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[Joseph]

Where were you guys when we were uploading free jazz?

That was fun.  But not enough others were uploading it.  It should start again.

I'll put up John Zorn's The Big Gundown and Spy Vs. Spy soon.  Maybe a bunch of Pharoah Sanders as well.

[KickThatBathProf]

yesyesyesyesohpleaseyesJohnZornohyes

he is quite amazing

[Joseph]

In the meantime.  I uploaded this for my ladyfriend, and have decided to share it with all you kind folks.  Definitely a wonderful album/box set, one of my favourite pieces of music that I own.  It's one album, in between two EPs, rereleased in a three disk set.

Current 93 - The Inmost Light Trilogy

Code: [Select]

http://www.megaupload.com/?d=BLLW0880

Current 93 hit the hight point of their career with the album at the center of this trilogy: 1996's All the Pretty Little Horses was and is the most perfectly rendered artistic statement that David Tibet and company have created. This will sound like blasphemy to the legions who jumped aboard the apocalyptic folk train with last year's Black Ships Ate the Sky, but trust me: I know what I'm talking about. This album is much, much better than Black Ships, and I unreservedly consider it to be one of the finest albums ever recorded.

In 1992, Thunder Perfect Mind exploded everything for which Current 93 had been known. Up to this point, Tibet and company had always been reliable purveyors of grim, post-industrial soundscapes: noisy loops punctuated by sinister nursery rhymes, possessed chanting and the occasional, quasi-satirical dip into traditional English folk. However, TPM was an inestimably huge advance for Current 93, a stunning concept album that finally gelled in its sincere and heartfelt recreation of British psych-folk, with lyrics that were fully invested with Tibet's now familiar blend of cryptic poetry, existential musing and teleological obsession. The bar was set very high indeed, but remarkably, 1994's Of Ruine or Some Blazing Starre upped the ante once more, a gorgeous song suite that married Michael Cashmore's brilliant and minimal arrangements with Steven Stapleton's hallucinatory audio wizardry, with a set of texts that were the equal or better of TPM's finest moments.

David Tibet was creating his own world, with a sound to call his very own, laboring away in relative obscurity, but slowly building a loyal fanbase that would hang on his every word. This fanaticism would pay off with Current 93's next release, an album so well conceived and executed that it can take its place among the masterpieces which clearly inspired it: The Incredible String Band's The Hangman's Lovely Daughter, Comus' First Utterance and Shirley Collins' The Power of the True Love Knot. In 1996, Current 93 released the conceptual trilogy The Inmost Light, consisting of two EPs bookending the centerpiece album All The Pretty Little Horses, each part released separately over a span of months.  This new triple-disc foldout digipack reissue on Durtro Jnana unites all three parts of the trilogy, giving them the remaster treatment (which, incidentally, is virtually undetectable), and including a full lyric booklet and gently modified artwork. If you've already got all three CDs in their original World Serpent incarnations, there is not much to recommend this set, other than the opportunity to experience anew the many treasures of a timelessly great album.

Where the Long Shadows Fall, though it is haunting and affecting, is in many ways the weak link of the trilogy. Upon repeated listenings, the loop which form the backdrop of the piece—Alessandro "The Last Castrato" Moreschi's fragile falsetto voice singing "Domine"—threatens to become a bit aggravating. Tibet repeats the EP's title with an elegiac sincerity, with occasional, jarring intrusions of droning sinfonie and sampled children's choirs, as well as haunting bits of wobbly old records of parlor music. This sidelong piece sets the scene, introducing the predominant themes of dream, death, childhood nostalgia and spiritual yearning which will find full expression on Horses. I got the chills as the piece faded out and realized that I could just barely make out the voice of John Balance intoning the improvised phrase: "Why can't we all just walk away?"

Forming a perfect continuity, Horses opens as Shadows ended: the droning of the sinfonie, the tinkling of delicate bells, the just-out-of-reach loop of Moreschi, and Balance's sad mantra, this time very audible. This segues directly into one of the most lovely and bone-chilling moments in the Current 93 oevre, Tibet's whispery vocal take on the titular Appalachain lullaby, transforming it from an innocent bit of childhood whimsy into an eerie meditation on the tragic disparity between our dreams and our reality. The next three songs contain the indispensable creative stamp of Michael Cashmore, who uses the figerpicking method he perfected on Starre to sublime effect, creating gorgeous melodies for Tibet's possessed vocals to wrap around. One of the things that undoubtedly stands out about this album, more than a decade later, is the amazing and inventive production: each plucked string vibrating perfectly, Tibet's voice bouncing between the stereo channels, forming a strange call-and-response with himself to haunting effect. For all of its eclecticism, Black Ships did not sound nearly as rich and evocative as this record. Far be it from me to speculate, but I can't help but feel that the superiority of Current 93's 1990s work is indicative of a certain manic-ness on Tibet's part, a darkly glittering intensity geared towards the perfection of his own self-expression that has faded over time, as success and relative comfort and stability have increased.

Whatever the case, it is hard to deny the power of this album, especially a track like "The Bloodbells Chime," a tribute to cat artist Louis Wain, containing a fragile, off-kilter piano melody joined by Cashmore's resonant acoustic guitar, climaxing in a moment that can only be described as utterly disarming. If you've heard the album before, you'll know what I'm talking about: "Thereohthere/The Inmost Light/The Happy Children rise from all their pools/Eyes still sealed/With mud and night/It's their Inmost Night." It is here that I begin to notice Stapleton's hand in the album's sound, as sample upon sample is layered and mutated to devastatingly psychedelic effect: children laughing, children crying, lysergically mutated vocal snippets creating a bubbling undercurrent of dread that will reach its apotheosis on the eight-minute "The Frolic," as a bloodcurdling sample comes swimming out of the murk with the staccato, accusatory scream of "Dead!" Tibet seems particularly fixated on the idea that his enlightenment, his desire to cleanse himself, to unmake his past and be born again, may have come too late, and that eternal salvation is forever out of his grasp. Thus, the return to images of childhood, to the signifiers of an innocence irrevocably lost, to vivid dreams and simple piety now sedimented by unhappy years of spiritual malaise.

The darkambient centerpiece of the album "Twilight Twilight Nihil Nihil" is a perfect stopgap before the next epic vocal track, "The Inmost Light Itself," containing one of Tibet's most dreadfully pessimistic lyrics: "Our hands tumble towards the skies/To block visions of The Inmost Light/And if I pointless arch/And spit whitenothings at the sky/Oh Bigboys - check it out: too fucking late." This against a lovely Cashmore arrangement of strummed guitar and Joolie Wood's clarinet, which constantly threaten to be drowned out by a frightening sample that sounds at first like children playing—with all of the characteristic yelling, laughing and chattering—but begins to seem as if it might be the sound of children in the midst of some terrifying holocaust, screaming and writhing in pain. It comes as a relief to hear Nick Cave's soulful, deep-voiced rendition of "All the Pretty Little Horses," followed by the album's coda: Cave reading Blaise Pascal's uncompromisingly dark and apocalyptic Pensees over a ghostly sampled choir.

With such a perfectly lovely and dread-filled conclusion, it is almost unfortunate to have to follow it with the concluding part of the trilogy, The Stars Are Marching Sadly Home. Although it is one of Current 93's most complex and fascinating works, indispensible for its inclusion of Shirley Collins, it ends up seeming like the superfluous gilding of the lilly when heard directly after Horses. Taken on its own terms, however, and as a conceptual third part of the trilogy, Stars is a terrific sidelong track. The creaking of a great wooden ship (a Black Ship?) sets the stage for Tibet's final prayer, an ominous sea shanty followed by a deliberately paced text so apocalyptic it achieves a Book of Revelations-style grandeur: "These days shall not come again/The stars are marching sadly home/The seahorse rears to oblivion." Tibet's words are artifically time-stretched, smeared, blurred, cracked and mutated, spinning out over a warbling sample of a vintage 78 so disintegrated and distorted that it seems positively alien. Andria Degens of Pantaleimon reads the final part of Tibet's text as the track becomes noisier and more discombobulated, climaxing with a squall of white noise and Shirley Collins' singularly melodic and matronly a cappella rendition of "All the Pretty Little Horses," by far the most emotionally penetrating take on the song across the trilogy.

Here it is, back in print. One of the best albums produced by one of the most fertile and creative minds of underground music. An album that, though it is so intense and emotionally draining, I never get tired of listening to. Right around this same time, the other two World Serpent-distributed projects most frequently mentioned alongside Current 93—Coil and Nurse With Wound—were also producing some of their most masterful and magickally-charged albums. Perhaps it was something in the water.

[KvP]

Thankyou!

[Jackie Blue]

Try it again, because everything was there for me when I downloaded it.

What are you using to unzip it?  I tried it twice with the same result, but I was only using the built-in XP unzip function, so maybe that has something to do with it?

[KickThatBathProf]

WinRar

[Inlander]

The Miles Davis Quintet: 'Round About Midnight.

Code: [Select]

http://www.mediafire.com/?6jd1etvut2b
Recorded 1956-57. This was the group that later came to be known as the "first" Miles Davis Quintet. One of the greatest groups in the history of jazz, and my personal favourite jazz album. The balance of music on this album is absolutely perfect: running hot and cool, contrasting classic Tin-Pan Alley and more recent bop standards. The personnel is Davis on trumpet, John Coltrane on tenor sax, Red Garland on piano (check out his solo on "Bye Bye Blackbird"), Paul Chamber on bass, and "Philly" Joe Jones on drums. Everything about this group of musicians is absolutely seamless and perfectly complementary: this group was such a great example of all the musicians working to a common musical purpose. The contrast between the two horns is absolutely fascinating (and also makes an interesting comparison to the interplay between Davis and Parker on the Dial recordings I posted above), but in many ways the greatest aspect of this group is the rhythm section: listen to the way they swing so effortlessly, especially on mid-tempo numbers such as "Blackbird" and "All Of You": the tempo is such that each of Chambers' notes lands just as the one before it is starting to die, like waves rolling in one after another, giving the music a wonderful buoyancy. Incidentally, the arrangement of the (almost) title track, "'Round Midnight", was done by Gil Evans.

Up next: Lester Young.

[KickThatBathProf]

Fuck, this thread is making me wish that all of my jazz music didn't get deleted when my compy died a year ago

Cause now I can't contribute

[Jackie Blue]

WinRar

I didn't even think to use WinRar because I've never had trouble with plain old Zip files before.  That did the trick, thanks!

Wow, I am going to start a thread about this album now, because it's just... wow.

[bff]

Inlander talking about posting some jazz later reminded me that I have some old jazz myself.....

I came just a little when I saw what was on offer in this post.

[GenericName]

Inlander talking about posting some jazz later reminded me that I have some old jazz myself. I figured I'd post a few albums here and ask - how would you all like The Heavyweight Champion: The Complete Atlantic Recordings of John Coltrane, which is all the stuff Coltrane recorded during his 1959-61 stay at Atlantic and it's got lots of false starts and alternate takes. I also have The Complete Impulse! Studio Recordings which spans 1961-65, and has a few alternate takes and first versions but is mostly the release versions. I ask if people want because there are 7 and 8 CDs respectively and I don't want to upload all that if no one wants it. I suspect that won't be an issue but hey, no harm in asking.

Not only would I download that the moment it was uploaded, my mother has informed me that if I do so, she will have to steal it from me.

[Inlander]

Code: [Select]

http://www.mediafire.com/?95wvtjzjtgu
The President of the tenor sax. Pres. Lester god-damn Young.

In the swing era every tenor saxophonist had his own sound, and none was more distinctive or more unique than Lester Young's. "Pres" is credited with being the inspiration for an almost impossible array of jazz styles: everything from cool to bop. Stan Getz was directly influenced by him. Young anticipated Coltrane's use of alternate fingerings and complete mastery of the entire range of the tenor sax by several decades. He was arguably the greatest tenor saxophonist who ever lived.

These are the complete master takes from the "Kansas City" sessions - not actually recorded in Kansas City, but performed by a succession of small groups called the Kansas City Six, the Kansas City Seven, etc. This is small-group swing, recorded from 1938 to 1944, and it's an archetype of what we might call "chamber" jazz. The first five tracks, in particular, are simply as good as jazz gets, and besides some of Young's greatest ever solos (on clarinet as well as sax) they're important historical documents because they feature playing by possibly the earliest pioneer of the electric guitar, Eddie Durham. Besides Young, the personnel is as follows:

Tracks 1-5:

- Buck Clayton (trumpet)
- Eddie Durham (electric guitar)
- Freddie Green (guitar, plus vocals on track 3)
- Walter Page (bass)
- Jo Jones (drums)

Tracks 6-9:

- Bill Coleman (trumpet)
- Dickie Wells (trombone)
- Ellis Larkins (piano)
- Freddie Green (guitar)
- Al Hall (bass)
- Jo Jones (drums)

Tracks 10-13:

- Johnny Guarnieri (piano)
- Slam Stewart (bass)
- Sidney Catlett (drums)

Tracks 14-17:

- Buck Clayton (trumpet, except on track 16)
- Dickie Wells (trombone, except on track 16)
- Count Basie (piano)
- Freddie Green (guitar)
- Rodney Richardson (bass)
- Jo Jones (drums)

Tracks 18-21:

- Bill Coleman (trumpet)
- Dickie Wells (trombone)
- Joe Bushkin (piano)
- John Simmons (trombone)
- Jo Jones (drums)

[Inlander]

Code: [Select]

http://www.mediafire.com/?c1twmttezk3
Count Basie & Joe Williams: Count Basie Swings, Joe Williams Sings.

From 1955. One of the greatest "big band + singer" albums ever recorded. The Count Basie orchestra made its name in the 30s as a powerhouse unit blessed with great soloists. By the 50s Basie had realised that if you built a band around soloists, you were sunk when those musicians decided to move on. Instead his band became famed for its incredible playing as a unit, with all the sections (rhythm, brass, and reeds) interlocking to perfection. It's no coincidence that the Count Basie Orchestra of this period is often likened to a well-oiled machine.

The first track on this album, "Every Day I Have the Blues", is an absolute classic: the definitive reading of a famous song. Listening to the band shifting moods is like listening to a perfectly maintained classic sports car shifting through all its gears: from first gear at the beginning when just the rhythm section is playing, to fifth gear when the whole band is roaring, then back down to third or so when the band starts cruising and Joe Williams makes the perfect entrance. In fact, that's what this performance is: absolute perfection, from first second to last, from all everyone involved.

After that there are a string of equally thrilling performances, and though the album gets a little bogged down in ballads towards the end, there's no ignoring the brilliance of the music on this album. If you want to know just how exhilarating big-band music can be, have a listen to this.

[mberan42]

No April in Paris, Harry? For shame. For shame.

[Inlander]

Ehh, April in Paris is okay, but honestly I have a dozen Count Basie C.D.s that are better than it.

[Rilian]

Inlander talking about posting some jazz later reminded me that I have some old jazz myself.....

I came just a little when I saw what was on offer in this post.

Well you're lucky I got bored and zipped up the CDs and threw them up on mediafire, so I guess you can cum a lot now.

The Heavyweight Champion: The Complete Atlantic Recordings of John Coltrane
VBR 192 kbps
7 CDs: 678 MB



allmusic

The Heavyweight Champion is a box set that lives up to its title. Collecting all of John Coltrane's Atlantic recordings, including a fair number of unreleased takes as well as an entire disc of alternate tracks and studio chatter, the seven-disc box set documents a pivotal moment in Coltrane's career, as he was moving from hard bop and sweet standards to a more daring, experimental style of playing influenced by the avant-garde. Much of the music is hard bop (Giant Steps) or lushly melodic (My Favorite Things), but the latter discs show the saxophonist coming to terms with the more experimental movements in jazz as he performs with musicians like Ornette Coleman. The scope of this music is, quite simply, breathtaking -- not only was Coltrane developing at a rapid speed, but the resulting music encompasses nearly every element that made him a brilliant musician, and it is beautiful.

COLTRANE The Classic Quartet: Complete Impulse! Studio Recordings
CBR 192 kbps
8 CDs: 714 MB



allmusic

Here it is: eight CDs worth of John Coltrane's classic quartet, comprised of bassist Jimmy Garrison, pianist McCoy Tyner, and drummer Elvin Jones, recorded between December of 1961 and September of 1965 when the artist followed his restless vision and expanded the band before assembling an entirely new one before his death. What transpired over the course of the eight albums and supplementary material used elsewhere is nothing short of a complete transfiguration of one band into another one, from a band that followed the leader into places unknown to one that inspired him and pushed him further. All of this transpired in the span of only three years. The group that the saxophonist had assembled for Coltrane in 1962, a band that had been together a little while and had performed together at the Village Vanguard (the tracks that include the quartet without Eric Dolphy from Impressions are here, and, in fact, the first pieces on the set are from those session dates chronologically) in a variety of settings, is almost nothing like the band that made Kulu Se Mama in 1965.

For a change, the oft-employed yet irritating chronological method of compiling a box makes sense here. McCoy Tyner's piano style, that rich open-ended modal chromaticism he developed was at work on "The Inchworm," astonishingly enough the first work recorded in the 1962 studio dates. "Out of This World" was one of the last from that session that would produce the album Coltrane. The blues element that would disappear from later records -- at least consciously -- was the driving force behind ballads like "Soul Eyes" and "After the Rain."

But it isn't until the latter end of 1963 that we hear the band beginning to gel into the unit that would make A Love Supreme and create the tracks that would be assembled into First Meditations for Quartet. There are the two alternate takes of "Alabama," and the soprano solo that is positively danced around by the rhythm section on "Dear Old Stockholm." There is also the great schism in Coltrane, much that took place between the June 1964 session that produced "Crescent" (and its first version is on disc eight, which is full of supplementary and unreleased material) and the following December when A Love Supreme was recorded. Here is the hinges in the whole box, the questions that need to be resolved than that this box only begs more than answers: what happened to that tight conscripted modalism Coltrane had been working on in his official releases prior to that time period as many of them hold clues but never give away the entire picture. What the box does in its voluminous way is set the record straight that there was no retrenchment in pursuant releases to A Love Supreme. There were softer moments on record, but the material in the can was far more adventurous recorded at about the same time, such as the "Suite" or "Transition" or "Dusk Dawn." Disc eight is also a treat in that it contains seven "works in progress" from all periods in the quartet's history. It begins with the aforementioned version of "Crescent," which is appreciably different than the master take in Tyner's solo particularly. There's also an incomplete though steaming initial take of "Bessie's Blues." Perhaps the most beautiful thing on the final disc is the alternate take of part II of A Love Supreme's "Resolution," with its elongated obligato by Coltrane and Tyner's gorgeous tenths playing ostinato during the saxophone solo. There's an alternate of "Feelin' Good" that's no big deal, followed by breakdowns and alternate takes of both "Dear Lord" and "Living Space," both of which reveal the harmonic development of a scale as it becomes the architectural model for the rest of the composition and improvisation. There can be no arguing the value of the originally released recordings; whether they were issued during Coltrane's lifetime or after his death, they tell a story that millions of listeners formed their impressions by, true or false, and created a legacy that lives on. But there is also something to be said for setting the record straight, and the chronological approach that this set takes in no way desecrates the integrity of the original albums themselves -- unlike the Ornette Coleman box. Simply put, it is indispensable to those who need a deeper understanding of Coltrane's music and the development of his most influential period. The sound quality is fully remastered to 20-bit technology, and the package is unwieldy but beautiful and sturdy. It's a must.

[Ishotdanieljohnston]

That is officially the best post anyone has ever made in the QC forums.

[Caspian]

What's with all this jazz? We all know that metal is clearly the best genre in existence. Jazz is nice, sure, but why listen to jazz when there's metal to be heard?

So, to rectify the terrible jazz-upload/metal-upload ratio, here are some metal albums for you all. these aren't terribly 'traditional', but they prove my point of metal being objectively the most awesome genre ever.

This album is by Nadja. It's called Truth Becomes Death, and it's pretty freaking amazing. Whether it's epic build of Bug/Golem or the draining, beautiful journey that's Memory Leak, good times are sure to be had. Huge doom riffs, slow, swirling (and really, really layered) arrangements.. everything building into a wall of beautiful, blissed out noise. For those who want more (and why shouldn't you? it's freaking awesome) I'd recommend the Touched and Bodycage uploads that I did a while ago, they may still be active.

Here's the link:
http://www.megaupload.com/?d=NMZXHW8K

I'm really surprised that this hasn't been uploaded yet, but here it is. For the final word in massive, crushing industrial metal, here's Streetcleaner by Godflesh. This is for all of those who say that Johnny Cash/Miles Davis/Beethoven/whatever is 'heavy'. They aren't. This is.

Linky:
http://www.megaupload.com/?d=F10WN5RH

And last bu certainly not least, here's something really esoteric and obscure for you all. Thergothon were an amazing funeral doom band. Really heavy, really deep and melodic (they evolved into a really amazing shoegaze band, as well). I'll upload the full length later, but here's their ultra kvlt demo. 'Elemental' in particular is amazing. Rich, deep and beautiful. Drown in the epic sound. This is Thergothon- Fhtagn-Nagh Yog-Sothoth

http://www.divshare.com/download/3239168-911

 Not my upload, but uploaded by a friend. it's reliable.

Expect some more traditional sounding but still awesome metal albums in a little while!

[roulettescars]

So since you guys SUCK I'm just going to start upping albums as I listen to them.


Anton Maiden - Anton Gustavvsoon Tolkar Iron Maiden

Once every decade or so, there'll be an album that will slip underneath the radar of mainstream audiences and submerge itself deep into obscurity. A few years will pass by and it will remerge on the underground cult circuit, waiting to be deemed a "classic" by those who truly know what the word means. Such an event is Anton Maiden. He's not just a musician and he's not just an institution -- he is an event. An event that many performance artists could only imagine emulating at the finest points of their career. Armed with an Atari ST computer and deft knowledge of world capitals, Maiden fearlessly takes on 11 of Iron Maiden's classic songs and MIDIs the instrumentation to bold new territories, similar to the soundtrack of a Nintendo eight-bit video game. And his vocals? There are truly no words in any language that could possibly serve justice as to aptly describing the sheer dexterity and potency of his voice. It's almost as if he has invented new notes to be sung and has totally reinterpreted many of the more flaccid Iron Maiden tunes into bona fide powerhouse singalongs. Fans of the band complained of Maiden's abstract take on the tracks, but a more sincere example of the power of music may not exist. These songs are tributes to a band who is hopelessly unhip, lovingly (and probably inadvertently) shaped into hipster anthems by a passionate Swedish teenager. But Anton Maiden is much more than an in-joke for the irony crowd. Anton Maiden is a creature built from old Nintendo components and Circus magazine pull-out posters, a primitive slice of avant-garde thought applied to source material that can appeal to listeners who would never give John Zorn the time of day. This is one of the few examples of a novelty item transcending its own intent and becoming art. And hilarious art at that.

Code: [Select]

http://www.sendspace.com/file/rk2zx2
Shit son. Is there any way to get this mean bastard re-uped? I would listen to this all day, every day.

[Misereatur]

Godflesh are pretty awsome. Remind me to upload the Isis cover for Streetcleaner, would you?

Anyway: John Coltrane - Transition

The title of this album fits perfectly for John Coltrane was certainly at an important transitional point in his career at the time. Although he was still utilizing the same quartet that he had had for over three years (pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) and his music had always been explorative, now he was taking his solos one step beyond into passionate atonality, usually over simple but explosive vamps. Other than the tender ballad "Welcome," most of this set is uncompromisingly intense; in fact, the closing nine-minute "Vigil" is a fiery tenor-drums duet. The 21-minute "Suite," even with sections titled "Prayer and Meditiation: Day" and "Affirmation," is not overly peaceful. It must have seemed clear, even at this early point, that Tyner and perhaps Jones would not be with the band much longer.

Code: [Select]

http://www.mediafire.com/?6ymsulkzema

[Caspian]

Godflesh are pretty awsome. Remind me to upload the Isis cover for Streetcleaner, would you?

A good idea. I might upload their whole Sawblade EP myself, sometime, as the Hand of Doom cover is also good times.

[valley_parade]

I'll see your jazz and raise you a little bossanova.

Nouvelle Vague - s/t

Code: [Select]

http://www.mediafire.com/?alxaw33dcdo

The best compliment that can be paid to Nouvelle Vague's self-titled debut album: it isn't as arch and smirking as a collection of bossa nova versions of new wave classics by fetching French and Brazilian chanteuses would suggest. Based on the concept alone, Nouvelle Vague seems similar to the work of jokesters like the Mike Flowers Pops or Richard Cheese and Lounge Against the Machine, but though the album is definitely playful, it works on a sincere level enough of the time to be more than just a goof. In fact, Nouvelle Vague's best moments are a tribute to how well written the words and melodies of these songs are; that they can withstand, and even thrive in, such different arrangements is no small feat. Smooth, smoky ballads, such as the opening track, "Love Will Tear Us Apart," provide many of the album's highlights. The Cure's "A Forest" gets a tropical twist, complete with jungle sound effects, while the Sisters of Mercy's "Marian" remains as dark as ever but is now much more delicate -- call it gotha nova. On the other hand, the cover of the Dead Kennedys' "Too Drunk to Fuck" is a giggly, sassy, mischievous standout that bears virtually no resemblance to the original. Likewise, the serpentine version of Killing Joke's "Psyche" is radically different from the original, nor does it quite fit in with the rest of Nouvelle Vague's bright, breezy feeling, but its spooky vibe makes it one of the album's most interesting tracks. Two of the best covers come from a couple of the least well-known bands on the collection: Tuxedomoon's "In a Manner of Speaking" is transformed into a gorgeous, completely convincing torch song, and Josef K's "Sorry for Laughing" closes the album on a sweetly languid note. Not all of Nouvelle Vague is this inspired -- the version of Depeche Mode's "Just Can't Get Enough" is overly fussy, and while the covers of songs like "I Melt With You" and "Making Plans for Nigel" are nice enough, they don't have the spark of the album's best moments. But even at its worst, Nouvelle Vague is still pleasantly witty background music. This unlikely, but mostly happy, marriage of new wave and bossa nova will probably disappoint or displease purists who believe that every version of "Love Will Tear Us Apart" should have the brooding intensity of the original, but everyone else can enjoy the album's playful elegance.

160kbs mp3

[roulettescars]

Alrighty, seccond post, but its a good one. Trust me.

Akron/Family, Angels of Light split.

This is actually just the Akron/Family portion of the split, if anyone has the Angels of light part I'd love to get it from ya.
Basically Angels of light is Michael Gira from swans current project, and Akron/Family is his usual backing band. This album is seriously one of my favorites of all time. The song transitions will blow you away. I don't know how to begin to classify this monster. I guess I would call it progressive gospel noise folk rock or something. If anyone is interested in more of this I have plenty and am more than happy to share, I also have a pretty decent Angels of Light and Swans collection.
Anyways, here we are.
http://www.mediafire.com/?agyv90jeilz

[Misereatur]

A good idea. I might upload their whole Sawblade EP myself, sometime, as the Hand of Doom cover is also good times.

Will do.

Also, what the hell? Since when do Mediafire has a size limit?

[bulldawg982]

Oh poo.
Wait, what program are you using to open .rar files?

i use stuffit expander

[roulettescars]

Alright, I went ahead and just did it anyways, and a little extra.

Angels of Light- Everything is Good Here, Please Come Home.

My Favorite Angels of Light album.
http://www.mediafire.com/?1ojlml1lbte

Akron/Family- Love is Simple

Their newest album. Comes off as kind of cheesy at first, but it really grows on you.
http://www.mediafire.com/?7xkrtxjhuzc

Big Business- Here Come the Water Works

http://www.mediafire.com/?efz0dipuyzg
Super good stuff, for fans of the Melvins, or motorhead, or just good music.
 

[bulldawg982]

FINE! ill throw up some jazz

[bulldawg982]

Dave Brubeck - Time Out

Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. It was a risky move -- Brubeck's record company wasn't keen on releasing such an arty project, and many critics initially roasted him for tampering with jazz's rhythmic foundation. But for once, public taste was more advanced than that of the critics. Buoyed by a hit single in altoist Paul Desmond's ubiquitous "Take Five," Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That's a testament to Brubeck and Desmond's abilities as composers, because Time Out is full of challenges both subtle and overt -- it's just that they're not jarring. Brubeck's classic "Blue Rondo à la Turk" blends jazz with classical form and Turkish folk rhythms, while "Take Five," despite its overexposure, really is a masterpiece; listen to how well Desmond's solo phrasing fits the 5/4 meter, and how much Joe Morello's drum solo bends time without getting lost. The other selections are richly melodic as well, and even when the meters are even, the group sets up shifting polyrhythmic counterpoints that nod to African and Eastern musics. Some have come to disdain Time Out as it's become increasingly synonymous with upscale coffeehouse ambience, but as someone once said of Shakespeare, it's really very good in spite of the people who like it. It doesn't just sound sophisticated -- it really is sophisticated music, which lends itself to cerebral appreciation, yet never stops swinging. Countless other musicians built on its pioneering experiments, yet it's amazingly accessible for all its advanced thinking, a rare feat in any art form. This belongs in even the most rudimentary jazz collection.

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

[amok]

I love the random genre mood swings this thread goes through. Downloading the above and throwing something up myself.

[roulettescars]

By popular request.

Enjoy the horror of the holidays with twenty-five of your favorite seasonal songs infused with an insane dose of the Cthulhu Mythos by those annoyingly talented folks at the H.P. Lovecraft Historical Society.

Thrill to the magnificent sounds of the Dagon Tabernacle Choir. Marvel at the exsquisite harmonies of the Arkham Carolers. Tap your tentacles along with the Dunwich Children's Chorale. All twenty-five numbers are professionally produced and recorded with the same maniacal care that made A Shoggoth on the Roof such a disturbing achievement in musical theatre. From beatific choirs to maniacal mariachis, there's something for everyone in this first-ever CD of Lovecraftian Solstice Carols.

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http://www.sendspace.com/file/4ojtqf

This link is unfortunately dead. Is there any way we could get a re-up. This sounds fascinating. I'm seriously in love with this forum. In just a few short hours it has changed my life pretty drastically.

[Ben yayayayayayayay]

Destroyer - Trouble in Dreams (2008)



http://www.megaupload.com/?d=Q0BUD40T


Xiu Xiu - Women As Lovers (2008)



http://sharebee.com/f0310dc3

[roulettescars]

By request:

Chris Goss and Jeordie White, the duo that is Goon Moon, both proved their rock credentials years ago, the former for his production work and as a member of Masters of Reality, the latter as Marilyn Manson's Twiggy. If there were any doubters left, Licker's Last Leg should bury them for good, as the Goonies, across a dozen eclectic tracks, prove themselves the masters of all things rock. On the epic-length "The Golden Ball," they showcase virtually the entire rock spectrum, from psychedelic to folk, hard rock, metal, prog rock, jazz fusion, pomp rock, and more, an entire master class in a song. However, they slyly slide subgenres into each other, as on the opening "Apple Pie," which begins in a racket of scratchy strings, slips into goth, then slithers into unadulterated glam -- sheer brilliance, that. But it's soon obvious that these two are comfortable in any genre you throw at them, from the blues-laced hard rock of the late-'60s that fires "An Autumn That Came Too Soon" to the angular post-punk rhythms that later "Tip Toe" across the set. From the Stonesy R&B-fueled "Balloon?" to the poppy psychedelic-laced "Lay Down," the album is infested with strong melodies and catchy choruses. And whether you prefer your rock down and dirty like "Hardcore Q3" or sweetened up by swirling atmospheres and lovely vocals like their Beatlesque-with-a-twist cover of the Bee Gees, "Every Christian Lion Hearted Man Will Show You," Goon Moon serve it up here. An inspired set, with a slew of singles-to-be within, and enough twists and stylistic turns to keep you guessing until the final note rings out.

Goon Moon - Licker's Last Leg (VBR V0/APE)

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http://www.megaupload.com/?d=II36I5NM
If you like listening to things that sound really good you should get this.

Thank you so much for this. I almost forgot I was even looking for it.

[amok]

You're welcome! I almost forgot I'd posted it. Great CD though.

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http://www.megaupload.com/?d=LCE68KOV
SOIL&"PIMP" Sessions - Pimp Of The Year

Soil & "Pimp" Sessions have been riding the high waves of popularity for a couple years and the quick turnaround time of their releases has been keeping them solid in the spotlight for longer than most expected. With the foreign press in Europe (like BBC Radio1's Gilles Peterson, who awarded them the John Peel Play More Jazz Award for most original musical boundary breaker at his annual Worldwide Music Awards) chomping at the bit and festivals booked all summer long throughout the continent, the pressure is on with Pimp of the Year, their third full-length in as many years. The band's style of hard club style bop has won over fans all over the world with an accessible fast and fun approach to bebop, arguably jazz's most prestigious genre. The band's greatest strength is that they realize their place and aim more for entertaining and wild compositions rather than taking on the artistic monuments of Parker, Davis, and Coltrane. This is much more a summer album for dancing or parties than it is meant to be critically dissected, though the instrumentalists are admittedly quite talented most of the time and the compositions fresh and exciting (even if they lack the artiness of the classics).

(review continued here)

[roulettescars]

How bout some hella?
Instrumental Math/Noise rock. Great stuff.

Hold Your Horse Is
http://www.mediafire.com/?6zxmjc73gtm

The Devil Isn't Red
http://www.mediafire.com/?1v7d0nmzyzr

Also, I know I'm not really supposed to do this, but if anyone has a copy of "There's No 666 In Outterspace" I'd really appreciate it. Its one of my favorite albums, and I lost my copy, and can't seem to download it anywhere. I'd hate to have to re-buy it.

[bulldawg982]

Also, I know I'm not really supposed to do this, but if anyone has a copy of "There's No 666 In Outterspace" I'd really appreciate it. Its one of my favorite albums, and I lost my copy, and can't seem to download it anywhere. I'd hate to have to re-buy it.

i have no idea who ella is... but doing a simple megaupload search i was able to find
http://www.megaupload.com/?d=zq6sz3e6
just remember its "outer space"

[bbqrocks]

Anyone want ''A guide to love, loss and desperation' by the wombats?

[Jackie Blue]

That Xiu Xiu album has some of the best song titles ever.  Can't wait to hear it.

[bbqrocks]

How bout some hella?
Instrumental Math/Noise rock. Great stuff.

Hold Your Horse Is
http://www.mediafire.com/?6zxmjc73gtm

The Devil Isn't Red
http://www.mediafire.com/?1v7d0nmzyzr

Also, I know I'm not really supposed to do this, but if anyone has a copy of "There's No 666 In Outterspace" I'd really appreciate it. Its one of my favorite albums, and I lost my copy, and can't seem to download it anywhere. I'd hate to have to re-buy it.

Dear god, thankyou, thankyou..Thankyou.

This music has appealed to me more than any other music I have heard in the past month. Thank you.

[pennystrike]

karate - unsolved ...
Anyone?

[ledhendrix]

Did you read the title of the thread?

[bbqrocks]

I just found a link to it on rapidshare, but I am using rapidshare for other stuff, so if you want to, I'll download it.

Did you read the title of the thread?

I'm sure they were asking whether anyone wanted it, not whether anyone had it.

[pennystrike]

thx mate
and sorry, i thought the title meant : offers without requests (but requests possible :p )

[roulettescars]

Also, I know I'm not really supposed to do this, but if anyone has a copy of "There's No 666 In Outterspace" I'd really appreciate it. Its one of my favorite albums, and I lost my copy, and can't seem to download it anywhere. I'd hate to have to re-buy it.

i have no idea who ella is... but doing a simple megaupload search i was able to find
http://www.megaupload.com/?d=zq6sz3e6
just remember its "outer space"

Thanks a ton. You gotta bear with me, I'm kinda new at this. I've always been a torrent guy. I'm starting to get the swing of things though.

[roulettescars]

How bout some hella?
Instrumental Math/Noise rock. Great stuff.

Hold Your Horse Is
http://www.mediafire.com/?6zxmjc73gtm

The Devil Isn't Red
http://www.mediafire.com/?1v7d0nmzyzr

Also, I know I'm not really supposed to do this, but if anyone has a copy of "There's No 666 In Outterspace" I'd really appreciate it. Its one of my favorite albums, and I lost my copy, and can't seem to download it anywhere. I'd hate to have to re-buy it.

Dear god, thankyou, thankyou..Thankyou.

This music has appealed to me more than any other music I have heard in the past month. Thank you.

Not a problem. They're newest album is actually a full band album with vocals and all that jazz. Its pretty good, but way different, more like super proggy, mathy primus or something. but I think maybe thats just the vocalist that makes me think that.

[Inlander]

Okay, I'm gonna start going alphabetical now.

Here is Louis Armstrong Plays W.C. Handy.

Code: [Select]

http://www.mediafire.com/?fto6v2tj2mp
By the time this album was recorded in 1954 Louis Armstrong was well ensconced as the elder statesman of jazz. So it made good sense to have him record an album of songs by another luminary of American Music, the "father of the blues" W.C. Handy. Although, of course, he didn't invent the blues, through his songs Handy was the great populariser of the blues in the early 20th century. Armstrong, like just about every other jazz musician, had always performed songs by Handy right from the beginning of his career, and his command of the blues form was legendary - so much so that it was he who, back in the 20s, largely made the then-nascent jazz world sit up and realise that the blues and jazz were fundamentally inseparable.

The music on this album is simultaneously of its time, and yet wonderfully timeless. The production (and the remastering) has just the right amount of sepia-like glow to it This is possibly jazz at its purest - just listen to the way Armstrong belts out the opening notes of "St. Louis Blues", or the way his band supports him as he sings the "Easy Rider" line in "Aunt Hagar's Blues". Though I hate to reduce music to a mere mood-matcher, this is the perfect album to put on about nine o'clock on a summer's night when you've come home from work, you've made dinner, and you just want to sit down and unwind. If you've got friends around, all the better: the blues and jazz alike are, after all, all about community and communication.

Coming up: Sidney Bechet.

[Jackie Blue]

That Xiu Xiu album is the business.  Best thing they've done yet.  Loving the "Under Pressure" cover.

[Inlander]

Sidney Bechet: Runnin' Wild

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http://www.mediafire.com/?9hbxz151tzb
Featuring Wild Bill Davison on cornet. Sidney Bechet was one of, if not the, very earliest pioneers of the saxophone as a jazz instrument. The fact that he played a soprano saxophone - an instrument that went on to be largely neglected until John Coltrane pulled it out for "My Favourite Things" - is all the more remarkable. This album is a slightly peculiar hodge-podge: Bechet and Davison were products of what some call "Dixieland" jazz, from the 20s; the playing of rhythm section is steeped in the swing era of the 30s; and finally, the album was recorded between 1949 and 1950, at the height of the bop age. Still, thanks to the playing of Bechet and, indeed, of Davison, who plays just as forcefully as Bechet - no mean feet - the music on this album sounds absolutely authentic. And, infinitely more important than authenticity, it's just plain old good.

Later, some genuine Dixieland: Bix Beiderbecke.

[kelseyleigh]

Holy crap. 


I am going through every single page of this thread.  I'm on page nine.  Even though half of the files don't work anymore I've had about four orgasms due to the sheer awesomeness of this thread. 

Once I get through all 50 pages and check to see what's been put up I'll contribute.


edit:  I didn't read all 50 pages, but I felt so bad about taking all that music and not putting up any in return that I had to take a break (so if these had already been uploaded.....oh well!)

1.  Emiliana Torrini - Fisherman's Woman

This album is the Audrey Hepburn of down tempo. On first glance, she's attractive, but the exoticism of Brigitte Bardot and the blonde bombshell Marilyn Monroe overshadows her. As the night begins to wane and the conversation starts to really catch, you see that Hepburn is the girl with the lively spark and fluid personality. She's the one who can unknowingly seduce you with a smile, make you forget the other people milling about the room, and find yourself talking to someone you've known your entire life yet just met moments ago. That is Torrini's latest. It's understated and quiet as she softly brushes up against you. In this hyper paced world of music, it's not bold enough to snare your notice, yet she doesn't give up. She keeps purring and cooing until she stands out by virtue of what she's not. You finally see the elegance of the lyrical art and the quiet of her shy voice as the excesses of music fall away, until you are faced with its essence. It's a beautiful work by an evolving songwriter, not afraid to slip into the evening gown of change and show it off to the ball.

http://www.mediafire.com/?bgjw7m9t9ym

2.  Boards of Canada - In A Beautiful Place Out In The Country

What we have here are more insights into the preoccupations of the Boards of Canada compound. Notoriously journalist-shy (they're rumored to run screaming into haggis-infested forests at the sound of an incoming fax), Michael Sandison and Marcus Eoin leave it to their records to inform us of their politics, their preferred abandonments, and the ill winds that blow through the purple-heathered glen.

But those expecting a poorly judged foray into two-step garage will be crushingly disappointed, as In a Beautiful Place Out in the Country runs like updated material from their majestic 1998 offering, Music Has the Right to Children. And like that album's namesake, these five elegantly mournful melodies creep and explore like adored but unruly children, full of wide-eyed astonishment and naivete. These songs speak to those of us who've bartered our innocence for the experience of rent payments, asinine bosses, rolling blackouts, and a suborned democracy.

http://www.mediafire.com/?2zm9vzw4iwl

3.  Ratatat - Ratatat

Further blurring the boundaries between electronic music and rock, Ratatat's self-titled debut album mixes Evan Mast's fractured but propulsive beats and woozy analog synths with Mike Stroud's loud, yet somehow subtle, guitars. Come to think of it, "loud yet subtle" neatly sums up the instrumental duo's approach -- while their sound can pack a formidable punch, it's also atmospheric. Often, the duo is both aggressive and atmospheric within one song, as on the album's opening track, "Seventeen Years": It begins as a dancefloor stormer, with in-the-red guitars and keyboards and a beat that sounds like it's gasping for air, until an analog synth-driven breakdown turns it into something more moody and bedroom-bound. More laid-back than dance-punk but livelier than post-rock, Ratatat's shuffling rhythms and pensive keyboards clearly owe a debt to Mast's work as E*vax, but other influences pop up too. Comparisons have been made to Daft Punk, and for the most part, they're justified; with its busy guitars, much of Ratatat plays like an indie spin on "Aerodynamic" from Daft Punk's Discovery, albeit with a slightly less arch feel. The bittersweet naïveté that floats through the album also recalls a more roughed-up version of Plone's nursery rhyme electronica, particularly on "Cherry," the sleepy epic that closes Ratatat and pays tribute to the band's former name. A slight hip-hop vibe also pops up from time to time, most clearly on "Crips"' insistent bass and rattling beat, but also in the spoken word interludes that dot the album.

http://www.mediafire.com/?72xyyho9hjb

4.  The Libertines - The Libertines

Rock'n'roll can pretty much burn off pure mythology alone, but what happens when the soap opera of drug abuse and broken friendships threatens to overwhelm the music? That's the problem the Libertines' eponymous second LP must face up to--and while it sometimes struggles to live up to the magic of its predecessor, 2002's Up the Bracket, it's still peppered with enough inspiration to explain why people still care about this band. Co-frontmen Carl Barat and Pete Doherty tackle their problems head on with the opening "Can't Stand Me Now," an anthemic, harmonica-accompanied number with echoes of the Cure's "Lovecats," that sees Barat sum up The Libertines' troubled history in the album's most quotable line: "The boy kicked out at the world/ The world kicked back a lot f***ing harder." Further rollicking moments come on the Barat-sung "Narcissist" and knockabout closer "What Became of the Likely Lads?" But there's some workmanlike moments, and almost inevitably, they feature Pete at the helm: see the hoarse, off-key "Don't Be Shy." All told, a merely good record. If the Libertines truly want a place in rock history, they'll have to prove they have the discipline to channel their undeniable inspiration.

Mostly bollocks to that review.  Maybe I'm biased as I'm going through a particularly heavy Libertines kick right now, but eh. 

http://www.mediafire.com/?eyes2d1mmmf

Please, let me know if this works or doesn't work.  I just made this account right now and this is the first time I'm using it so...feedback appreciated. 

Have fun!

[Rilian]

Well, jazz seems to be quite the hit, so I guess that now I shall give you all some fusion goodness. I personally think everyone needs to hear 'Birds of Fire' at least once, it is one of my favourite records of all time, so I may be biased, but I still think it ought to be up here. Shining is much more of a prog band, but they started out as jazz, and that is very evident on the Jazz/Prog-Rock/Prog-Metal/Art-Rock thing that is 'In The Kingdom Of Kitsch You Will Be A Monster', and the opening track 'Goretex Weather Report' is one of my favourite tracks by any band, ever, pure awesome.

Mahavishnu Orchestra - The Inner Mounting Flame

http://www.mediafire.com/?cs9me1mfbnq



allmusic

This is the album that made John McLaughlin a semi-household name, a furious, high-energy, yet rigorously conceived meeting of virtuosos that, for all intents and purposes, defined the fusion of jazz and rock a year after Miles Davis' Bitches Brew breakthrough. It also inadvertently led to the derogatory connotation of the word fusion, for it paved the way for an army of imitators, many of whose excesses and commercial panderings devalued the entire movement. Though much was made of the influence of jazz-influenced improvisation in the Mahavishnu band, it is the rock element that predominates, stemming directly from the electronic innovations of Jimi Hendrix. The improvisations, particularly McLaughlin's post-Hendrix machine-gun assaults on double-necked electric guitar and Jerry Goodman's flights on electric violin, owe more to the freakouts that had been circulating in progressive rock circles than to jazz, based as they often are on ostinatos on one chord. These still sound genuinely thrilling today on CD, as McLaughlin and Goodman battle Jan Hammer's keyboards, Rick Laird's bass, and especially Billy Cobham's hard-charging drums, whose jazz-trained technique pushed the envelope for all rock drummers. What doesn't date so well are the composed medium- and high-velocity unison passages that are played in such tight lockstep that they can't breathe. There is also time out for quieter, reflective numbers that are drenched in studied spirituality ("A Lotus on Irish Streams") or irony ("You Know You Know"); McLaughlin was to do better in that department with less-driven colleagues elsewhere in his career. Aimed with absolute precision at young rock fans, this record was wildly popular in its day, and it may have been the cause of more blown-out home amplifiers than any other record this side of Deep

Mahavishnu Orchestra - Birds of Fire

http://www.mediafire.com/?09md3w1cggd



allmusic

Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury. The band also takes time out for a brief bit of spaced-out electronic burbling and static called "Sapphire Bullets of Pure Love." Yet the most enticing pieces of music on the record are the gorgeous, almost pastoral opening and closing sections to "Open Country Joy," a relaxed, jocular bit of communal jamming that they ought to have pursued further. This album actually became a major crossover hit, rising to number 15 on the pop album charts, and it remains the key item in the first Mahavishnu Orchestra's slim discography.

Shining - In The Kingdom Of Kitsch You Will Be A Monster

http://www.mediafire.com/?elxodg9blyi



John Kelman

In a radical departure from their previous jazzier albums, Norwegian’s Shining have headed for progressive or art rock territory. While the press release talks about “bridging the gap between classic King Crimson and ECM lyricism,” there are far more influences at play, including Rock In Opposition bands like Henry Cow and more ambient noise groups like Supersilent. The result,  In the Kingdom of Kitsch You Will Be a Monster, is an extraordinarily challenging record. While there are elements of groups like King Crimson to be found — most notably in the nuevo metal of “Gortex Weather Report” — the record is so extreme, so outside, that it would likely send most King Crimson fans running for the hills.

One has to almost wonder at the mind of Shining’s ostensible leader, Jørgen Munkeby. A staggering multi-instrumentalist who plays saxophones, flutes, clarinet, guitar, bass, keyboards and more, Munkeby is responsible for all 10 compositions, which incorporate so many different elements that specific labels are meaningless. There’s precious little in the way of straightforward thematic or rhythmic constructs, and there’s a distinct edge, even as Shining cover everything from the spacious musings of “You Can Try the Best You Can” to the saxophone and percussion-driven assault of “REDRUM.”

That’s not to say the group can’t be understated and lyrical. “Where Death Comes to Cry” is, indeed, chamber-like, which is likely where the reference to ECM comes from. “Romani” starts with a melodic clarinet improvisation, building into a repeated theme that becomes more abstruse with every passing second. And the harder-edged “Aleister Explains Everything” revolves around a convoluted conceit that is clear at the first, but ultimately takes a back set to more extreme textures.

While many art rock bands — because surely this is the closest thing to a label that can be applied here — lean towards endless soloing and aimless long-form composition, Shining’s ten pieces clock in at a mere 39 minutes, making them concise miniatures that may evoke a variety of emotional responses, but which never overstay their welcome.

The audience for In the Kingdom of Kitsch You Will Be a Monster is undoubtedly a limited one. Listeners looking for music that has a hook, music that has a thematic consistency, music that sings, will inarguably be put off by the disc. But for those with a broader perspective who are looking to expand their horizons, and who place no artificial boundaries around their music, In the Kingdom of Kitsch You Will Be a Monster will be a rewarding album, albeit one that generates a lot of upset and discord in between periods of surprising but abstract beauty.

[Inlander]

Code: [Select]

http://www.mediafire.com/?cttue1n1wjg
Bix Beiderbecke: Singin' the Blues, a compilation of recordings from 1927.

The history of jazz is replete with contrasts: for every famed musician, there was somebody else, sometimes equally famous, sometimes less so, offering a completely different approach to playing the same instrument. Coleman Hawkins set the standard for every tenor saxophonist of his era - until Lester Young came along, with a sound so radically different that he was initially spurned by the jazz world. Fats Waller perfected the stride piano style - a style that his student Count Basie subsequently stripped back to its bones, removing from a music that was defined by its exuberance every single excess note. And even Louis Armstrong, for so long the single most significant musician in jazz, was off-set by a man who took the same instrument Armstrong started on - the cornet - and gave jazz a new language of introspection and quiet contemplation. That man was Bix Beiderbecke.

Among the recordings on this album are many of Beiderbecke's most famous performances: most notably the title track, one of the true classics of jazz, but also his impromptu piano solo, "In a Mist". Besides that one track all of the recordings here also feature Beiderbecke's great friend and foil, Frankie Trumbauer, a great musician on the most unlikely of saxophones, the C-Melody sax. Other highlights include "I'm Coming Virginia", and "For No Reason At All in C" and "Wringin' and Twistin'", the latter two of which are trio performances by Beiderbecke, Trumbauer, and Eddie Lang on guitar. For reasons of taste I've omitted the 6 vocal tracks on the original C.D. - although there's some good playing by Bix, Tram, et al on those tracks, the vocal performances are frankly so dreadful as to make them almost unlistenable.

Next up we'll leave the 20s behind and get into some hard-bop, courtesy of the legendary Clifford Brown-Max Roach Quintet.