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[Albatron]

Diablo man, Ziltoid is insane and awesome.

So the link pages back for Mogwai - Zidane - A 21st Century Portrait is down. Can I get a re-up?

I'll post some other Mogwai in return...

Mogwai - Rock Action

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http://www.mediafire.com/?3n0jmujhzqd
Mogwai - My Father My King

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

[squawk]

The Helio Sequence - Keep Your Eyes Ahead [2008] (320 kbps)



Pitchfork review

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http://www.mediafire.com/?kr0zjwzwd2z

The Replacements - Tim [1985] (VBR ~192 kbps)

No songwriter in memory matches Paul Westerberg's artful artlessness, the impression he creates of plumbing his heart as he goes along. Statements like "Hold My Life" and "Bastards of Young" are pretty grand when you think about it, but you don't notice in the offhand context of the tastelessly amorous "Kiss Me on the Bus" or the tastelessly resentful "Waitress in the Sky." So far Westerberg hasn't been touched by the pretension and mere craft that seem to be inevitable side effects of such a gift, and I see no reason to anticipate that he will be. With a band this there, presence is all. A-

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http://www.mediafire.com/?xgh4m2rxzia

[Liberalkid]

Pitchfork

After a dozen enjoyable listens, I popped American Water into the car stereo this weekend while cruising the hills of San Francisco and waited for a weak track. Forty- eight minutes and three record stores later I drove home convinced that D.C. Berman has crafted this autumn's most incredible record: twelve portraits of the American landscape that simultaneously beg to be played at every hour of the day, and reclaim the word "poetry" as part of the musical vocabulary. You heard it here first, folks. The Silver Jews have evolved from a Pavement side project into a full- fledged contender for the American indie throne.

American Water reunites Berman with Pavement frontman Steve Malkmus. It's not surprisingly then that most of the songs sound like they would have been just as at home on the last Pavement album, Brighten The Corners. The big difference? Someone must have convinced Malkmus he was Tommy Verlaine, because he delivers some of the most focused, inspired guitar work he's ever done. And then there's the addition of ex- Royal Trux bassist Michael Fellows, whose bluesy approach and punchy bass lines add immeasurably to the album's pastoral, timeless flavor. A muted horn solo here and some added textures there keep the arrangements fresh. It's obvious that a lot of thought went into this record, and every move pays off.

From the opening song, "Random Rules," you know the Silver Jews are onto something big, something which, in Berman's words, should be "hospitalized for approaching perfection." The first half covers considerable territory, from the midnight execution epic "Smith and Jones Forever" to the journey from Malibu to South Dakota in "Federal Dust." In the lilting pop ditty "People" Berman reels off in his laid- back twang one of many strokes of lyrical genius:

People ask people to watch their scotch.
People send people up to the moon.
When they return, well there isn't much.
People be careful not to crest too soon.

On the album's second half, the Silver Jews expand their magna cum Pavement sound to include honky tonk ("Honk If You're Lonely" is sure to become a college radio classic) and a few Dylan-esque takes on the rambling blues ("We Are Real," "Like Like The The The Death"). As the titles suggest, it's not always clear what the heck Berman is singing about. But in the pauses, and in the obtuse phrasing of questions like, "Is the problem that we can't see, or is it that the problem is beautiful to me?": somehow you know what he means.

Just how good is this album? A few years back I bought Silver Jews CDs to pass the time between Pavement releases. Now things may be the other way around. So all hail the Chosen People. It's time to take off your clothes and skinny dip in the American Water.

Silver Jews - American Water

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http://www.mediafire.com/?vle1gn3qxlx
Yes its that good.

[screamingfool]

some traditional andean music, if it sticks i've got more

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http://www.mediafire.com/?xfzz1kzlfoi

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http://www.mediafire.com/?1eszlndcku1

[a pack of wolves]

Frank Turner - Love Ire & Song

Hey... this is actually really good! I stopped paying much attention to Frank Turner's work when he did Million Dead so I wasn't really expecting to like this much, I just figured I'd give the guy another shot so I grabbed it. I'm glad I did, this is definitely the best thing he's done since Kneejerk.

Edit: I might as well throw some Kneejerk up.

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http://www.mediafire.com/?o1yxtss0zvu
Kneejerk - The Half Life Of Kissing

Since this is long out of print (and was limited to about 500 in the first place I think) I figured I'd put it up in case anyone was interested in where Frank Turner started out. Well not exactly started out, this isn't the pretty ropey first record Helpless I Cry (which does have a certain charm in a 'high school kids play screamo' way) or the split with Abjure, this is their posthumously released final album and the only one they thought worth bothering with by the end of their career. Not surprising really, they were really young when they started the band. Clearly influenced by bands like Refused and Canvas (who released their seminal album Lost In Rock the year this was recorded) Kneejerk started to introduce electronics and much longer songs, many clocking in at well over five minutes which is pretty epic for a hardcore band.

Admittedly, this record is quite patchy. In a way that's why I like it. This record is the sound of a bunch of kids that were enabled through DIY to make music, tour and release records, and finally becoming unafraid to have big ideas and try to run with them. It doesn't always work out but that's not the point, I love the fact that they were encouraged to go for it instead of playing it safe.

I'm also uploading it for the song Everything Starts To Melt. It's a searing, seven and a half minute blast of screamo and metalcore that collapses and ends with an acoustic outro. It's a really great song, if the whole album had been this good it would rank alongside Lost In Rock, Wreaks Havoc With The Inner Ear, Little Lights, Action Image Exchange and Stalingrad's self-titled CD as a classic of that era. Also, the acoustic finish seems to me to be referenced by Love Ire & Song from Frank Turner's new album, so it might be interesting if you like that song to hear it.

[valley_parade]

His first solo album was pretty good, too.

Frank Turner - Sleep Is For The Week

Following up on his debut EP Campfire Punkrock, Bahrain-born, London-based acoustic singer-songwriter Frank Turner makes his full-length bow with 2007's Sleep is For The Week. Former leader of the political punks Million Dead, Turner's solo records are more along the lines of very early Billy Bragg: social-minded rants and more personal lyrics performed mostly on acoustic guitar with minimal accompaniment. Turner is not Bragg's equal as a wit: indeed, an almost painful earnestness permeates songs like "Father's Day," a standard-issue generation gap song culminating in the my-how-perceptive line "For better or for worse, I am turning into you." It's not all as wet as that, however: the rueful "Ladies of London Town" is a self-deprecating dating song, and "A Decent Cup of Tea" comes closest to Bragg's knack for short-story-like lyrical detail. The album's twin highlights are "Once We Were Anarchists," a wry tune about the passions of youth colliding with the real world, and the simply charming "Back in the Day," a tune about hardcore punk's glory days, played on the banjo, that recalls the more recent, folky side of Half Man Half Biscuit.

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http://www.mediafire.com/?x4erjzhoemx

[ptownblazer]

Silver Jews - American Water

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http://www.mediaf!re.com/?vle1gn3qxlx
Yes its that good.

Not that it's a huge deal.  But really, you just have to put "silver jews" into the search box at the top there, and you will very quickly see that pretty much every silver jews album has already been posted and is still active at mediaf!re. 

[chainring]

Silver Jews - American Water

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http://www.mediaf!re.com/?vle1gn3qxlx
Yes its that good.

Not that it's a huge deal.  But really, you just have to put "silver jews" into the search box at the top there, and you will very quickly see that pretty much every silver jews album has already been posted and is still active at mediaf!re. 

Not that it's a big deal but what's the difference between a repost and a post that comments that a post is a repost? Or this post? 

At least a repost helps those that may have missed it the first time that don't search - like I don't.

My post and the post I'm commenting on are equally useless and I apologize in advance for wasting whatever posts like these waste.

[McTaggart]

American Water is good enough to have posted twice or three times. If you're not already anticipating the album that I've heard they have coming this year, then I urge you to hear their work.

[pat101]

Lookout Mountain, Lookout Sea, I think it's still in here I posted it a while back

[Liberalkid]

Usually I do a search.. but with an album like American Water, I didn't really see a reason considering how great an album it is.

[BookBookBook]

Here's my first contributions after usurping others'...

Bat For Lashes Fur & Gold

Bat For Lashes is the creation of Natasha Khan, a Pakistan-born, Brighton based songwriter. Her concept for Fur And Gold was to make something that started at dusk and finished up in the glorious sunlight. That gives you an idea of what this ethereal, cinematic, fantastical album sounds like.  Natasha's soaring howls, whispers and joyous singing are the main focus here. As beguiling as Bjork, as stunning as Sinead O'Connor and as dramatic as Kate Bush, it is her voice that dominates. The often minimal backdrop of haunting strings, unusual percussive instruments and drum machines provides the perfect accompaniment.  "What's A Girl To Do?" with its dreamy vocals and dramatic bassline is a highlight while "Prescilla" has a magical uplifting quality. What sets Bats For Lashes apart from the usual crop of indie bands is the originality of the songwriting. With its lyrical roots in fairy tales and nursery rhymes, Khan sings of forbidden desire, sinister dreams and magical kingdoms.  Mature gothic sounds for those willing to be whisked off to beautiful faraway lands.

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http://www.mediaf!re.com/?matijm3zkyg
Bonnie "Prince" Billy Summer In The Southeast

Will Oldham is inexhaustible as well as unpredictable. This live set recorded during the summer of 2004 goes out of its way to trash his well-crafted American gothic persona. With a four-guitar front line that includes David Bird, Matt Sweeney, and Pink Nasty (who also contributes vocally throughout), Ryder McNair on piano and organ, drummer Peter Townsend (no relation), and brother Paul on bass, Oldham rocks up most of his Bonnie "Prince" Billy shelf and a tossed-in Palace number to shatter the reverence of his earlier live offerings. This one is loose, raw, and full of crackling energy and force. Check the live version of "I See a Darkness" or "Death to Everyone." But this also comes off as a dark, fierce record of broken love songs, as if Oldham is trying by means of this very electric rock & roll band to exorcise the demon of love gone bad -- very bad. And while it's true that these songs have been recorded before, they've never come off like this, like a man at the end of his rope yet refusing to give up the ghost. "A Sucker's Evening" snarls and swirls as Oldham twists and turns each word in his mouth as if it were bitter soiled fruit he needs to spit before it poisons him completely. Country, garage rock, American poetic bile, and sheer venomous energy fuel this terrific set that ranks among Oldham's finest moments on record.

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http://www.mediafire.com/?mzjk4422yuj
Basquiat Strings Basquiat Strings

Inspired, according to cellist/leader Ben Davis, as much by the vibrant string groups of Transylvania and the 'luxuriously rich' Brahms sextets as by the jazz of Charles Mingus, the music of Basquiat Strings (Emma Smith and Vicky Fifield, violins; Jenny May-Logan/Nell Catchpole, viola; Davis himself, cello; Richard Pryce, double bass) is nudged and embellished on this absorbing album by the discreetly sympathetic, characteristically subtle drumming of Seb Rochford.
The quintet's repertoire, which ranges from infectiously rhythmic original pieces drawing on, say, Macedonian or Hungarian music to ethereally hovering, intriguingly textured explorations of Wayne Shorter's 'Infant Eyes', Ornette Coleman's 'Lonely Woman' and Joe Zawinul's 'In a Silent Way', does not so much bridge the apparent division between jazz and classical music as simply refuse to acknowledge its existence.
These are (to strain a metaphor somewhat) not classical musicians who've learned jazz as a 'second language', but fluent, naturally 'bilingual' players wholly imbued with jazz's improvisational facility.
Davis, whose avowed aim with this band is 'to establish ways of playing together that give rhythmic drive and support for improvisation – to make a string sound that is as natural as a classical string quartet or the Hungarian string groups', has never sounded more at home than he does here; whether soloing or contributing to the rich, sonorous string drones underlying others' solos, he displays a deft sureness of touch that renders the whole project as memorable as it is arrestingly enjoyable.

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http://www.mediafire.com/?a106zynztqy

[pilsner]

Tierney Sutton - Dancing in the Dark

Tierney Sutton is neither a “snake charmer” (in 1940s parlance), nor a “chanteuse” (in anemic 21st century vernacular). She is a jazz singer (to the moronic print and advertising media who ineffectually write about her as if her talent were mere aptitude). Ms. Sutton is no stranger to the electrons floating in this space (nor to this critic). She is very much a living, breathing artist existing just short of exultation. She stormed the jazz scene in 1998 with a win at the Thelonious Monk Jazz Vocal Competition, recorded her Telarc debut, Unsung Heroes in 2000, and never looked back. Since then, she has made two more recordings , well received and betraying an acute talent that cannot be minimized by poor promotion or critical evaluation.

On her fourth Telarc recording (her fifth overall), Ms. Sutton turns her attention to the Frank Sinatra songbook. Spurred on by her longtime trio, Ms. Sutton highlights some surprises from the songbook. There is no “I’ve Got You Under My Skin,” “Angel Eyes,” or “In The Wee Small Hours” on this recording. The expected staples include “Last Night When We Were Young” and “Fly Me To The Moon,” while the remaining pieces come from Sinatra’s “dark corners.”

“What’ll I Do” opens the disc with a beautifully strange bass rondo by Trey Henry that extends halfway through the first chorus before transforming into a slow, lush kiss with Christian Jacob’s impressionistic pianism. The band unites in a perfect ballad tempo, slow and considerate. Flying on a plush set of strings arranged and conducted by Jacob, Ms. Sutton coos her way through this Irving Berlin standard. In a perfect way, “What’ll I Do” sets the stage for the rest of the recording.

With daring and bold arrangements, Ms. Sutton and her band redefine jazz vocals in a manner just to the right of what Cassandra Wilson has done in the past number of years. Tierney Sutton chooses to pioneer new inroads in jazz vocals with the standard instruments, choosing inventive and bright arrangements where Ms. Wilson does the same with less standard instrumentation. “Fly Me to the Moon” is not the bouncy lyric of Sinatra as much as it is a fast, hip lullaby. “Where or When” is much the same way, opened by Henry with accents by Jacob and drummer Brinker.

Dancing in the Dark is a super tribute to both Ms. Sutton and Mr. Sinatra

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http://www.mediafire.com/?pna4ncttjb9

[Jackie Blue]

I will seriously never understand why people prefer American Water to Starlite Walker or The Natural Bridge.

[McTaggart]

I don't, but I still think it's a really good album.

[Liz]

It’s not often that I hear something that truly takes my breath away, but when I listened to the latest offering from Austin's Shearwater, Rook, I was blown away. From the moment you listen to the album you are almost forced back into your seat.

As the album moves through you are treated to not only one of the most amazing voices I have heard in a long while, a voice so strong that it puts really vivid images into your mind and concerns itself with humanity’s effect on the earth and its environment. Mixing a generous, but perfect, balance of rich instruments such as harps, stings and woodwind to add atmosphere to the music

This is not just an album, it’s a musical story, a journey. A mind blowing album combining a multitude of different sounds, paces and emotions. This is an album that is unearthly in its grandeur, it deserves your respect.

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http://www.mediafire.com/?wgnylnd0ydd

[IrkanInvader]

Because I love you guys so much and because I feel like a complete mooch otherwise I have something for you all;

Ghostland Observatory - Paparazzi Lightning

Code: [Select]

http://www.mediafire.com/?sharekey=4cff40d500d013f77069484bded33bcd1d5c29d6528dd500
Sorry if I screwed up, let me know if I did.

[mod_a]

Bat For Lashes Fur & Gold

Bat For Lashes is the creation of Natasha Khan, a Pakistan-born, Brighton based songwriter. Her concept for Fur And Gold was to make something that started at dusk and finished up in the glorious sunlight. That gives you an idea of what this ethereal, cinematic, fantastical album sounds like.  Natasha's soaring howls, whispers and joyous singing are the main focus here. As beguiling as Bjork, as stunning as Sinead O'Connor and as dramatic as Kate Bush, it is her voice that dominates. The often minimal backdrop of haunting strings, unusual percussive instruments and drum machines provides the perfect accompaniment.  "What's A Girl To Do?" with its dreamy vocals and dramatic bassline is a highlight while "Prescilla" has a magical uplifting quality. What sets Bats For Lashes apart from the usual crop of indie bands is the originality of the songwriting. With its lyrical roots in fairy tales and nursery rhymes, Khan sings of forbidden desire, sinister dreams and magical kingdoms.  Mature gothic sounds for those willing to be whisked off to beautiful faraway lands.

Code: [Select]

http://www.mediaf!re.com/?matijm3zkyg

Great album.

[Tom]

Sorry if I screwed up, let me know if I did.

In my books, you didn't but you might want to fix your post up a bit.

[Hat]

Ok so over the course of the next week or so I am going to be giving the mediaf!re thread a bit of a crash course in Australian dance music/electro-pop/dance punk/whatever. Today's entry focuses entirely on probably one of the more prominent bands around at the moment, the Presets. I'm not personally the biggest fan, but people seem to enjoy making noise about them, and they make fairly listenable albums, so I thought I'd start here, with their two LPs, and their Blow up EP, which I enjoy quite immensely when I am in the right mood.

The Presets - Blow Up EP

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http://www.mediaf!re.com/?bbv5skpbyq1
Not really similar in sound to their later work, kind of reminiscent of NIN, very 80s influenced, I couldn't find a good review of it, but give it a whirl.

The Presets - Beams

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http://www.mediaf!re.com/?jrfvjbjmgb1

The Presets' first full-length record differs slightly from their more happy-go-lucky Aussie dance compatriots, mostly for aesthetic reasons. The detached nature of Beams is more about subtle darkness and underlying sinister intentions, as evidenced on the slow-building opener, "Steamworks" -- which begins with the bassline from "Billie Jean" and moves into much more explosive sonic territory (and a rave horn for good measure). Beams represents a uneasy yet unforgettable combination of '80s gaudy pop flair and dark, propulsive rave beats, all with an unsubtle sense of humor.

The Presets - Apocalypso

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http://www.mediaf!re.com/?jxatzdf4xc5

[diablo_man]

link

Sorry if I screwed up, let me know if I did.

yes, you did. in an effort to make this thread untraceable we put the links in code tags. so either put you link in between them like,

Code: [Select]

link or highlight the link and press the code button(the # sign, above the afro smily)

thanks

[myfaceisacity]

looking for stuff with a lot of piano and/or strings. horns would be nice too.
along the lines of post-rock kind of style, but anything else would definitely be appreciated.


p.s. not requesting albums, just names of stuff to look into.

p.p.s. posting some albums in a bit, last time i tried the wireless network at school wasn't having it 

[Tom]

Presets

Thankyou, I've been meaning to get some of their stuff since I got hooked on it at camp. Also, looking forward to more Australian music.

[Ballard]

Here's all three installments of the Verve Remixed series. The AMG reviews, while harsher than necessary, are right. Remixes are a difficult medium if you're looking for consistency. These three records, however, are still completely worth it and a fucking great listen.



Verve Remixed

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http://www.mediafire.com/download.php?vzwczaj10dz

More than ten years on from the first whisperings of a dance revolution, there are scores of solid producers in the scene, figures with all the talent, historical knowledge, and judgment necessary to rework most any tracks from the Verve archive. Surprisingly, Verve Remixed strays from the label's crossover-heavy '60s and '70s material (the records usually name-checked by dance producers), preferring instead to tackle serious classics from the canon of vocal jazz, focusing especially on female vocalists: Billie Holiday (two songs), Ella Fitzgerald, Sarah Vaughan, Dinah Washington, Nina Simone, Carmen McRae, and Shirley Horn. As is nearly always the case with tributes or remix albums, the results are mixed; several productions triumph in either equalling or enhancing the intent of the original, but too often a complex arrangement of a pop standard is trampled by insistence on a constant groove, whether it's of downtempo or more clubby house origin. British garage producer MJ Cole provides a few good vibes underneath Carmen McRae's "How Long Has This Been Going On?," but, in so doing, utterly destroys the pace and rhythm of the original. dZihan & Kamien are given the unenviable task of redoing Billie Holiday's "Don't Explain," and seem utterly unable to find a middle ground between all or nothing (of course, there isn't much of a middle ground on most dancefloors). The most intriguing collaboration on paper, a take on Holiday's classic "Strange Fruit" by nightmarish trip-hop star Tricky, suffers from the same strange quality: it's a great production, but shows little understanding of the arranging skills necessary to frame a great singer. The best track here, Richard Dorfmeister's grooving house take on Willie Bobo's "Spanish Grease," proves the point perfectly; the original was a laid-back jam (not a standard), and the remix coaxes a superb house production out of it. Too many other contributions here are unable or unwilling to spend the hours necessary to craft traditional pop.

Verve Remixed 2

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http://www.mediafire.com/download.php?1zytyzivpyi

Verve Remixed, Vol. 2 can't be considered a complete success, though it certainly represents a valiant effort by compilers and remixers alike to reimagine 14 more classics from the Verve catalog. Even more so than on the first volume, this remix album benefits from the informed matchings of original performance with remixing artist, by producers Dahlia Ambach Caplin and Jason Olaine; if modern disco maestros Metro Area can't conjure a piece of genius music from the deep-groove Latinized funk of Hugh Masekela's "Mama," then it's mission impossible. Likewise, bits-and-pieces sampling maestro Matthew Herbert is the perfect choice to take on Oscar Brown, Jr., a fellow loungecat, though from a previous era, and Gilles Peterson himself could barely have imagined setting loose Dan the Automator on Willie Bobo's classic boogaloo tune "Fried Neckbones and Some Home Fries" or allowing Koop to recontextualize the sweet melancholia of Astrud Gilberto's "Here's That Rainy Day." Unfortunately, a dream often butts heads with reality, and these 21st century remixes not only don't upstage the originals, but in several cases, wilt even as solid dance tracks. Excellent, imaginative producers such as Mr. Scruff or Felix da Housecat or Miguel Migs simply don't function as well with this material forced on them, even if it's material they enjoy. Several of these tracks, however, do work in splendid fashion: Mondo Grosso's Shinichi Osawa does a great job by simply grabbing the hook (plus a bit of the solo) from Archie Shepp's "Blues for Brother George Jackson" and crafting a pumping house track out of it, while Gotan Project injects the perfect sense of gypsy swing into Sarah Vaughan's beguiling "Whatever Lola Wants." Many parallels exist between classic jazz and modern dance, and many artists from the one have influenced the other, but combining the two still demands a sense of perspective and humility that these producers don't possess.

Verve Remixed 3

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http://www.mediafire.com/download.php?s4eumttecnv

As with the two preceding Verve Remixed releases, the third installment of jazz classics from the Verve vaults -- remixed by modern electronic producers and mixers -- toes the line of consistency throughout its 13 tracks. Taking a decidedly different route than the first two installments, Verve rolled the dice and collaborated predominantly with artists known for their work in hip-hop and indie rock, thereby stretching their comfort zone beyond the predictable enclave of electronic dance producers influenced by jazz. The results pay off here and there: just listen to the Postal Service's remix of Nina Simone's "Little Girl Blue." At times, Simone's voice seems largely out of place with the Postal Service's vibrant, bouncy beats and happy synth lines, but the reverence shown to her original recording is obvious throughout the remix. The same can be said of the Brazilian Girls' reinterpretation of Blossom Dearie's "Just One of Those Things." Unfortunately, there are times when even the best of intentions fall short of the mark, with remixes not only failing to give the original an interesting or appealing new treatment but, as a result, doing the songs a great disservice to boot. The remixes by Adam Freeland and Sugar Daddy show an apparent disregard for the original compositions altogether, while techno guru Carl Craig, on the other hand, follows in Metro Area's footsteps (their cut from Verve Remixed, Vol. 2) and remixes Hugh Masekela's "The Boys Doin' It," but any parallel between the two remixers stop there. Craig's reinterpretation is decidedly darker, rigid, and more claustrophobic than the Brooklyn disco duo's. It's also a mild disappointment, as Craig's remix work has few rivals in the electronic world, and this one simply doesn't add up to some of the moments in his impressive canon. There are some excellent remixes here, however, from RJD2 and Danger Mouse -- and given this context, they are indeed noteworthy of praise, with excellent work as well on Lyrics Born's outstanding remix of Jimmy Smith's "Stay Loose."

[kabukibc]

(Verve Remixes)

Wow, thank you!

[pat101]

I will seriously never understand why people prefer American Water to Starlite Walker or The Natural Bridge.

more



perhaps?

[imapiratearg]

Actually, it's because of "Honk If You're Lonely."

[Ballard]

(Verve Remixes)

Wow, thank you!

No problem, enjoy them!

[imapiratearg]

They were brought up in the Criminally Ignored Bands thread, so here they are:

The Appleseed Cast - Peregrine

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http://www.mediaf!re.com/?vbnlewd30me
The Appleseed Cast - Two Conversations

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http://www.mediafire.com/?v57odlnzix1
Enjoy!

[Tom]

Peregrine is really good, it's a like a combination of Low Level Owl, I'll up load both parts tonight, and Mere Vitalis

[imapiratearg]

They kind of remind me of both Annuals and American Football at the same time.  Also, Editors a bit, too.

[orangepeas]

Some more Evergrey

The Dark Discovery (1998)

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http://www.mediaf!re.com/?420fnltxt3d
Solitude, Dominance, Tragedy (1999)

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http://www.mediafi!re.com/?jynj2jziwsn
Recreation Day (2003)

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http://www.mediaf!re.com/?xmjsdvns13n
The Inner Circle (2004)

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http://www.mediaf!re.com/?zyjwcckemcx
Monday Morning Apocalypse (2006)

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http://www.mediaf!re.com/?n0xmmzlm9tm

[diablo_man]

alright, with a few exceptions there hasnt been much metal posted in this thread, cheers to the guys who put up stratovarius, rwake and cult of luna, so ive made it my "mission" to inject some more double bass and dissonant guitar in  here.

this time, im putting up a really brutal one, (not if you just like listening to metallicas more melodic songs)
ive been listening to metal for a year or two, and only just got into these guys. that said, if you like the growling, often fastpaced, super heavy metal with intense rhythm sections and an exotic feel, then give these guys a shot


Nile - Annihilation Of The Wicked

Nile is a brutal / technical death metal band from Greenville, South Carolina, USA assembled in 1993. Their music and lyrics are inspired by Ancient Egyptian mysticism, history, religion, art, and the writings of H. P. Lovecraft.
Nile's music is written mostly by founding member and vocalist/guitarist Karl Sanders. It combines traditional and technical death metal with elements of Middle Eastern music, incorporating traditional Egyptian instruments in some songs. Nile's music is also characterized by its extreme complexity and speed – for which the band has received acknowledgment from many music fans and journalists[citation needed] – and its extremely "heavy" riffing, due to Nile's guitar and bass tunings.

The lyrical content is based on Karl Sanders' interest in Egyptology and other ancient Middle Eastern cultures such as Mesopotamia. Lengthy sleeve notes are included with the albums Black Seeds of Vengeance, In Their Darkened Shrines and Annihilation of the Wicked, explaining the inspiration or source for the lyrics of each song.

Annihilation of the Wicked is the fourth full-length album by American death metal band Nile. It was released on May 23, 2005 through Relapse Records. The album continues in the same thematic vein of Nile's previous works, drawing heavy inspiration on ancient Egyptian history and the writings of H. P. Lovecraft. Annihilation of the Wicked produced one single: "Sacrifice Unto Sebek". This album marks Nile's last record released from Relapse Records.

Code: [Select]

http://www.mediaf!re.com/?mvgyr3rm2y0

[look out! Ninjas!]

re-up of owls s/t album for look out! Ninjas!

Code: [Select]

http://www.mediaf!re.com/?jtvntmwj4xd

Robert Boyle, you are not awesome. Thus, Not Robert Boyle is awesome.

I have some live bootlegs from the Owls. One of them particularly is very interesting, the songs are still in the relatively 'early' stages. The music is mostly complete, but a lot of Tim's lyrics and singing is completely improvised and totally different to how they appeared on the album. Obviously, the sets include the obligatory cover song, in this case "Under Pressure".
The audio quality is rather good for the earlier show, not so good for the later show.

I'll upload it if 8 of you say "Yes please Mr. Darryl, sir"
1 person for each track of the studio album.

Thank you Mr. Darryl, sir

[morca007]

Posting to say Ed Rec Vol.3 is frakking awesome.
Also I found volume 2, here it is:

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http://www.megaupload.com/?d=6FBTKHWGTo protect and entertain
                                  \
                                   

[Sox]

Did that Spinless guy ever upload any of those bootlegs he promised? I don't remember if he did. what a jerk.

[KvP]

Fucker was never good for nothing.

Since they got devoured, I will re-up some Buck 65 tour CDRs I have. Tomorrah.

[look out! Ninjas!]

Watch this space for The Panic's Cruel Guards
I tried to upload it but mediaf!re threw a shit at about 50%
Its bloody good though. JJJ over here in Aus named it best aussie album of the year and they aren't wrong.

EDIT: Its up!

With their latest long-player Cruel Guards, Perth five-piece THE PANICS have effortlessly surpassed expectations set by their earlier recordings. A gorgeous record replete with the band's trademark dreamy, cinematic soundscapes and Intelligent and evocative lyrics, Cruel Guards is as original as it is uniquely Australian. We fell in love with lead single Don’t Fight It on the first listen and were equally beguilled by the rest.

Jae Laffer, frontman of the band says: “Without triple j’s support The Panics would have found it very difficult to have gained a national profile. To be up for our second J Award nomination is very much a privilege. The J Award is equivalent to receiving Australia’s highest honour in music. I think it is dead cool that it is an award that is specifically for an album as a body of work rather than purely rewarding chart position or popularity.”

The Panics (Jae Laffer, Drew Wootton, Paul Otway, Julian Douglas and Myles Wootton) formed in high school when Jae Laffer and Drew Wootton met on the first day of term. It’s since been a slow and steady build for The Panics. Since forming in Perth, The Panics released two albums independently including A House On A Street In A Town I'm From (2003) and Sleeps Like A Curse (2005) which was nominated for a J Award and received a raft of critical acclaim. The band went on to spend time in England, performing at the UK's In The City Music convention twice and supporting The Happy Mondays.

Cruel Guards was completed at BJB studios in Sydney earlier this year. The basis of several of the tracks stem from home recordings the band put down in the house they share in Collingwood while further additions were made during sessions in New York City.

Cruel Guards was produced by the band and Scott Horscroft (The Sleepy Jackson, Silverchair) and mixed by Victor Van Vugt (Nick Cave, Beth Orton).

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http://www.mediafurry.com/?js0tqroyemp(you know what to change)
 

[michaelicious]

Did that Spinless guy ever upload any of those bootlegs he promised? I don't remember if he did. what a jerk.

He sure did. Still a jerk, though. 

[Herzapplikator]

I don't think so, actually. I'm sure someone else has them, though. What about you, Sox?


Posting without reading is one of my new habits, it seems. I remember using the search function to check this thread for "owls", and since nothing of relevance popped up, I figured they weren't uploaded. I was wrong.

[Broken_Drum]

Nouveau- The Pax Cecilia

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http://www.mediafire.com/?daeiznx1dzb
Genre: Post-Metal

This album wasn't added until a couple months after their addition to the PA, therefore very few people here including the owners of Blessed are the bonds even know of this albums existence. This is a shame cause it really is a great, brutal album, with influences that you are in blessed, but are a little more smoothly, and aren't controlling the songs. I'd venture to say that I like this album better.

With so many influences the Pax cecilia takes on, there is one that dominates this album, HARDCORE. I love this genre of metal, it's abrasive, it's technical, and it's got an emotional edge, sadly I can only listen to a little at a time before needing to turn on some sigur ros or something before my head explodes. Nouveau manages to somewhat balances the sheer brutality and the softer more brutal parts though, leaving you with a somewhat more functional album, and if you read my blessed review, you know that's a big deal to me. Most of the time the album fluctuates between really soft post rock arpeggios, with barely hummed words, and brutal twin guitar lead lines, and an extremely agitated scream, very little in between. This brings up some pros's and cons. Con, lack of diversity, though there are some nice piano jams in the instrumental sections, there really is very little outside the hardcore shell. Pro, keeps you on edge, and is very satisfying when you want some down to earth brutal music. One other not so good thing is that there is an extreme lack in clean vocals, which is a shame, cause his voice was so good in in the next album, but don't get me wrong there is some cleanness.

Along with all of this, there is a lack of experimental instrumentation that they will acquire in the next album, but strangely enough, I don't miss them... Last, the recording quality is a little below par, the vocals are a little under mixed, and the snare is a little over muffled. Aside from all of these a very solid album, three and a half stars.

[johnny5]

some Will Oldham albums

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There Is No-One What Will Take Care of You - Palace Brothers (7 June 1993)

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http://www.mediafire.com/?7ux5nejyui3

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Days in the Wake - Palace Brothers (29 August 1994) (first release was titled Palace Brothers)

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http://www.mediafire.com/?9c1yylg2exg

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Hope - Palace Songs (1994) (mini album)

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http://www.mediafire.com/?hifigjd8jhz

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Wilding in the West - Bonnie 'Prince' Billy (21 January 2008)(live album)

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http://www.mediafire.com/?0lmljntwue1

[imapiratearg]

Many pages ago...someone uploaded the Talking Heads' More Songs About Buildings and Skyscrapers.  I can only find .flac and .ogg torrents, and I was looking for specifically .mp3 or .m4a.  If anyone would happen to have it in either of those formats, a re-up would be much appreciated.

[giantstairs]

Watch this space for The Panic's Cruel Guards
I tried to upload it but mediaf!re threw a shit at about 50%
Its bloody good though. JJJ over here in Aus named it best aussie album of the year and they aren't wrong.

not my link but...

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http://www.megaupload.com/?d=5K1XZE9S

[Ballard]

In honor of my joining my local Rocky Horror shadowcast, here's The Rocky Horror Punk Rock Show.



The Rocky Horror Punk Rock Show

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

The Rocky Horror Punk Rock Show is an album featuring the soundtrack of the 1975 cult film The Rocky Horror Picture Show as performed by modern punk rock bands. The album was released in 2003 on Springman Records.

Track Listing:

1. Science Fiction/Double Feature - Me First and the Gimme Gimmes
2. Dammit, Janet - Love Equals Death
3. Over at the Frankenstein Place - Alkaline Trio
4. The Time Warp - The Groovie Ghoulies
5. Sweet Transvestite - Apocalypse Hoboken
6. The Sword of Damocles - The Independents
7. I Can Make You a Man - Pansy Division
8. Hot Patootie/Bless My Soul - The Phenomenauts
9. I Can Make You A Man (Reprise) - The Secretions
10. Touch-A, Touch-A, Touch Me - The Chubbies
11. Once in a While - Big D and the Kids Table
12. Eddie's Teddy - Swingin' Utters
13. Planet, Schmanet, Janet - Tsunami Bomb
14. Rose Tint My World/Floor Show - Luckie Strike
15. Fanfare/Don't Dream It - Stunt Monkey
16. Wild and Untamed Thing - Gametime
17. I'm Going Home - The Migranes
18. Super Heroes - Ruth's Hat
19. Science Fiction/Double Feature (Reprise) - The Ataris

[michaelicious]

Many pages ago...someone uploaded the Talking Heads' More Songs About Buildings and Skyscrapers.  I can only find .flac and .ogg torrents, and I was looking for specifically .mp3 or .m4a.  If anyone would happen to have it in either of those formats, a re-up would be much appreciated.

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

[imapiratearg]

Oh man, did I really type "Skyscrapers?"

I meant food.  But thank you, sir!

[sean]

Nouveau- The Pax Cecilia

Thank you thank you thank you! I've been trying to get my hands on this for a while!

[michaelicious]

Oh man, did I really type "Skyscrapers?"

I meant food.  But thank you, sir!

I didn't even notice, to be honest

[E. Spaceman]

Not too long ago it was New Releases Night at my fave record store and i bought some stuff to share with you kids (yes, i am that sad)
.





Electrica Miami is a solid mexican electronic project that makes good, solid electronic pop. There isn't really all that much I can say about them except that they are real good!

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

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http://www.mediafire.com/?xc2i452pjzj


This album sounds exactly like the cover and every single one of you should get it.