm0zzmmmqx

[barista.babe]

Holy shit!!!! New Cave Singers!!!

This guy is excited.

[bedhead138]

Polvo - In Prism (2009) ~ Mp3 320

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Part 1 - http://www.mediaf!re.com/?yvntm342lmo
Part 2 - http://www.mediaf!re.com/?zjyhiy0wvtm

It might be too soon to declare In Prism the best Polvo record ever . . . but it might be okay by the time you’re done reading this.

It’s de rigueur to ask the question, Why now? What makes a band decide to get back together for a few shows ten years later, and then for a few more? Well, I don’t know because I didn’t ask them, because the reasons don’t matter, only the results. Isn’t it pretty much always the same stuff anyway? “Because we could, because we thought it’d be fun, because we got asked.”

What I do know, and what every old fan will quickly realize seconds into In Prism’s opener, “Right the Relation,” which is so much more “Polvo” than Polvo was, is that they would not have made this record a year after 1997’s Shapes, their last album. Nor would they have two years later, or five. Not they couldn’t have; they just wouldn’t have. Only at this point in life would they be so assured, so casually stormy and intensely calm, graceful and free with their power only as guys their age, grown-ups who grew up without growing up, without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness, the writing, the singing, the words you can understand, and the ones you can’t.

Polvo spent 90 to 98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. On In Prism, those ideas come together like overlaid transparencies, many planes phasing into a cool new geometry, the parts visible but inseparable. And while there was nothing wrong before, it’s now so much more rightperhaps because after ten years, after other bands (Ash: Helium, Libraness; Dave: Idyll Swords and, with Steve, Black Taj; newest drummer named Brian: The Cherry Valence) and their tours and records and worries (if they had any), none of the peripheral stuff matters anymore. You just get to a place in life where a whole set of crap that might’ve once kept you up at night no longer means a thing. The lunchbox genrefications burped up by people who flunked algebra, any perceptions of competing with other groups for anything, what the band will do next or the label they’re on or might want to be on (though we can all agree that it’s cool to see Polvo back on Merge); that stuff’s for less experienced bands, if they want it. Now is for Polvo, and Polvo is for now.

In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree?

1. Right The Relation 5:37
2. D.C. Trails 6:57
3. Beggar’s Bowl 5:02
4. City Birds 5:21
5. Lucia 8:15
6. Dream Residue/Work 5:48
7. The Pedlar 3:38
8. A Link In The Chain 8:48

[JD]

Cobra Starship-Hot Mess(2009)

Cobra Starship would likely be the first to agree if you were to call them a joke band. The goofball lyrics, the kitsch-en sink approach to the music, and the day-glo visual images they portray are the work of a band that doesn't take itself seriously at all. The only point of contention would be whether the joke is funny and worth telling repeatedly, or if it's an annoying one that may have been funny once but is now wearing itself thin. If you are in the latter camp, then Hot Mess will hold no appeal for you at all. The silly dance pop, lightweight emo pop, and generally irreverent approach to music will make you want to break the disc in half. On the other hand, if that list sounds good to you, then Hot Mess is just what you'll want to be spinning on hot summer nights, late-night dance parties, and girl/boy's nights out. That their sound includes healthy doses of cheerleader chants, glam rock shouts, corny synth lines (played on the most cheesy of all synths, the keytar), mindless dance beats, arena rock guitars, totally fake hip-hop poses, '80s pop rip-offs, and vocodered vocals makes it a near-perfect pop sound for the age of short attention spans, gossip girls, and guyliner, and sounds like exactly what the title promises. The songs that sound like pre-ordained radio hits like "Good Girls Go Bad" (which features the amazingly post-modern guest list of Gossip Girl's Leighton Meester on vocals, Lil Wayne producer Kevin Rudolf behind the board, and a co-write from pro songwriter/Am Idol judge Kara DioGaurdi), "Wet Hot American Summer" and "Move Like You Gonna Die" have all the spangles, club sweat, and ridiculous energy you'd expect, but this time out you can also hear a little bit of real emotion (on the heartbroken R&B jam "The World Will Never," or the seemingly heartfelt and melancholy "Fold Your Hands Child"), some earnestly sweet melodies (the chorus of "Living in the Sky with Diamonds"), and a feeling that even though the band is a joke, it doesn't have to be a total throw away one-liner all the time. These slight diversions also keep the record from feeling like a non-stop rush of sugar-smacked silliness, which is something that made the last record less than a success. Hot Mess is a complete success and shows that the band could possibly grow past the comedy and become something else entirely. Not that they need to, though, it's be perfectly fine if Cobra Starship stayed a joke and kept making records as fun and frothy as Hot Mess.

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http://www.mediafire.com/?kgi2gytnuo3Imelda May-Love Tattoo(2009)

Love Tattoo is the debut solo album by Irish vocalist Imelda May, formerly of the roots outfit Blue Harlem. Originally released by the indie Foottapping imprint, it was later licensed in the U.K. by Ambassador and in the United States by Verve Forecast. May has captured the attention of the United Kingdom with its release, and for good reason. It's a striking gumbo of tough boogie-woogie, streetwise razor-edged rockabilly, intimate sultry vocal jazz, and sassy jump blues. May wrote all but two of the set's 12 tracks and produced the set; she also plays the bodhran, an Irish percussion instrument from antiquity. She's surrounded herself with an ace band that includes her husband, guitarist Darrell Higham, trumpeter Dave Priseman (who also plays flügelhorn and percussion), pianist and organist Danny McCormack, bassist Al Gare, and drummer Dean Beresford. The kickoff is the stomping rockabilly of "Johnny Got a Boom Boom" (infer what you might from the title). With a slapping double bassline intro, the drum kit latches on and takes it for another eight measures before Higham's nasty guitar begins its cutting strut. But May's vocal tops it all and swaggers confidently with its expression of raw sensuality. This is a love song from the streets, but it isn't trashy. It's got its own kind of in-your-face class. Contrast this with the gorgeous bluesy ballad "Knock 123," with its slow walking piano and basslines and a halting guitar figure, and May's voice all croon and caress. The title track is a wild stomp and roll where blues, rock & roll, country, and boogie collide behind her blues shout. May is a trained vocalist to be sure, but when the material calls for it, her voice contains a certain rough grain — earthy, raw, and full of unbridled passion. It's even evident in the country ballad "Falling in Love with You Again" (one of the tracks where her bodhran can be heard prominently). The lilt, grace, and haggard elegance of her voice reveal an entire well of feeling that seems to bubble up effortlessly yet without artifice. The entire album is deliciously and unabashedly retro, but comes off as spontaneous, fresh, and full of adventure. The uptempo tunes are simply unhinged, while the ballads are full of authentic emotion. The tunes aren't overly arranged, the production is minimal, and the instruments — as well as her voice — sound unembellished. Imelda May is capturing the attention of Europe for a reason; she is a rare and very exciting talent who understands the history of American roots music and knows how to use that understanding in a contemporary context without pandering. Love Tattoo is righteous. Period.

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http://www.mediafire.com/?m4edjjjmdmj
UUVVWWZ-UUVVWWZ(2009)(pronounced "double U, double V, double double U, Zee")

Specializing in no-wave flavored indie rock, UUVVWWZ's name originated when they tried to map out the phrasing of one of their songs by jotting down notes on a brown paper bag. Followers of music theory will recognize right away that UUVVWWZ isn't a typical verse/chorus/verse/chorus structure, and while many of the group's songs aren't quite as unusual as that string of letters seems (most of them do, in fact, incorporate choruses), the group steers pretty far from the norm on their self-titled record. The musicianship is stripped down and deconstructed, with close attention paid to negative space. Sometimes this instrumentation, or lack thereof, verges on messy, but never to the point of feeling unfocused or falling apart. Tom Ambroz lays down jagged beats that are more about the time signature than power; Jim Schroeder can shred hard by way of dissonant, zig-zagging guitar runs between chunky guitar chords, but he often chooses to dumb down his abilities by playing single notes; and Dustin Wilbourn plays the backbone role, trying to hold it all together by mirroring the guitar work or by playing tasteful, in-the-pocket bass riffs. The real star of the show, like it or not, is the prominently mixed Teal Gardner, who either shrieks like a banshee or sings in a sultry Chan Marshall style. When she opts for the second method, she tends to go for tricky notes, sometimes hitting them and sometimes waivering around them, making her voice an acquired taste. Similarly, her lyrics are intelligible, but they're not easily decipherable. Even though English is her first language, it might not be so clear when she sings infantile lines straight-faced, like "Honey call me when you want to talk/And we can talk hard/All work can be fun/Fun to work hon/Got to be on!/I like to be on!" and the barbaric battle cry "Have want!/Have need!/Have want!/Now be!" There's definitely a J-pop influence present, particularly in the excellent Melt Banana tribute "Jap Dad," where Gardner titters Morse code jibberish over a crazy descending guitar and bass scale before squealing the hook "M.A.K.E.M.E.L.O.V.E.Y.O.U!" These wilder songs, along with "Shark Suit" and the fierce "Trapezeus," show that UUVVWWZ is a unique force in the indie world, and the sweet, soothing moments of "Neolaño" and "The Sun" prove that they're just as good when they show restraint and mellow out. There's a fine line between simplicity and chaos.

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http://www.mediafire.com/?zztz2tv4ml0

[imagist42]

Sorry to be the greedy little non-contributing gnome I am, but here in my isolated little corner of Poland I am sorely yearning to hear Pinback's Autumn of the Seraphs. If anyone happened to be thinking about uploading that, well, I would have nothing against it...

[Tom]

Oh hey, Imagist, long time no see - How's Poland?

I've got the bonus CDS for Autumn of the Seraphs as well, so I might as well upload it.

EDIT:

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http://www.mediafire.com/file/ydmaqy2ytnt/Autumn of the Seraphs.rar
http://www.mediafire.com/file/ydyhyzmnil3/Autumn of the Seraphs bonus.rar

[ImRonBurgundy?]

Cobra Starship-Hot Mess(2009)

I'm sorry but what are you doing

[JD]

Uploading music I found enjoyable, even if you may not like it.

[JD]

Though the album art is a bit garish. whatever

[Scarychips]

It in an enjoyable album. It always makes me think of a less superior Natalie Portman's Shaved Head.

[ImRonBurgundy?]

I'm just a grumpy gus.

[bedhead138]

Sondre Lerche - Heartbeat Radio (2009) ~ Mp3 V2

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http://www.mediaf!re.com/?a3boxgknlzm

By the time Sondre Lerche had released his major-label debut (2002s critically acclaimed Faces Down), the then 19-year-old Norwegian wunderkind was already a veteran of the music world. Signed to Virgin Norway in 2000, Lerche released the chart-topping EP You Know So Well in February 2001. A commercially successful follow-up EP, No Ones Gonna Come, was released in June of the same year, accompanied by numerous local performances and increasing industry praise. Lerches distinctive voice and natural talent for writing appealing and alternately sunny and melancholic pop tunes quickly established him as a definite contender for significance throughout Europe and beyond.

This is dropping in September so enjoy getting it early.

01. Good Luck ( 5:15)
02. Heartbeat Radio ( 4:06)
03. I Cannot Let You Go ( 4:48)
04. Like Lazenby ( 3:23)
05. If Only ( 3:53)
06. Pioneer ( 2:07)
07. Easy To Persuade ( 3:45)
08. Words & Music ( 3:30)
09. I Guess Its Gonna Rain Today ( 4:06)
10. Almighty Moon ( 4:34)
11. Dont Look Now ( 3:15)
12. Goodnight ( 3:51)

[Mixitup]

Imogen Heap- Ellipse 2009 (webrip) 43 MB



01. First Train Home
02. Wait It Out
03. Earth
04. Little Bird
05. Swoon
06. Tidal
07. Between Sheets
08. 2 - 1
09. Bad Body Double
10. A-Ha!
11. The Fire
12. Canvas
13. Half Life

London songwriter Imogen Heap is better known for her skill in employing the internet to push her career than for her actual music. She's got hundreds of thousands of Twitter followers and MySpace friends (though not, inexplicably, the sales to match), but the only songs that might be familiar to non-fans are the 2007 Grammy-nominated Can't Take it In and Hide and Seek, which made it on to The OC. This beguiling third album deserves to be her breakthrough moment, though the absence of an obvious Hide and Seek-style focal point may hinder its chances. Ellipse is questing and musically inventive, using electronics as its foundation, but fleshing out the bleeps and clicks with everything from the chirp of jayhawks (on Little Bird) to an Indian flautist (Tidal). An understated vocalist, Heap sounds by turns warm and inviting and mistily detached - and her resemblance to Alanis Morissette on the track Earth cannot go unremarked. Lovely stuff.

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[bedhead138]

Yellow Swans with John Wiese - Portable Dunes (2009) ~ Mp3 V0

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This collaboration between psychedelic slurry merchants Yellow Swans and big noise on the big noise scene, John Wiese, begins very much as you'd expect, with a towering hunk of din and colourful mid-fi abrasion. Once 'That's A Lot To Ask' has finished scraping out your ears, 'Evicted CD-R' kicks in with high frequency sine wave tones and near-silence, slowly building up a dark, cloudy atmosphere before plunging headlong into what sounds like an orchestra tuning up in a very big cave, amplified to ridiculous extents. 'Disco Girlfriend' is more consistently abstract, establishing a flaked-out, caustic ambience before 'Happy New Year' mellows out with some airy chimes and only the very slightest, hovering drifts of static. Finally, 'Lost In The Blood' embarks upon a quietly droning journey that finishes with an ominous foghorn conclusion, floating off into the distance.

1. That's A Lot To Ask
2. Evicted CDR
3. Disco Girlfriend
4. Happy New Year
5. Lost In The Blood

[JD]

I always think of Stuff Sucks when Imogen Heap is mentioned. derp

[bedhead138]

William Fitzsimmons - Live from the Downtown Studios (2009) ~ AAC 256

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Fitzsimmons albums are all uniquely good on their own but live is where I think his music really flourishes. Based purely on the content of this music, it’s vulnerable and it’s never more vulnerable than hearing it recreated for a live audience. I had the chance to catch him live a few years ago at Jammin’ Java in Vienna, VA. He went through 7 songs and it wasn’t nearly long enough.

As for the release, Live from the Downtown Studios is 7 live versions of songs taken from his most recent “The Sparrow and the Crow” (which in itself, exists in a emotional heaviness that exudes connection – make sure you read the interview done about the album here). The song choice and the order is what I find intriguing – using the two “songs” as a framework of the album which the other songs are then hung from.

As most fans of his music will tell you – there are certain times when William Fitzsimmons is on repeat in the iPod. As much as I think the music once released becomes manipulated by the listener and normalized into our experinces – I’ll try not to put too much on the music.

Here’s my take:

I Don’t Feel It Anymore (Song of the Sparrow) – Sets a dark tone for the album to let you know what you’re getting into. Interestingly, William provides the vocal for both parts in the song. This is in sharp contrast to the album release where it was as if both parties in the relationship were working it out.

Goodmorning – I would say that this is the most hopeful song in the repertoire, I love the “You will find love, you will find peace” lyrics.

After Afterall – In it’s original release this song makes the transition from one album to another. Located centrally on this release with a haunting piano brings forward ideas of quiet resolve and the walking wounded in post relationship blahs.

If You Would Come Back Home (feat Rosi Golan) – This is my favorite track on the album. Williams’ voice dances with Rosi Golan’s throughout the song but at the climax of the song (begins at 2:50) the slight breaking notes of the vocal adds volumes to the music.

Maybe Be Alright – This song is full of regret with the invitation to change course. Some would say that the singer is being a doormat, others could call it the higher road post breakup. I call it coming to grip with the teetering reality of messy breakups.

You Still Hurt Me (feat. Rosi Golan) – I love the guitar flourishes in this track. This song seems to dance through a rough patch

Please Forgive Me (Song of the Crow) – This is by far the saddest song of the bunch. The admission of hurt and guilt and the burdens of past deeds. No mercy is asked for and maybe none is given.

Just yesterday I was taking to a friend about this music and while it’s highly introspective I don’t find it depressing. Is it a reminder of darker days, certainly. But when I hear it now I’m contemplative and love listening while I’m getting work done.

Live albums can be so hit or miss, especially because most are flavored with a ton of studio magic and that changes the DNA – I def recommend checking out this one.

[barista.babe]

I was really stoked for the Imogen Heap and totally clueless that Sondre Lerche was releasing anything new at all... today is like christmas but early.