I finally post music! Hopefully I've done it right.
Boy's Life - Departures And Landfalls
2nd LP from these guys, couldn't find much on them on t'internet, but apparently they could be described as a cross between Drive Like Jehu and Fugazi (But also much more than that), indiemo, and sound better on vinyl. It's midwestern, mid-90s emo done, I dare say to perfection. Fantastic record.
http://www.mediafire.com/?fywmkxjwmdsBraid - Frame And Canvas
Allmusic:
These poppy math rock and emo veterans put together very technical pop melodies, often with time changes and beautiful interlocking melodic guitar parts, fused together with yelled/sung boyish vocals. Frame & Canvas proves to be one of Braid's best efforts — by the end of the first song, "The New Nathan Detroits," you know you will be humming these melodies in your head for at least the next few days. The album continues to mature throughout, providing a sense of heartbreak and sentimentality on amazing tracks like "A Dozen Roses" and "Breathe In." If you are looking for emo-pop with overflowing energy and highly skilled compositions, this is for you.
http://www.mediafire.com/?0znmm4wu2rfChamberlain - Fate's Got A Driver
Allmusic:
Very much a transitional work from a band that helped pioneer the Midwestern emo craze, Chamberlain's Fate's Got a Driver delivers more emotion in its 30 minutes than most bands do over the course of a career. The record is thought provoking and musically adventurous, a rare feat for a band whose members were barely past twenty when it was recorded. With nods to the Everyman side of Sunny Day Real Estate and the insistent melodicism of Fugazi, Fate's Got a Driver consistently impresses. It's all the product of lead guitarist Adam Rubenstein's thick, Fugazi-style progressions and David Moore's highly poetic lyrics. Rubenstein leads the way on standout tracks like the lockstepping "Yellow Like Gold," the instantly thumping "Her Side of Sundown" and the gorgeous, acoustic "The Simple Life," connecting the line between the Police's proto-pop-punk and the D.C. hardcore scene. Although he has to strain his voice at times to keep up with the constantly moving melodies, Moore proves to be well-versed in both Dylan Thomas and Bob Dylan, alternating between oblique metaphors ("chance is in her glass house, I know/But I know I'm throwing stones," he proudly proclaims in "Her Side of Sundown") and energetic summations of what may lie ahead ("Cause there's a world that I've gotta see/And it quietly waits for me," later in the same song). The rhythm section provides the cathartic underpinning so crucial to music of this nature. Especially on the incendiary "Drums and Shotguns," drummer Charles "Wigg" Walker transcends standard-issue hardcore stick work with perfectly placed fills and seamless dynamic shifts. An amazing achievement by such a relatively young band.
http://www.mediafire.com/?5fdedzcmkmdPlanes Mistaken For Stars - S/T EP
Allmusic: Was written by a bellend. So here's Pitchfork's review, which was as well, but at least here it's a bit funny to read.
One recent afternoon, something new and irresistible burst itself into my life. Planes Mistaken for Stars-- what a great band name! And what a great fuckin' band. I rock again, then. I throw myself around my bedroom like a muppet. Slow. Fast. Slow again. Really, really fast. The guys are screaming at me, and then they bring in that big, chunky guitar there, and then the high, tinny guitar for a second, before finally launching the outer- space chorus, guitar- arpeggio thing during the bridge that gives me just enough time to catch my breath. And then again with the boom- bap- boom- bap hardcore kick/ snare bit.
Still these guys are screaming at me, so I'm still rocking, and then they're just singing for a bit, which is nice, so I rock with some tender feelings. But then, they start screaming again. There's some shrieking banshee guitar and the guy is singing about breaking and hearts and winter and falling and stuff, and I rock with sadness for a while. Then the big chunky guitar comes back and my sad rocking turns to angry rocking. And the whole time with the boom- bap- boom- bap-- at least during the fast parts.
So there I am, muppet- limbed and sweaty, with the neighbors all gathered outside my windows to watch me rock. And the album ends. I stop rocking. I stand there and pant for a while. The crowd outside disperses and wanders off, bored again. Then my roommate comes in and asks me what I'm doing, and I tell her that I'm not sure but that whatever it is, I probably won't do it again for a while. She wonders if I wanna go get some food, and I tell her that sounds fine. So we leave.
That is some Achewood-style shit right there. Does Pitchfork always review like this? Planes are basically awesome, they moved towards a more metal sound with later albums, but this first ep is hardcore/post-hardcore burnt to a crisp and thrown in your face. Quiet/loud dynamics done perfectly. The best duelling vocals ever. This is anger, bitterness and regret delivered with passion and honesty. It makes me want to drink beer and yell about life, then wake up and drink another while I think about all the dumb shit I did when I was drunk before. Once you've heard the opening track, I defy you not to want to shout along “copper and staaaaaaaaaaaaaaaaaaaaaaaars!” each time you hear it from then on.
http://www.mediafire.com/?3m22xdhvgxz