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[Landstander]

Oh thank you so much. I've been looking for that Bell Orchestre album forever.

[Tom]

I've got Snake's Got A Leg, Icons Abstract Thee, Get Nice, Wait, Smith, You're English Is Good, Speaking In Tongues, Autumn of the Seraphs (Bonus Disc), The Beginning Stages of...(this includes Section 10) and Protest

[squawk]

Here is Les Retrouvailles by Yann Tiersen, the composer of the Amelie soundtrack. This album rivals that one pretty hard, I think.

Code: [Select]

http://www.mediafire.com/?3xlv5tzgukb

[imagist42]

I've got Snake's Got A Leg.

I hope this comes with the implication that you are currently uploading it?...

[KickThatBathProf]

Code: [Select]

http://www.mediafire.com/?8g2nx2m91ln

FIGHT YOU!

I just went out and bought this CD this afternoon and you had to go and rub it my face by uploading it to Mediafire.

Although, I didn't mind buying it, because it is amazing

[Jughead5267]

I've got Snake's Got A Leg, Icons Abstract Thee, Get Nice, Wait, Smith, You're English Is Good, Speaking In Tongues, Autumn of the Seraphs (Bonus Disc), The Beginning Stages of...(this includes Section 10) and Protest

Hey "ole buddy", get to uploading, PLEASE

[imapiratearg]

I love you people.  Thank you SO MUCH for the Dinosaur Jr.

[E. Spaceman]

Code: [Select]

http://www.sendspace.com/file/odg6eg

This is Alan Braxe's album, it is actually more of a compilation but whatever. Alan Braxe is a french dude, he makes electronic music, like half of france. He is one of the best though, his remixes are always spot on (see the Justice one i posted a while ago) and he made that one song, 'Music Sounds Better With You' (wth one of the dudes from Daft Punk).

[malevis]

Thanks so much for that Patrick Wolf album.  This is one of the best things I've heard, ever.

[E. Spaceman]

and now, Glass Candy!





They are on that compilation i uploaded a while back, maybe the best of the acts there.

Code: [Select]

http://www.sendspace.com/file/5j41is

[E. Spaceman]

and this is the first disc of New Order's Substance

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http://www.sendspace.com/file/h5jq7p
Over 7 years, New Order released a bunch of really awesome singles, and some of them are here. I say some because New Order followed a trend (more than followed, they were probably one of the innovators, but w/e), of releasing several versions of a single, taking advantage of the then current trend of releasing 12" singles. This meant singles could be longer than 4 minutes! this meant that they could  release 8 minute dance versions of their already danceable songs! These 12" versions are collected here, some sound similar, some sound completely different, some were even rerecorded specifically for this compilation, one example of this is "Temptation". Temptation is the best song New Order ever did and maybe my favourite song ever made. They released a version on 7" which was pretty poppy, and they released a version on 12" whcih was pretty synthy and glitchy, then they kinda made a combination of both and they released it on this compilaton and it is essentially perfect. Speaking of perfect, The Perferct Kiss is maybe my second favourite New Order song, and it is here in a radically different and longer version, which i don't think is as good as the 7" but is also real good.


Substance also has a second disc of remixes, odds and sods, dub versions, instrumentals and even one future single, but i forgot to upload it!

[Jughead5267]

Ska is on it's way!!!
For your listening (hopefully) pleasure, The 2 Tone Collection...


This was my first taste of ska. My best friend sent it to me. It turned me into a fan, maybe this will do the same for you...

http://www.mediafire.com/?ee0ggnwyy1z

[Telegraphese]

Boris - Heavy Rocks

Code: [Select]

http://www.mediafire.com/?4wzlabnzdoz

How to put this...

Holy shit. Thank you.

[onewheelwizzard]

Some people gave me open-ended requests for artists, so ... here's more!

Sleep - Volume One



I already upped Dopesmoker so the few people who are likely to be interested in this already know why.

Code: [Select]

http://www.sendspace.com/file/4lj27m
Bardo Pond - Amanita



Anyone who wants this album knows who they are by now, I've uploaded two by these guys already.

Code: [Select]

http://www.mediafire.com/?chdm9jgj5dr

[a pack of wolves]

Usually when I find two bands have the same name only one interests me, but the bands called Evergreen are an exception made even odder by the fact that they were both active at around the same time in the US underground, aren't a million miles away from each other in sound and both featured line-ups with members who have also played in some far better known acts.

The first I'm uploading is the LA emo band who were active in the mid-90s. They did a split with Still Life, a couple of 7"es and a 12", all of which are now out of print I believe except for the 7" on Gravity which I believe is still available. This is their complete discography (so far as I know) but isn't an official release, somebody's just collected the various mp3s together in one handy package which is nice since out of press emo records crazy money on ebay. There's a nice post-punk feel to their sound as well as the more typical mid-90s sound you'd expect from an outfit who had a 7" on Gravity back in the day. Members also played in Rilo Kiley and Antioch Arrow I believe. The picture is from the 7" on Gravity.



Evergreen - Discography

Code: [Select]

http://www.mediafire.com/?9ngf90twpmm
This is what Temporary Residence, who reissued this album a while back has to say about the second Evergreen:

Formed from the ashes of Louisville legends Cinderblock in the early 90s and boasting a revolving line-up that would make Spinal Tap blush, Evergreen solidified in 1993 when Britt Walford (Slint, The Breeders, The For Carnation) joined on drums. A tight mix of percussive guitars, strolling, funky bass and relentlessly catchy drum beats escalated the drunken vocal sways of Sean McLoughlin to immeasurable heights. Equally inspired by Fugazi, Television and The Stooges, Evergreen was a breath of fresh air that only Louisville folks were really ready to breathe. While the rest of the world was too busy going ape shit over increasingly soulless faux-jazz, Evergreen were throwing down party-punk jams to tear the roof down and/or get them arrested for public indecency and disturbing the peace (but that's another story for another time). Recorded in brilliant stereophonic mid-fi by James Murphy (of the DFA), this album seemed like a throwback in 1995. Oddly, it now feels more at home soaring above the increasingly soulless faux-garage rock revival. When all is said and done and you are left with nothing but the music to tell the story, it's damned near impossible to tell when this record was made and it's even harder to care. It's truly a timeless classic that has always deserved more attention than it has gotten. This reissue includes two bonus tracks not included on the original release.

Evergreen - Evergreen

Code: [Select]

http://www.mediafire.com/?31yyxdtnvs5

[onewheelwizzard]

There are two bands called Feathers that both started making music around the same time, at least to my knowledge, and as far as I know they're both still together.  One was this weird psych-folk band and the other was a weird instrumental project with a lot of guest musicians.  Right now I'm pretty sure I only have an album by the former but I used to have a couple CDs by the latter that my brother has right now.  I recommend them both.  I'll upload the psych-folk ones tomorrow.

[Kai]

I have an EP by the instrumental Feathers that I might upload later today.

[valley_parade]

Should i only post things in MP3 format from now on?

YES.

[valley_parade]

The Avalanches - Gimix

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http://www.mediafire.com/?a1mftf1lch3

In an attempt to defray further spreading of bootlegged copies of an unfinished version of Since I Left You, the Avalanches began selling a tape labelled "Contains Elements of Since I Left You" at their gigs in mid-2000. Later on, the Avalanches' Australian label, Modular, issued the recording as a promo-only item and titled it Gimix. There are two reasons why the disc will never find commercial release: sample clearance and the money required to gain it. Within the 46 minutes of Gimix, which is essentially a DJ mix with tweaked stretches of Since I Left You interwoven to stitch it all together, a laundry list of guilty pleasures, pop favorites, and rare grooves are melded into each other in imaginative and often hilarious ways. Strange bedfellows are the rule. The exuberant refrain from De la Soul's "A Roller Skating Jam Named 'Saturdays'" pops up repeatedly throughout a block that takes in Blowfly's "Rapp Dirty," Ol' Dirty Bastard's "Baby Got Ya Money," Kid Creole & the Coconuts' "Stool Pigeon," the Avalanches' own "Close to You," the Jimi Hendrix Experience's "Crosstown Traffic," Cyndi Lauper's "Girls Just Wanna Have Fun," the Smiths' "The Boy With the Thorn in His Side," and Thomas Bangalter's "Turbo." (Just as key: the synth guitar freakout of the latter syncs right up with the flute from Men at Work's "Down Under.") There's no doubt that it's a purist's nightmare. The Beatles, Michael Jackson, The Mickey Mouse Club, and Bob Dylan, whose "Like a Rolling Stone" glides right over Madonna's "Holiday," each get thrown through the processor. It's too bad that the Avalanches don't have the funds to officially release mixes like this and have them pumped through every theme park and car wash on the planet.

[amok]

On a side note, I'm still disappointed that Peter Hook split from New Order.

You mean, that New Order died. NO ain't NO without Hooky in much the same way as Joy Division couldn't possibly go on being Joy Division without Ian.

(RIP New Order)

[pat101]

and now, Glass Candy!





They are on that compilation i uploaded a while back, maybe the best of the acts there.

Code: [Select]

http://www.sendspace.com/file/5j41is

Yes!

[amok]

Since the most recent post about these guys (according to the Search function) is a request for a re-upload from early December:

Okkervil River

down the river of golden dreams hxxp://www.megaupload.com/?d=Z2QQTW8M

black sheep boy hxxp://www.megaupload.com/?d=8BKYMGP3

the stage names hxxp://www.megaupload.com/?d=VDBY9NFO

I've been absolutely hooked on these guys since Johnny recommended 'em in the anaesthetic thread and felt like sharing the wealth. Get involved.

[Jughead5267]

Megaupload is SLOWWW

Ah Okkervil,you'll be mine in about 1/2 an hour...

[amok]

Man I remember when I had an old school bleep bleep blorp modem and getting a song in half an hour was an accomplishment.

[Scandanavian War Machine]

i say this often...but this thread is wonderful. it's actually wonderful-ing faster than i can handle.
i finally listened to this Deerhoof band that everyone raves about and i knew it was gonna be awesome from the first ten seconds of the first track; i could just tell.

i was right.

anyway, expect my gratitude in the form of at least one album later today or tonight.

[Gemmwah]

So considering I haven't posted anything in here yet, but I've taken some, I've finally taken the time to upload my favourite band's stuff for you.



Killola - Louder, Louder!

Code: [Select]

http://www.mediafire.com/?4balsv5ow2o


Killola - Live In England

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http://www.mediafire.com/?3v92dxzjjcm


And here's a collection of old demos and bonus tracks that i've got off the guys.

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http://www.mediafire.com/?3fhu3gwztzh
Also, they were voted #3 in the Hometown Heroes poll in AP this year.

For a band who operate out of their garage in Los Angeles, Killola have accomplished more than entire ZIP codes worth of garage bands. After forming in 2003, the post-pop outfit fronted by charismatic vocalist Lisa Rieffel, rode a MySpace wave into L.A. club stardom as they played alongside the likes of the Dollyrots and Phantom Planet. “I usually black out by the middle of the first song,” Rieffel says. “People tell me that I jump on fans, molest the drummer, throw up behind amps and lay on the floor in the crowd-but I can’t say I’m aware of any of that.”

After releasing their second full-length, I Am The Messer this month, Rieffel, guitarist Mike Ball, bassist Johnny Dunn and drummer Danny Grody now have more items in their discography than half of the entire Fueled by Ramen roster. They’ve released a DVD, an import 7-inch and a studio session of their self-booked 2007 tour of the U.K. What’s that? Can’t afford the cover charge for their gig? Just get their band name inked into your skin. “There are about 15 or so people with Killola tattoos,” says Rieffel. “Killola tattoo equals free show entries for life.”

[Landstander]

Is it wrong that I'm downloading this simply because the girl is hot?

Please tell me it's not.

[Scandanavian War Machine]

it's not wrong. i plan on doing the same shortly.

[Jughead5267]

Man I remember when I had an old school bleep bleep blorp modem and getting a song in half an hour was an accomplishment.

Ha! That was just my way of saying use mediafire next time. SO much faster...

[Landstander]

Man I remember when I had an old school bleep bleep blorp modem and getting a song in half an hour was an accomplishment.

Ah, the good old days. That was a simpler time that I often long for. If only I could still wait hours for an image of a dancing baby to load while watching Ally McBeal.

Not that I ever watched Ally McBeal.

[Scandanavian War Machine]

oh shit why would you remind me that ally mcbeal existed? i had totally cleansed my memory of that show, you bastard!

[KickThatBathProf]

Not that I ever watched Ally McBeal.

Of course you didn't.

Nobody watched that show.

Ever.

[Landstander]

Gosh, I feel just terrible now. Perhaps some more music will alleviate the situation. Here we have some A.R. Kane. Probably one of the most interesting yet under-appreciated bands of their era.

A.R. Kane - 69

With both early EPs and the M/A/R/R/S smash success behind them, A.R. Kane found themselves more than ready to go ahead with a full album in 1988, and did so wonderfully. It's safe to say that the start of the opening track alone, "Crazy Blue," resembles little else recorded that year or any other one -- a few plucked guitar notes, a sudden jazzy scat-vamp by singer Rudi with his truly unique voice, then a more direct poppish strum, the woozy line, "Ooooh...everything's gone crazy now," followed by a series of intense reverbed chime sounds and bongo-like percussion. From there on in, things take a turn for the strangely captivating in song after song. Never simply poppy nor completely arty, and definitely not just the Jesus and Mary Chain/Cocteau Twins fusion most claimed they were (admittedly song titles like "Spermwhale Trip Over" and "Baby Milk Snatcher" easily led to the description!), A.R. Kane here feels playful, mysterious, and inventive all at once, impossible to truly pin down. The best one-two punch on the record comes from "Sulliday," with buried, measured percussion and evocative drones, and "Dizzy," featuring a mesmerizing call-and-response by Rudi with himself, veering between more gentle, direct vocals and echoed shouts, eerily foretelling much of what Tricky would similarly do years later. An unfairly long-lost classic.

http://www.mediafire.com/?44t4d0m0og0

A.R. Kane - "i"

In retrospect, "i" now seems like a crystal ball prophesying virtually every major musical development of the 1990s; from the shimmering techno of "A Love from Outer Space" to the liquid dub of "What's All This Then?," from the alien drone-pop of "Conundrum" to the sinister shoegazer miasma of "Supervixens" -- it's all here, an underground road map for countless bands to follow. Breathtaking in its scope and positively epic in its ambitions, the album is loosely organized into four sonic suites containing four tracks each, broken up by a series of wild-card noise interludes; the music shifts and mutates constantly, growing progressively deeper and darker with each passing song. Largely overlooked upon its original release, "i" is still an underappreciated masterpiece, but it's inconceivable to imagine that electronica and post-rock could ever have blossomed without it.

http://www.mediafire.com/?dbo9qystjpn

[Scandanavian War Machine]

something for the kids.

Frank Sinatra - The Reprise Collection (disc 1)

Code: [Select]

http://www.mediafire.com/?emxentxkxmt
unfortunately i don't have the other disc(s). but this one is great by itself anyway.

[sandman263]

Man I remember when I had an old school bleep bleep blorp modem and getting a song in half an hour was an accomplishment.

I remember programming bleepy music on my Spectrum 128k (with integrated tape deck!), and striving, always striving, to create such classics that can be found at http://www.worldofspectrum.org/projectay/gdmusic.htm .

And the Internet wasn't even available outside of the military.

[Trillian]

Well this is my first post.  hooray!  I am working on uploading my "real" post, but until then I am leaving you with the following to tide you over.   




Oh You're So Silent Jens by Jens Lekman

Code: [Select]

http://www.mediafire.com/?5hgxui7gmpx

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.

Now, onto the uploading!   

[squawk]

Here is Middle Distance Runner's EP, released in October 2007. It is awesome pop.

Code: [Select]

http://www.mediafire.com/?dzy5yajnbmj

[Buttfranklin]

The Cure - Three Imaginary Boys



http://www.mediafire.com/?0fxs9dcrcim

Maybe it was youthful exuberance or perhaps it was the fact that the band itself was not pulling all the strings, Three Imaginary Boys is not only a very strong debut, but a near oddity (it's an admittedly "catchy" record) in the Cure catalog. More poppy and representative of the times it was made that any other album during their long career, Three Imaginary Boys is a semi-detached bit of late-'70s English pop-punk. Angular and lyrically abstract, it's strong points are in its utter simplicity. There are no dirges here, no long suites, just short bursts of energy and a rather strange cover of Hendrix's "Foxy Lady." For some, this is the last good Cure record, many fans of this album being in no way prepared for the sparse emptiness and gloom that would be the cornerstone of future releases. For the most die-hard Cure-head, however, it's an interesting sidenote, hard to place in the general flow of the band's discography. Cure leader Robert Smith has voiced many times over his mixed feelings about the record, most notably the cover art (the three "representative" appliances on the cover, the lack of a real track listing -- all the songs are represented with arty type pictures -- and in no real order) and the production, which at times is admittedly a little muddy, but even that lends it a certain youthful charm. What the Cure would do next wasn't entirely obvious to the listener of this album, but there are some definite hints.

Die Verbannten Kinder Evas - Dusk and Void Became Alive



Part 1
http://www.mediafire.com/?cjzntzamfmq

part2
http://www.mediafire.com/?cjzntzamfmq

Die Verbannten Kinder Evas (The Exiled Children of Eve) were once a goth metal band, but the nearly eight years since the Austrian group's last album has found them in a decidedly different musical space. Despite being released by the leading Euro-metal label Napalm Records, Dusk & Void Became Alive is, at heart, a modern gloss on '70s progressive rock of the Vangelis style. Bandleader Richard Lederer's acoustic and electronic keyboards are practically the only musical element, aside from some low-mixed drums and percussion, and the ethereal vocals of Christina Kroustali owe as much to Enya as anyone. The nine epic-length songs fairly scream out for a Roger Dean album cover featuring some sci-fi landscape for the listener to space out on while the album drones placidly in the background. Dusk & Void Became Alive is quite good as far as atmospheric space rock/prog goes, but listeners expecting something more aggressive based on the label's prior history might find themselves disappointed.

Iain Ballamy - Mirrormask OST



http://www.mediafire.com/?12ln00vm2nv

Director Dave McKean's MirrorMask, a film developed through the Jim Henson Company, is an elaborate fantasy that has been likened to a 21st century version of The Wizard of Oz or Alice in Wonderland in the sense that it follows a girl into a strange world, albeit a darker one than those depicted in such children's books. McKean imagined an extremely diverse background score. ("I wanted the film to sound like everywhere and nowhere," he writes in the liner notes to the soundtrack album.) And he has gotten it in the first such effort by jazz saxophonist Iain Ballamy, who, for his part, claims with justification to have created "a unique and eclectic soundtrack." Eclectic it certainly is. One minute an accordion is playing circus music (in keeping with the opening setting in a circus). Soon after, Eastern European music reminiscent of Kurt Weill (and later Tom Waits) appears, then a complex, fast-paced classical composition that sounds like something Frank Zappa would come up with ("Rabbit Band"). There are eerie passages that sound orchestral (although much of the music is programmed rather than played), and here and there the Scandinavian singer Josefine Cronholm turns up, notably in an odd-sounding, multi-tracked cover of the old Carpenters hit "Close to You." This is a long soundtrack album, running more than 74 minutes and including 30 cues, and, without reference to the film, it sounds like a lot of different soundtrack albums patched together. But maybe that's just a way of saying that the director got what he wanted.

Jan Johannson - Jazz på Svenska



http://www.mediafire.com/?5ybtdm56mop

Doesn't seem to have gotten a review, but he's a famous Swedish jazz pianist.  All the songs are instrumental.  Download it, it's good.

[GenericName]

The Cure - Three Imaginary Boys

Password?

[Buttfranklin]

Post fixed

[David_Dovey]

Baroness- The Red Album

Everybody should listen to this album.

[Crinte]

Blues blues blues blues blues.

A double-disc box set containing everything Robert Johnson ever recorded, The Complete Recordings is essential listening, but it is also slightly problematic. The problems aren't in the music itself, of course, which is stunning and the fidelity of the recordings is the best it ever has been or ever will be. Instead, it's in the track sequencing. As the title implies, The Complete Recordings contains all of Johnson's recorded material, including a generous selection of alternate takes. All of the alternates are sequenced directly after the master, which can make listening to the album a little intimidating and tedious for novices. Certainly, the alternates can be programmed out with a CD player, but the set would have been more palatable if the alternate takes were presented on a separate disc. Nevertheless, this is a minor complaint -- Johnson's music retains its power no matter what context it is presented in. He, without question, deserves this kind of deluxe box set treatment.

Disc 1
http://www.mediafire.com/download.php?3tnjovp0nuu
Disc 2
http://www.mediafire.com/download.php?8v1jjm10vo9

And there we go.

[imagist42]

Sea Wolf - Leaves in the River

This quote is actually about their previous EP, Get to the River Before It Runs Too Low, but most of it applies to this debut LP just the same.

AMG: Seattle producer Phil Ek (Built to Spill, the Shins) recorded a chunk of Sea Wolf's debut, Get to the River Before It Runs Too Low, in the studio, and the rest was recorded in Alex Church's living room. This homey setting adds a personal and intimate feel to his weary but warm acoustic-based songs about insecurities and heartbreaks. Despite these sad undercurrents, the majority of the album feels upbeat and affectionate. Imagine background music for a spring road trip with Tom Petty, Mark Knopfler, Jeff Tweedy and Conor Oberst. The tunes feel modern, but also classic and timeless, as if they were composed in a different era. Sometimes the instrumentation is heavily layered with cello, keys, and washed guitars, but the vibe always remains delicate and simple. These are five fine songs that gracefully play along the lulling pastures of introspective indie pop.

Code: [Select]

http://www.mediafire.com/?agmlzpjmnxx
256 Kbps mp3s.

[Liz]

Well this is my first post.  hooray!  I am working on uploading my "real" post, but until then I am leaving you with the following to tide you over.   

(etc.)

A damn fine first post. I love me some Jens.

[onewheelwizzard]

I just discovered this little gem ... a 46-minute mix in a single file with a lot of Since I Left You in it.

The Avalanches - Gimix

GIMIX is the grandaddy. Completed on May 13, 2000, it was released by The Avalanches to combat the bootlegs of their (unfinished) album which were finding their way around Australia and the U.K. It was available on the cassette "Contains Elements Of Since I Left You" for $10 at Avalanches gigs, as early as July 2000. In July 2001, a promotional GIMIX cd was put out by Modular Records Australia. Upon their US Visit in late 2001, some 'official' gimix CDRs were given to US radio stations.  -a site with a bumch of Avalanches mix tracklists on it

Code: [Select]

http://www.mediafire.com/?arys9jcygwp
This is SO GOOD.  Download it if you have ever enjoyed anything called a "party."

[Clintaga]

I'm uploading four albums here, but I need to stress that if you have any pre-made notions about Emo, please leave them at the door. I swear these albums are all worth a listen, regardless of the hipster propaganda rallying against our extremely effeminate regime. The truth is that I've been a hardcore Emo kid since Freshman year of High School, and while my tastes may have matured, I still regard these albums as some really great stuff.

Code: [Select]

http://www.mediafire.com/?7xmf02fwqvb
Saves The Day is a really cool band from Jersey and Philadelphia areas that perfectly capture those really great nights during High School, driving around with your friends, hitting up mad diners, and just generally running your town. This album got me through some incredibly rough times in my junior year, and I've always cherished it.

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http://www.mediafire.com/?06jfzcwnmh3
Coheed & Cambria have released a lot of total garbage, but this album is just a really hardcore sci-fi epic set to Prog-Rok Riffs and some Balls-in-a-vice-grip vocals. Just throw this on while your playing some videogames, and you'll see just how cool this jank can be.

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http://www.mediafire.com/?19fdeqyycty
I had to review this record in High School for my friends music blog, so this copy is a pre-release, but in my opinion these guys are some of the most Listen-to-able pop punk out there, and there live show is literally the most energertic punk show I've ever seen.

Code: [Select]

http://www.mediafire.com/?emaqhoymrdc
Thursday's Full Collapse was my very first burned CD from a friend, and I still have my original copy from like seven or eight years ago. This album epitomizes everything that Emo wants to be, and also captures a really good feel of what the genre is trying to do, and who they're paying respect to. If you skip all the other albums on this post, get this one at least.

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http://www.mediafire.com/?7amzmfed24o
30 Degrees to Nowhere is one of the best albums i've ever heard. It's the Godfather's of Emo, The Promise Ring, At probably the height of their creative swing. God bless these men and the music they make.

[Spinless]

NO!!!!
I can't go back to that dark place!
I...I made progress! What're you doing here?! Are you taunting me?! Are you trying to mess me up?!

[morca007]

Demons and Wizards - Demons and Wizards


Honest to Satan, this album rocks. I love listening to it, especially the apropriately titled 'Fiddler on the Green,' which sounds eerily calm and folkish in between awesome amounts of power metal. Just download it, and be prepared to have fun.
Editors note: Prior to getting this album, I though power metal was a joke.

Code: [Select]

http://www.mediafire.com/?0oksuzmbunv

[Misereatur]

As promised: John Wiese - Soft Punk

John Wiese
Soft Punk
[troubleman Unlimited; 2007]
Rating: 8.0

Soft Punk is the first full-length album released by California harsh noise and parasympathetic drone aesthete John Wiese on New Jersey's Troubleman Unlimited, an eager imprint that's been treading the turbulent waters between sonic abstraction and punk aggression for a decade. Through TMU's small-batch/good-records approach, bands like Growing and Double Leopards share shelves with Meneguar and Panthers (not to mention Glass Candy, Tussle and The Walkmen), meeting somewhere near the fuck-all eruptions of Wolf Eyes and now in the careful and meticulous, feverish and intoxicating noise of Wiese. Recorded between 2002 and 2005, Soft Punk is a zenithal intersection of everything Wiese has done right for the past decade: Collagist tendencies meet drone hyper-abilities; assaulting glitches and glissandos come buried between near silence and hair-raising volume; beauty is refracted through sonic brutality.

The title Soft Punk seems to have two functions, then: Like its brilliant cover art by Kaz Oshiro-- three bright pink Marshall amplifiers that are, as the back cover shows, simply stretched-canvas, three-dimensional paintings of such fantasy gear-- Soft Punk suggests looking and listening again, of rethinking that ugly noise/punk divide. Just when you think you have a handle on Wiese, he's onto something else. There's always a next level here. No, this isn't punk, and it's not soft. But it's not simple sheets of harsh noise, either. Wiese's constant push and pull and his eventual acquiescence to let things build and burn are capable of rock's epiphany and articulation, even if it's "just a bunch of god damned noise" in the end.

Soft Punk is a statement of process, too. Under the name Sissy Spacek-- which he uses for both solo work and collaborations-- Wiese manipulates and processes his own recordings and spews them back as ultra-damaged, something-like-punk, more-like-noise spasms. Here, he's sampling his punk rock friends again, stacking those sounds-- crowd cheers, drum rolls, drumstick counts-- on top and inside of his own. During "Snow Pit", Wiese concentrates on snippets from Olympia trio Die Monitor Bats, using a live set's beginnings, ends, and screaming innards as heavy construction paper and bright crayons. He drops drumstick counts into the mix four times, sprinting in wildly different directions after each. It's either "One, two, three, four, NEAR SILENCE" or "One, two, three four, OH SHIT! LOUD!" Take your chances, sucker.

Much like Japanese electronic composer Ryoji Ikeda, Wiese excels in making clean, precise cuts between drastically different sounds, building a drop-dead dynamic capable of stepping from almost-absent rumbles and hums to furious noise bursts. This is apparent on "PS2", where Wiese uses bait-and-switch, build-and-kill mechanics as his chief compositional tool. He buries valleys into peaks and somehow finds peaks that are higher and more rugged with uncanny persistence. A machine-gun rhythm reverses into a glitchy spasm, then settles into a pressurized monotone before ducking into near-nothingness. None of these sounds lasts for more than three seconds, but such vacillations never seem rushed with Wiese. He's always in control, the master of a sonic domain that reaches far-and-wide, high-and-low with enthusiasm and magnetism. It's as though he collects a world of sound and spits it out piecemeal-- methodically, dramatically, emphatically-- through a morphing matrix designed for ricochets. Falling in love with a sliver of sound only to be slapped senselessly by something totally unrelated? It's as maddening as it is exhilarating.

But the proof is in Soft Punk's center: During a three-track, mid-album stretch, Wiese eases into a neon pink drone, a beautiful sound that he just won't leave alone. He bends and shocks it, reshapes it, piles drums on top of it, overdrives it, and eventually altogether destroys it. When the track expires with a blitz of malformed waves, Wiese builds a perfect, long-tone aubade reminiscent of Jason Lescalleet's work on "The Pilgrim". For those who haven't heard it, "The Pilgrim" was Lescalleet's gorgeous 74-minute farewell to his deceased father, all gentle tones fanfaring gradually into outer space. For three minutes, Wiese sings a similar sigh, perhaps letting the body of the punk rock he's setting on fire burn away at the midpoint. And then, as he should, Wiese thrusts all of his weight into "New Wave Dust", perhaps the album's most chaotic, relentless, damaging track.

Power electronics? Oh my. Punk rock? If only.

-Grayson Currin, June 11, 2007

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[negative creep]

especially for emilio:

Jens Lekman - Night Falls over Kortedala

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