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[pinkpiche]

I don't need any additional info actually. I mostly just look the artists up myself.

[sean]

While it would be ideal to look up the artists yourself, there is a ridiculous amount of music here, making that a rather tedious and anoying task . I think people can manage to spare a few words telling us what the album sounds like.

[unkle]

I fixed mine. 

[roulettescars]

yeah angels of light!  if there was more i wouldn't be bummed 

I might be able to help you out. On a related note did anyone get those akron/family albums that were like the first things I uploaded? I think the links are still good. Also, I know the first few pages were very swans centered, but most of those links are probably dead if anyone wants some swans I have a decent amount.

[a pack of wolves]

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http://www.megaupload.com/?d=OUHZ7T8H
Anomie - Discography (1994-1997)

I'm not sure what the real cover for this is so I just put a picture of the band up (and yes the drummer is as young as he looks, 13 when he joined the band I believe). Anomie were a screamo band from France who existed between 1994 and 1997. They were pretty influential on a lot of emo bands that have come after and one of my favourite screamo bands of all time, partly because like Amanda Woodward and Belle Epoque they sing in their native French which is a language which flows very well with this kind of music. I don't know if this is still in press, I've never seen it in any distros and I don't think it's a full discography either, it seems to be missing the tracks from the Peu Etre split. Still, this is 23 tracks of absolutely world class emo, plenty of strong driving sections and then some excellent swaying bits. If you enjoy Evergreen, Funeral Diner, Portraits of Past, Bread And Circuits, any French emo at all or punk rock in general then this will probably appeal.

Mp3, 256kbps. If megaupload is a problem for anyone then I'll split it into two and put it up on mediafire (it's over 100mb).

[onewheelwizzard]

Dammit I got stoned and listened to Colour Haze's self-titled album and now I have to upload it because it is such a fucking masterpiece that it hurts.  My original upload of this album is probably still a valid link somewhere on this thread, but I really do feel this much need to call attention to how good this album is.  In fact, for my money, it might just be the greatest psychedelic rock album ever.

Colour Haze - Colour Haze



This is simply some of the best heavy psychedelic rock that has ever been written.  Stefan Koglek's fiery guitar solos and dynamic vocal performances are backed by an incredibly solid rhythm section and the band's playing is some of the tightest, most fluid, organic instrumental work I've ever had the pleasure to listen to.  I can't overstate the quality of this album.  The music twists and splashes and builds and swirls and feels alive.

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http://www.megaupload.com/?d=EK3RFDNW

[imagist42]

Death Cab For Cutie - I Will Possess Your Heart

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

(new song)

Thanks for that. This is easily the best thing they've done in a while. Kind of reminds me of Perfect From Now On-era Built to Spill.

[batgnome]

Primus
Psycho Bass Funky Rock Stuff


Miscellaneous Debris

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http://www.mediafire.com/?dhm2ntodjx4

Pork Soda

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http://www.mediafire.com/?wbf9mos9a1t

Brown Album

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http://www.mediafire.com/?2t09hykw19m

Antipop

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http://www.mediafire.com/?twt2ywvdjlv

Animals Should Not Try To Act Like Humans

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

Del Tha Funkee Homosapien
Smart Weird Hip Hops


I Wish My Brother George Was Here

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http://www.mediafire.com/?oe9zhwyiejol

No Need For Alarm

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http://www.mediafire.com/?i01vg1yfmlh

Future Development

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http://www.mediafire.com/?1tmh1hhjtwv

Both Sides Of The Brain

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http://www.mediafire.com/?jg15bjvhie2

11th Hour

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http://www.mediafire.com/?m55nyxyz6dn
I have Deltron 3030 also which is pretty much essential but it's on megaupload so I'm not posting it, if you want the link just PM me and I'll get it to ya.

Devo
Post New Wave Punk Madness


Shout

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http://www.mediafire.com/?1hc3qidcvym

Hardcore Volume 1

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http://www.mediafire.com/?bqifm1dwyyb

Hardcore Volume 2

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http://www.mediafire.com/?8ijjtn2pz6w

Smooth Noodle Maps (oop)

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

Post Post Modern Man single

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http://www.mediafire.com/?dyjj0i061f4
I have most of the rest of Devo, but again not on mediafire so just PM if you are interested in the links.

[bulldawg982]

Bright Eyes continued (if you are not familial with bright eyes it is mostly Conor Oberst. his most attractive feature is his songwriting ability. often compared to dylan. but he does write some dark and depressing stuff. but he comes through so clear on those though... ) I uploaded these for a friend. so i just pasted the descriptions i gave to her.

i do not have the too much of a good thing is a good thing ep or the bright eyes/squad car 96 ep. or the compilation with the studio version of napoleons hat or i would post it. anyone can fill in the blank if they please. i also have im wide awak and its morning, cassadaga, the lua ep and a live (earlier) version of when the president talks to god, before the final version was affirmed. if you are interested, jsut say so.

Motion Sickness 7"



this is just two tracks, both on noise floor. but i am a die hard fan, so i have to have this

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http://www.sendspace.com/file/rrpc87
Motion Sickness (Live Recording)



I am hoping you dig elliott smith (if not then fuck you). conor covers the biggest lie on this. and he also cover's a feist song, which i like his version. (i am not a feist fan, but a loot of girls are, so i thought you might be). and there are some good live songs on here, esp southern state. check it out.

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http://www.sendspace.com/file/j50n1b
wichita EP



once again they are all on other things, but for me, it is essential.

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http://www.sendspace.com/file/hub24q
Lifted, or the story is in the soil, keep your ear to the ground



the first bright eyes song i ever heard was lover i dont have to love. i thought it might have been the cure (i was not very musically intelligent at the time) so i foudn the lyrics online and discovered bright eyes. i then bought this cd, right when it came out. and it was my first bright eyes experience. i knew i was in love . some greats on this are the big picture, false advertising, lover i don't have to love, and bowl of oranges (the happiest song he ever wrote.)

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http://www.sendspace.com/file/cbwo6u


when the president talks to god, does he ever think that maybe hes not? that that voice is just inside his head, when he kneels next to his presidential bed. does he ever smell his own bullshit? when the president talks to god.

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http://www.sendspace.com/file/pngq5q
noise floor.



this is a collection of old song. and some covers. basically an album for old bright eyes fans, when wide awake/digital ash and cassadaga gave all assurance that we were now dealing with a new band. its cool we can still be friends is on here and needs to be the very first song you listen to.

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http://www.sendspace.com/file/risekr
letting off the happiness



oh my god... this is his best full length album. raw as fuck RAW AS FUCK. i love it. the difference in the shadows, june on the west coast, if winter ends, and fucking poetic retelling of an unfortunate seduction. i fucking love poetic retelling of an unfortunate seduction. this album will blow you away.

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http://www.sendspace.com/file/x0q3zu
digital ash in a digital urn.



this is a good album... but listen to it last. i havent really listened to cassadaga yet, because i couldnt get into it. even though i have it on vinyl, but out of all the other ones i have fully listened to this is the worst. but it is still good. just enjoy the rest first.

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http://www.sendspace.com/file/657lq3
oh holy fools.



this is a split mini album. it is good though. going for the gold is superb.

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http://www.sendspace.com/file/u158sw
Four Winds



this is alright. cassadaga style which i previously explained how i feel about that. but i think it was tourist trap that i liked the most on this.

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http://www.sendspace.com/file/20v70m
collection of songs (recorded 1995-1997)



this is a younger conor, but a good one none the less. there are times when you just don't want to listen to the shitty music. but some gems are found here (i.e. the awful sweetness of escaping sweet, saturday as usual, and the feel good revolution). listen to this album sometime after you have gotten into letting off the happiness.

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http://www.sendspace.com/file/89aal0

One Jug of Wine, Two Vessels:



This is a mini album he did with Neva Dinova, and they do some great songs on here too. I believe Conor has said this is his favorite of all the music he has put out. very good.

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http://www.sendspace.com/file/hpc9c5

Bridge School Benefit Concert:
This is just a live show, nothing i care for really, except one song. It was also released on a compilation, but i do not have that. the song is Napoleon's Hat. very good song. you might as well delete the rest of the songs as far as im concerned

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http://www.sendspace.com/file/1yvssn
Christmas Album:



the one bright eyes album i do not like... at all. it is just him singing christmas songs. and i do not like them. all proceeds from this album go to fund breast cancer research (i think. maybe it is another disease.) but some like this album. and i have just because i want to own everything of his.

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http://www.sendspace.com/file/sgtnz0

[ptownblazer]

God bless everybody on this thread.  Thank you all for being so fucking cool and making this the best place on the web for music.  At least the best place I know about.   

[britany]

Dengue Fever - Venus on Earth

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http://www.mediafire.com/?5g9mtnpmpzd
(I thought I might up this because the other link isn't right)

oh man, i didn't realize that until just now.  i fixed it.  heh

[exomni]

Just leached off a Fugazi album, and noticed a ton of great music here, so I felt compelled to contribute something before I would feel guilty about leaching everything you guys have posted.

So here's my first contribution, and hopefully not my last:



Crosses - Viking Moses!

Many balls-to-the-wall musicians adopt a bohemian persona to fit their music, but Viking Moses is the real deal. Living a nomadic life for nearly a decade now, Brendon Massei has released banjo and acoustic guitar albums under several names. Perpetually on tour (since 1996), he has played with Will Oldham, Cat Power and Songs: Ohia, to name a few, yet Masseis body of work has received little commercial or critical attention.

His newest full-length under the Viking Moses moniker, the story-song cycle Crosses, is by far his most accomplished work, and ranks among the best of the newest crop of American folk recordings. For anyone who has seen Massei perform live, the delicate mood of Crosses may come as a bit of a surprise. While a Viking Moses show often finds Massei on his knees wailing like a man possessed, Crosses consists of nothing more than a softly picked nylon-string acoustic guitar, a bass, and some piano flourishes, with Masseis trademark baritone rarely reaching its cathartic heights.

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http://www.mediafire.com/?exyn0i1kmov
Just a lone baritone plucking away on his guitar and singing very traditional folk, he opens with a rendition of "Michael Row Your Boat Ashore" which flourishes into a great piano arrangement and got me hooked for the rest of the album. Then the lyrics on the next track "Little Emma's Smile", if you're like me, you will immediately fall in love with. So despite the slightly whiny tinge to Brendon's voice, this is a welcome addition of inordinately unknown folk-pop.

[TugboatComplex]

Papercuts - Can't Go Back

From AMG:
The brainchild of Jason Quever, Papercuts is a very pleasing, lush and terribly sweet group. A prime example of this is "Dear Employee," which seems to mix the best attributes of Arcade Fire and the Hidden Cameras with the lush, orchestral touches of Smashing Pumpkins circa Disarm. Meanwhile, Quever isn't sticking to one sound or genre judging by the rich and yet at the same time dark Spaghetti Western feel hovering over a sugary "John Brown." However, the key to the song's success is how it switches gears near the homestretch, into a smart Beatlesque pop nugget. Just as precious is the fine "Summer Long" that is led by Quever's innocent yet heart-tugging delivery. Papercuts is quite strong in making the most of a melody, especially on the pretty and tender "Unavailable" with its haunting, distant and at times heady vocals. The oddity or black sheep on the album might be the early Dylan-esque ambling "Take the 227th Exit" which saunters along without much fanfare. Yet things quickly get back on the rails with the country-tinged "Outside Looking In" that is led by some fine harmonies. Everything Papercuts seems to touch turns to gold, even if the title of "Just Another Thing to Dust" would suggest otherwise. Closing with another memorable track, "The World I Love," the album is a perfect example that timeless, classic pop still exists.

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


Page France - ...And the Family Telephone

From AMG:
Over the course of their past two albums, Page France have succeeded in serving up bouncy, rosy-cheeked indie pop that twangs like Neutral Milk Hotel and grins like Gruff Rhys, and they continue in this vein, for better or for worse, on their third effort. On the bright side, they sound more seasoned this time around; the good tracks on Page France and the Family Telephone are among the best written and most confident the band has come up with yet. "Wet Dog Afternoon" swings like Beulah and sparkles like Bishop Allen; it's hooky and smart, a perfect mix of nasal vocals, rock candy guitar licks, wistful glockenspiels, and surreal storytelling. Speaking of surreal stuff, it becomes clear by the third track that this is probably the weirdest album Page France have made to date; frontman Michael Nau draws listeners, ringmaster-style, through a circus of twinkle-toed bears, sentient violins, gun-toting angels, and rabbit-wielding magicians.

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http://www.mediafire.com/?vwrzc5dblxn


The Brother Kite - Waiting For the Time to Be Right

From AMG:
Power pop can, in fact, be part of the recipe for shoegazers, which is what happens on the Brother Kite's Waiting for the Time to Be Right. The more uptempo parts of this 2006 release drift into power pop territory, although the Brother Kite are a shoegazer band first and foremost -- and their ethereal sound draws on influences like My Bloody Valentine, the Cocteau Twins, and early Lush as well as the Beatles (post-1965) and even the Beach Boys. Yes, the Beach Boys -- as in '60s surf rock. Brian Wilson and friends might sound like an odd influence to have if you're a shoegazer band, but those "Don't Worry, Baby"/"California Girls"-type harmonies are indeed part of the picture on melodic tracks such as "Lay Down Your Burden" and "Hopeless and Unsung." Another thing that, from a shoegazer/dream pop perspective, is unusual about the Brother Kite is the fact that they have a male lead singer: Patrick Boutwell. From Lush to Shallow to Medicine to the Cardigans, most of the major shoegazer units have had female lead singers. But the Brother Kite are an exception, and Boutwell is a definite asset for the band on this enjoyable CD.

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http://www.mediafire.com/?1zcdeyy2o4y
Enjoy.

[DMart]

A bit of a variety of music here...


Clearlake - Amber

Frontman Jason Pegg lands in the production seat for Clearlake's third album, Amber. Recording in eight studios between England and France and with a little help from producers Steve Osborne (U2, Happy Mondays, Placebo) and Jim Abbiss (Kasabian, DJ Shadow, Editors), Clearlake have created a vibrant follow-up to their 2003 release, Cedars. With the success of that album and tours with Stereolab and the Decemberists, Clearlake are now on the indie rock map alongside the likes of British Sea Power, Doves, and Idlewild. Such a progression has allowed Clearlake's confidence to mature, and it is a bit more apparent throughout this 12-song set. Amber sounds the way the band should: tight, surefire, and aware. Lyrically, frontman Pegg does not overdo it. Clearlake's lyrics, thus far in their career, are simple and exact. That approach fits the band nicely, for Clearlake have never pretended to be arty (think Interpol) or too intellectual (like British Sea Power). Amber builds upon those notions once again for some of Clearlake's best material to date. Their classic, lush instrumentation has taken the experimental route; their usual pop overtones are now bit more shifty and edgy. Their hidden optimism is a bit more tucked away on Amber, too. The title itself is appropriate; as they develop a more current indie rock sound, Clearlake are surrounded by imagined hues of yellow and gold amidst a blackish background. "No Kind of Life" is brilliant. Drummer Toby May delivers a maddening rush, coiling with Pegg's polished harmonies and fuzzed-out guitar work for an anthemic album opener. The album title track is a slow storm of string arrangements, percussion, and pianos, accentuating the brooding, fiery colors of Amber. If Clearlake's melodic side is more interesting, songs such as "You Can't Have Me" and "It's Getting Light Outside" are sure fits — however, Clearlake also showcase a newfound bravado. "Good Clean Fun" and "Here to Learn" saunter through layered electric guitars and sexy basslines for some of the band's boldest work yet. "Neon" blasts on with that in mind, too, with a blistering harmonica and plunging instrumentation. Clearlake got it right this time out. They have has never sounded as triumphant as they do on Amber.

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http://www.mediafire.com/?ymnn2tjx1ud


Cowboy Junkies - One Soul Now

While it seems more common in the '80s, '90s, and beyond for a good band to remain intact for ten-plus years, they all face the same challenge: how does one continue to keep the music fresh and remain relevant? The Cowboy Junkies faced an uphill battle from the get-go, always living in the shadow of The Trinity Session (1988), and moving from the mainstream (including major labels, radio play, and a gig on Saturday Night Live) to just under the radar. Despite these changes, the Junkies have still been able to make great albums, like 1992's Black Eyed Man and 2001's Open. Both of these albums also showed a band willing to delve into new sounds (country and classic rock, respectively) and come up winners. One Soul Now seems to pick up where Open left off, retaining the tougher sound highlighted by edgy guitar work and a more rhythmic pulse. The title cut opens with acoustic guitar before transforming into a sleepy rocker that manages to be seductive and sinister at the same time. Margo Timmins' vocals are hypnotically lovely as usual, merging with bluesy guitar riffs and emerging above the morass as the chorus kicks in. Here, and on the following cut, "Why This One," it's easy to believe that the Junkies are going to pull off another coup. The arrangements and production of both cuts seem to bring a perfect balance to these songs, and the execution is handled with confidence. On second listen, however, Michael Timmins' songs tend to float more than move, and by the time the listener reaches the third cut, "My Wild Child," a familiar complaint against the Junkies emerges: the songs begin to fade into one another, more somnolent than hypnotic. Perhaps that's why a number of the later cuts choose different approaches by adding everything from organ to accordion to handclaps. Unfortunately, the guitar work on "Hunting Grounds" sounds like an outtake from "Dark Hole Again" on Open, while "Stars of Our Stars" seems cheerfully dissident from the surrounding material. Similar complaints can be made against the remainder of the album, with the Junkies veering between lethargic rockers like "Call You Baby" to atypically upbeat pieces like "No Long Journey Home." Longtime fans, wondering what the Cowboy Junkies have been up to for the last three years, will probably find several songs to like on One Soul Now. Newcomers will be much happier by picking up Open.

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http://www.mediafire.com/?vyzxdy0uyg2


John Spencer Blues Explosion - Plastic Fang

The Jon Spencer Blues Explosion's funky wild blues on critical albums like Orange and Now I Got Worry defined the band as being in a league of its own. With an intoxicating and sexy vocal growl, Spencer united with bassist Judah Bauer and drummer Russell Simins to define raw rock & roll outside of grunge, post-grunge, and modern rock throughout the 1990s. The bamboozled electronica mold of 1998's Acme album was sophisticatedly different, but the grit found in the band's previous work was a bit lax. The band might have known it as well; however, a change in direction was happening. The Jon Spencer Blues Explosion's eighth record, Plastic Fang, doesn't overlook anything this time, for the album exudes a new power. Spencer and his mates sought the expertise and slick work of musician/producer Steve Jordan, who brought brashness back to the front on Plastic Fang. "Sweet n Sour" flourishes with a huge guitar blast, and Spencer's tangy cool vocal howl has never sounded better. "She Said" is comprised of typical swagger, but it's the Rolling Stones-like romp of "Mean Heart" that's truly killer. It's Spencer's best take on a ballad, too, and it's bittersweet, but he's not totally hung up on love. The explosive wail of "Down in the Beast" definitely says so and the chug-chug-chugga rawk of "Money Rock 'n' Roll" rollicks even harder. As a songwriter, Spencer is impressive, and the Blues Explosion's collaboration with Dr. John and Bernie Worrell on the seductive, bluesy, and brooding "Hold On" suggests that Plastic Fang isn't exactly focused on one particular sound. It's simple, and the depth behind the band's musicianship has expanded into something fiery once more. With Jordan's assistance, Plastic Fang sounds live and abrasive, and it's infectiously undeniable.

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


Prefuse 73  - Prefuse 73 reads the Books E.P.

Play the Reads the Books EP for your indie-ignorant friend and then mention that "hip-hop" is often a descriptor applied to the work of Prefuse 73 and they'll wonder what the heck you're talking about. The little sister of Surrounded by Silence, Reads the Books shares one track with the full-length, but little of its temperament or attitude. This is soft and personal Prefuse 73 manipulating source material provided by quirky darlings the Books. The sound is closer to the Books than Prefuse, but there's that Prefuse whimsy and those cuts and stutters that make so much sense. The softness of it all makes this an easier sell for Books fans than Prefuse heads, but seeing the more personal side of the flashy producer flushes out his character nicely. Claudia Maria Deheza's sweet vocals on "Pagina Ocho" are a tantalizing preview of the promised, Prefuse-helmed album from the singer and enough of a reason for longtime fans to check out this short, sweet, somewhat underwhelming diversion.

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http://www.mediafire.com/?hmqyzttlbc5


Spain - The Blue Moods of Spain

The shadowy blue-black cover artwork (complete with sultry model) is an obvious homage to vintage cool jazz albums, but Spain's compositions are much more concerned with the dark and restless interiors of the psyche than those you'll find on any 1950s jazz record. It's no secret that Spain are trying to evoke a brooding, late-night atmosphere, and the quartet succeeds at doing this with its seductive drones (with lots of languorous guitar/basslines and shuffle drums) and melancholy, pensive songs. It's a bit monotonous all at once, though, and Josh Haden's raspy, thin vocals don't bring out the potential expressive range of the material as well as another singer might. They might get tired of hearing this, but Spain should consider shopping for a lead vocalist if they want to realize their full potential; Haden ain't no Margo Timmins, Lou Reed, or even Mimi Goese (from the obscure, somewhat similar late-'80s band Hugo Largo).

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http://www.mediafire.com/?ntdt2fkrtjx


The Weakerthans - Left and Leaving

The personal remains the political whichever way you want to cut it. Winnipeg's Weakerthans embody this ethic better than most on their second and long-awaited follow-up to their 1998 debut, Fallow. Splitting from Winnipeg's more punk Propagandhi, John Samson is following a more melodic and introspective path while retaining much of the politics. Constructed of vignettes of precise moments in time and place which manage nonetheless to speak volumes, Left and Leaving deftly mixes social commentary with folk and punk rock. This is an intelligent, literate album, and Samson a wordsmith the likes of Elvis Costello or Ron Sexsmith. There is the nice turn of phrase with the line "I am your pamphleteer" referring as much to an absent loved one as to the listener, and on "Aside," Samson sings that he relies "a bit too heavily on alcohol and irony." While "Exiles Among You" describes the disposed among us whom we step over and dare not make eye contact with, the album is never heavy-handed, but simply illustrative of another way of life, the path not chosen or hopefully avoided, especially on tunes like "This Is a Fire Door." Left and Leaving is as well-played an album as it is written. Produced by Ian Blurton, musically Left and Leaving is equal parts agit folk and punk-pop. There are dashes of the Rheostatics, a touch of Bob Mould, and a tasty Neil Young guitar solo on "Elegy for Elsabet." Coming out of the blue collar city of Winnipeg, the images ring true, reminding us that in this fevered era of technology, the people who actually produce the stuff consumed remain much as they always have, rarely seen and rarer still heard.

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http://www.mediafire.com/?eqvhqb0ylwy


My Friend the Chocolate Cake - Brood



Nothing on AMG about the album or the band, but it's typical of the band's work. Only real descriptive I could find is from Wikipedia:

The band's collective musical influences are diverse and include: Penguin Cafe Orchestra, Irish and Scottish folk music, Joy Division and folk / pop / rock performers such as Billy Bragg, Arvo Pärt, Talk Talk, John Cale and Michelle Shocked. My Friend The Chocolate Cake write songs of lyrical and musical mastery about people, characters and their community. Defying categorisation, the band perform emotive musical pieces that move from subtle chamber instrumentals to frayed acoustic pop, and songs of wry observation.
By no means formal in their presentation, My Friend The Chocolate Cake travel between atmospheric and ambient through to full scale romps and ballads. The band offer a unique and unsurpassed combination of moods. In addition to Bridie and Mountfort, the band includes Andrew Carswell, Greg Patten, Dean Addison, Andrew Richardson, and Hope Csutoros. Previous members have included Russel Bradley, Michael Barker, and David Adiuso.

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http://www.mediafire.com/?z0ixmqlm4lg


Darren Hanlon - Hello Stranger

On the consummately enjoyable Hello Stranger, his first full-length release following on the heels of his Australian breakthrough EP, Early Days, Darren Hanlon delivers the logical follow-up, further refining his impressively accomplished pop hooks and lyrical wit. This is a perfectly vibrant mix, with the arrangements crackling with a live intensity and musical looseness, and Hanlon proves himself a songwriter and tunesmith clearly in the line of greats like Elvis Costello and Billy Bragg in his ability to pair memorable melodies with clever songwriting. Even with rather odd lyrical subjects, such as the man who invented the kickstand in the strangely earnest "The Kickstand Song," his songs rarely suffer from an overreaching sense of wistfulness. No doubt he has picked up a thing or two from his work with fellow Aussies the Lucksmiths, but Hanlon trumps them in nearly every facet of their game, turning out melodies even more durable and lyrics not nearly as cloying. In fact, the consistency and eclecticism displayed is nothing short of amazing, as his seemingly inexhaustible resource of melodies and whimsical observations covers every inch of the album's ten tracks. Proving himself just as well suited with jangly guitar pop as he is with gloriously weary piano balladry, his talents are amplified by the added texture of nearly perfect touches of vibraphone, pedal steel, violin, and harp to match his entirely good-natured vocals. From start to finish, Hello Stranger rings out with a true buoyancy and ultimately rates as one of the rare jewels in a rather ho-hum season of singer/songwriter releases.

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http://www.mediafire.com/?mzhwb9hby2m


Augie March - Strange Bird

The cruel irony of making a brilliant record is that the whole world will never hear it. The sheer improbability of aligning the stars and blasting a hole in pop culture for the work to reside is the kind of romantic notion that has launched a million bands. Australia's Augie March may be a tiny blip on the global radar, but that could all change if this second release, the mesmerizing Strange Bird, gets into the right hands. Fourteen tracks of pastoral beauty, labyrinthine arrangements, and breathtaking prose render the listener unable to take it all in one listen. Wordsmith Glenn Richards' love of poetry — the lyric booklet has an index of first lines — is evident throughout, and although his vocals are often mixed far too low, his distinctive cadence recalls a young, mush-mouthed Ray Davies. In the heartbreaking "Little Wonder," folksy guitars, swirling brass, and delicate piano wrap themselves around delicious imagery — "On the wall behind some furniture there's a stain in the shape of Africa/O fear walks tall, when it's halfway up the hill with its friend alcohol" — and sordid observations — "Somebody blew their brains out in this room/I can feel it like it happened just this afternoon." On the raucous "This Train Will Be Taking No Passengers," burning coal fuels train and band, as the narrator proclaims, "Onward and on, this strange-wrought bird/Onwards and over the black coffee earth." The closing tune, the Roger Waters-inspired "O Song," laments the painful birth of a lyric and the empty nest it leaves in the heart of the writer. The group is adept at balancing the brutal, the epic dirge "Brundisium" and the beautiful and minimal "The Night Is a Blackbird," with a grace and dexterity that can only come from years of acquaintance. Those years have been well spent as Strange Bird is that rare piece of work that seems destined to age with you. One can only hope that this colorful bird from down under has, among all its other attributes, the gift of flight.

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http://www.mediafire.com/?90jxhwlbhhi
(Someone should upload 'Moo You Bloody Choir' - another brilliant album from Augie March. I would, but I've only got it in ogg files. It's probably not too hard to get from torrents too, I think?)

[squawk]

Here is an Elephant 6 Six Five Pack! I uh didn't have six albums. Other people had put them in here already.

Elf Power - Back to the Web



This is great at 2 AM. I think the new album is better though--that is in this thread too! At the top of one of the last five pages or so.

Elf Power's eighth record, Back to the Web, is certainly a big stylistic change from their last album, Walking with the Beggar Boys. Perhaps it's due to the time spent on the Orange Twin farm that lead singer and songwriter Andrew Rieger has been inspired to take a more organic, acoustic approach to his music, even ditching that lo-fi fuzzy sound that has defined many of Elf Power's records (maybe the move to new Warner affiliate Rykodisc precipitated this change) for a cleaner, smoother feel. Gone are the sweet indie pop/rock melodies everyone's learned to expect and instead come folky, acoustic guitar-driven songs. Rieger's dreamlike lyrics on Back to the Web are all heavily influenced by nature, and while Rieger's not always singing about it explicitly (though he can), nature is what he bases nearly all of his metaphors and imagery around. It acts as his solace, his guide; it provides structure; it's what creates and gives. Not that Rieger's environment is always a positive thing. "Rolling Black Water," for example, is a menacing and ominous song, conjuring up images of death and depression, but this is an exception: for the most part the natural world only aids in Rieger's comprehension of life. Though some Elf Power fans may be satisfied with the few songs that are reminiscent of the band's previous records ("The World Is Waiting," "23rd Dream") and the abstract, occasionally prog-like references to masters and kings, others may be disappointed, or at least confused, by the focus on experimenting with dark, Middle Eastern-inspired drones mixed with Western pop/folk sensibilities. But Elf Power -- and Elephant 6, for that matter -- have never concerned themselves too much with definitions, and if Back to the Web is just another step in the band's musical career and development, it certainly bodes well for an interesting future.

Code: [Select]

http://www.mediafire.com/?y6bwmyvhfgh

The Apples in Stereo - The Discovery of a World Inside the Moone



This album has the song "Look Away", which contains the best trombone/flute duet ever.

The Apples in Stereo's third full-length album is a return to their early-'60s Beatlesque sound -- as opposed to the experimental, late-'60s Beatles trip on Her Wallpaper Reverie. This doesn't mean that The Discovery of a World Inside the Moone is a letdown full of derivative, overdone material -- the Apples have further fine-tuned their sunny sound and remain defiantly jubilant on songs like "I Can't Believe," "The Rainbow," "All Right/Not Quite," "20 Cases Suggestive Of...," and "Go." The band relies on more backup vocals -- as well as horns, beefed-up guitar, squiggly keyboards, and handclaps -- which only add to the album's depth. Drummer Hilarie Sidney's stratospheric "20 Cases Suggestive Of...," a rollicking, melodic number that is equal parts melancholy and exuberance, is one of the best tracks on the album. Simplistic lyrics like "She don't like the way you look so she treats you like a crook" (from "Go") are contrasted with more poignant lines like "Once I cut my hand but the wound was not part of me/Now I'm a man there's a wound at the heart of me" (from "Stream Running Over") -- and show that the band is turning toward more introspective ideas than they have on previous efforts. Not every song on The Discovery of a World Inside the Moone is an uptempo number: "Submarine Dream," "What Happened Then," "Stay Gold," and "The Afternoon" are somewhat cerebral and subdued tracks, and are well done even if they're not as immediately accessible as the other songs. Robert Schneider's lyrics are more emotional and personal here than on earlier releases, and the added intimacy, as well as the musical layers, make The Discovery of a World Inside the Moone an intricate, poignant lunar trip.

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

of Montreal - Aldhils Arboretum



This is the of Montreal album after Coquelicot and before Satanic Panic. Nobody ever seems to talk about it? It's okay I guess but it has two fantastic tracks ("Kid Without Claws", "Jennifer Louise") and then a few pretty great tracks and then some stuff is sort of just there. I think it's still worth listening to, though.

Intended as an "album of singles" in favor of diminishing their normal proclivities toward conceptual grandiosity and musical adventurousness, Aldhils Arboretum marks a peculiar change of pace for Elephant 6's most prolific popsters. About six songs and 20 minutes shorter than the average Of Montreal outing, the band manages to retain a good deal of their trademark zaniness while producing what might be their most focused and polished work. In fact, the band has never sounded stronger instrumentally as a straightforward retro-rock unit. Big ringing keyboards and wild veering guitar lines color unshakable ear candy like "Doing Nothing" and "Jennifer Louise," both tracks that rank among their most catchy, if not the most innovative, in their extensive catalog. Of course, Kevin Barnes still indulges a bit in his tendency toward obscurely surreal narrative, with both "The Blank Husband Epidemic" and "An Ode to the Nocturnal Muse" being unpredictably odd ventures into his unique imagination. Further, even though the intricately playful nature of some of their best songwriting is somewhat muted, Barnes does manage to extend his reputation for gorgeously florid balladry on a few tracks. All in all, even though they don't have an overarching concept to rest under, the set of songs present is undeniably strong and ultimately stamped with all of the important elements that make Of Montreal's brand of psychedelic pop so exemplary.

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http://www.mediafire.com/?zb3vwz2jx5j

The Minders - Hooray For Tuesday



I have uploaded this before but it was on Sendspace like half a year ago so it no longer works.

If there is a definition for indie pop in the dictionary, there's a good chance there's a picture of Hooray for Tuesday next to it. The first LP from the Minders is full of hooks and harmonies that help define members of the Elephant 6 collective. With the help of the Apples in Stereo's Robert Schneider, the Minders succeed in making a pure pop record that doesn't get annoying. The lead and title track, "Hooray for Tuesday," is a classic and sets the tone for the album. While most of the record stays the course, "Comfortably Tucked Up Inside" slows down the pace just a touch and makes for a nice change, while "Our Man in Bombay" and "Bubble" give nice instrumental breaks. Sometimes it's easy to drown in too much pop, but the Minders make great pop that makes the 30 minutes not only bearable, but enjoyable.

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http://www.mediafire.com/?pstudn9kizo

Beulah - Handsome Western States

Beulah is the best band ever.

Beulah is a Californian band. It's as simple as that. Miles Kurosky writes endearing pop songs that are cynical, bittersweet, or both, and there's nothing surf-rock about it. He and bandmate Bill Swan add a mean brass arrangement to their dual guitar work on their debut album, Handsome Western States. Beulah's crafty indie rock sound isn't as lo-fi as many make it out to be and while Kurosky's a big fan of Pavement, Handsome Western States is filled with a different kind of soul and a great big heart. From the lazy shimmy of "I Love John, She Loves Paul" to the punky good time of "Disco: The Secretaries Blues" and the countrified lament "Queen of the Populists," Handsome Western States is a solid introduction to Beulah's warm pop style. Reflecting upon teenage love is always memorable, and Beulah makes some of the confusion of those days seem OK. Handsome Western States is a sunburst of good music and as songwriters, the members of Beulah are onto something good. As musicians, they're a touch mediocre but that's not necessarily bad, either. They may be beginners in the studio; however, Handsome Western States is a great place to start.

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http://www.mediafire.com/?3zeywoaae0o


BONUS: Not Elephant 6, but here is some Sloan, because everyone should like Sloan. Sloan is the best band ever.
I will put Never Hear the End of It in here tomorrow, because I have to put it on stupid Sendspace.

Sloan - Twice Removed

A far superior effort to Sloan's scattershot debut, 1994's Twice Removed is a clever and varied collection of smart and catchy pop songs. Without the grunge-era production that smothered some of the best songs on Smeared, the sparkling wit of the lyrics and catchy directness of the melodies shine through. All four members write and sing, which accounts for the variation between songs like the punkish opener, "Penpals," and the chiming guitars and "ba-ba-ba" chorus of the sublime "People of the Sky," the highest of the album's high points. Other goodies include the puckish media slam "I Hate My Generation" and the dreamy, largely acoustic closer, "I Can Feel It," with its harmonies by Jale's Jennifer Pierce. Not everything works quite so well -- the seven-minute "Before I Do" is at least two and a half minutes too long -- but Twice Removed was the first indication that Sloan was more than Canada's answer to the Lemonheads.

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http://www.mediafire.com/?cdnal6mdly1

[ImADimetrodon]

woot...finally getting to post some stuff in between all of the SSBB and the internet not working. buuuuut WWOOHHOOOOO more things for you guys.

here's some...

GDEB

Wait can we put myspace links in this so you can listen to it before you get it?...Uhh well I'm going to do it anyways

http://www.myspace.com/goddamnelectricbill

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http://www.mediafire.com/?hmzhyb6awnx
That's not all his stuff, it's only things that I could find. He has a bunch of remixes which are rad so look for more or buy. Something like that.

[Daft pun]

The Lucksmiths - Warmer Corners

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

You would think that by their seventh album Australian pop/rock giants the Lucksmiths would have run clear out of the clever, elliptical lyrics and catchy melodies that have been intoxicating listeners since the band's debut in 1993. Not so. Even frontman Tali White's side project, the Guild League, which released records in 2002 and 2004, couldn't deplete the endless cache of near-perfect pop songs just waiting to be put to tape/hard drive in anticipation of the aptly titled Warmer Corners. Like 2003's Naturaliste, White, guitarists Marty Donald and Louis Richter, and bass player Mark Monnone have crafted another shimmering collection of road trips put to music that balances wistful romanticism with mischievous grins, resulting in a record that manages to introduce just enough spice without ruining a reliable dish that some would deem perfect just the way it is. Producer Craig Pilkington's melodic brass and string arrangements are more prevalent this time around, swaying in and out of standout cuts like "A Hiccup in Your Happiness" and the Motown-infused "Now I'm Further Away." Twilight atmosphere may reign supreme on "folkier" tracks like "If You Lived Here, You'd Be Home Now," with its weepy pedal steel set against the lyric ("Let's just drive until we've found somewhere there are more headstones in the cemetery than houses in the town" is imagery that you could eat), but whimsy is never far away (the whistling solo in "I Don't Want To Walk Around Alone No More" is both campy and heartbreaking). Warmer Corners is like most Lucksmiths records; it's meant to be swallowed whole, and in an age of singles with albums attached to them, it's both refreshing and nostalgic at the same time.

NEW! JUST LEAKED! AWESOME! ETC!

M83 - Saturdays = Youth

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

[Dimmukane]

Dammit I got stoned and listened to Colour Haze's self-titled album and now I have to upload it because it is such a fucking masterpiece that it hurts.  My original upload of this album is probably still a valid link somewhere on this thread, but I really do feel this much need to call attention to how good this album is.  In fact, for my money, it might just be the greatest psychedelic rock album ever.

Colour Haze - Colour Haze

FUCKING AWESOME!

This is simply some of the best heavy psychedelic rock that has ever been written.  Stefan Koglek's fiery guitar solos and dynamic vocal performances are backed by an incredibly solid rhythm section and the band's playing is some of the tightest, most fluid, organic instrumental work I've ever had the pleasure to listen to.  I can't overstate the quality of this album.  The music twists and splashes and builds and swirls and feels alive.

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http://www.megaupload.com/?d=EK3RFDNW

So I've had this sitting on my hard drive for a little while, and never got around to listening to it, because I didn't like their later stuff as much as the Moccassin and stuff you put up around the same time.  Seeing you upload it again made me to decide to put it on.  First two songs: Yeah, I'm liking this. Alot.  Love comes on:   WHAT THE FUCK THIS IS THE MOST RIDICULOUS SHIT I HAVE EVER HEARD BAR NONE.

In the back of my mind there is just a chaotic swirl of everything getting sucked into my frontal lobe.  That is what listening to this song is like.  And the rest of the album isn't overshadowed by it either, that's just the one that struck a chord in me.

[Broken_Drum]

Here's one more for today. I'm sorry if it's already been uploaded. I saw most of the other Iron & Wine albums, but not this one.


Iron & Wine - The Shepherd's Dog

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http://www.mediafire.com/?di1ta0xkidt

Thank you, thank you, thank you, thank you.

I'll put something up here later.

[piratemike]

crazy hyperbole

Hm.  That was a pretty solid reaction.  i'm downloading now.

[Dimmukane]

That wasn't hyperbole.

[Kai]

Squarepusher - Hello Everything

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http://www.mediafire.com/?wgjyz6xijsn
yesssss

[TugboatComplex]

Meant to throw this on last night


Fleet Foxes - Sun Giant EP

From Pitchfork:
The Sun Giant EP-- sold on tour and digitally through Sub Pop, with a proper release forthcoming-- contains familiar sounds, but Fleet Foxes make something new and special with them, following their own musical whims as closely as they follow tradition. (Maybe more closely.) These five songs-- modest but never spare, atmospheric but never as an end in itself-- change shape constantly, taking in elements of classic rock, church music, old-timey folk, and soundtrack flourishes. Already mistaken for Southern rock (there's not enough boogie in Nicholas Peterson's drums for that), Fleet Foxes will bear repeated comparisons, both praising and disparaging, to groups like My Morning Jacket and Band of Horses, but those connections are based on superficial similarities like geography or the heavy use of reverb. In fact, Fleet Foxes' touchstones are much more diverse than that-- and not necessarily so contemporary.

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http://www.mediafire.com/?m8wjwtxymxz


Fleet Foxes - s/t  (Leaked Copy)

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http://www.mediafire.com/?pztbjb2mo9k

"Mykonos" off of Sun Giant & "White Winter Hymnal" from the s/t are mesmerizing.

Enjoy.

[Broken_Drum]

Squarepusher- Hello Everything

You are a saint among men, thank you.

Trans Canada Highway (EP)- Boards Of Canada

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http://www.mediafire.com/?zhvly21x502

A mini-concept LP, Trans Canada Highway follows the Scottish brothers (who spent time in Canada) as they trek from St. John's, Newfoundland, to Victoria, B.C., in under a half-hour. Beginning with the only old track, "Dayvan Cowboy" (a highlight of 2005's The Campfire Headphase), Michael Sandison and Marcus Eoin sound just a little refreshed at the thought of producing a low-impact EP instead of an eagerly awaited LP. After the slowly shifting single gets out of the way, Sandison and Eoin start looking back to Geogaddi territory, reprising ghostly effects and skeletal melodies with quarter-speed hip-hop beats to create a work that would barely take you 45 miles along the highway but, put on repeat mode, wouldn't even sound tired by Montreal. The sixth track is a remix of "Dayvan Cowboy" by Anticon associate Odd Nosdam, who shows his allegiance with his own mostly beatless soundscapes, which warp and flow with the best of BoC.

Genre: Electronic, Trip-Hop, IDM, Ambient

[unkle]

It looks like the previous upload of this album has expired so here's more Iron & Wine.

Iron & Wine with Calexico - In the Reins

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http://www.mediafire.com/?dlozt00tmlm
And for a change of pace:

Death Angel - Act III

Act III was the third album by the thrash metal band Death Angel, released in 1990 on Geffen Records. Regarded by many critics and fans as the band's finest effort, the album was produced by famed metal producer Max Norman (Megadeth), and marked the first (and only) major label release by Death Angel. The album spawned the singles "Seemingly Endless Time" and "A Room with a View", with both songs receiving music videos and airplay on MTV's Headbangers Ball.

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http://www.mediafire.com/?ibbm0xbyavn

[dropstring]

Still more Mark Lanegan:



The 1994 Album 'Whiskey for the Holy Ghost'. Have Fun!

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http://www.mediafire.com/?2xsf0nylmm5

[Tom]

If you intend to post again, try and read the rules. Also, this isn't the place to introduce yourself, so go and swing around to Hi I'm New.

[whitecomet]

Heres my first album to upload i searched the forums but couldnt find any dredg albums so heres one ive got the others just give a shout and ill post later
Dredg - Catch Without Arms (2005)

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http://www.mediafire.com/?wjjvyjmmxm4 <-prt1

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http://www.mediafire.com/?eff2kbh3xzm<--prt2

[onewheelwizzard]

"Whiskey for the Holy Ghost" is a fucking fantastic album.  Somehow, I didn't have it, though, so thank you!  People who like Mark Lanegan (which should be most of you), download that album.

(Dimmukane, Colour Haze's self-titled was their 5th album.  I think it was their earlier stuff that turned you off ... Chopping Machine, maybe.  The later stuff, like the self-titled and Tempel, is my personal favorite.  If you go back and listen to Periscope, Ewige Blumenkraft, and CO2, you might fall in love with them to the extent that I have.)

Here's the 35007 discography!  35007 are a Dutch space/psych band and they are really, really good.  This is in chronological order of release.  The earlier albums (Especially for You, 35007/Into the Void We Travelled) have vocals, but the vocalist left the band in 2001 and the later albums are instrumental only (I personally prefer them quite a bit).

This stuff, particularly the instrumental albums, is majestic.  Pummeling riffs serve as a constant background for shimmering, fluttering cascades of guitar and synthesizer.  If you've ever heard music described as being from outer space, you were hearing about the wrong music, because that description applies better to this band than to just about any I've heard (especially the title track on "Sea of Tranquility," throughout which there is a series of samples of what sound like actual transmissions between a space mission and ground control).

35007 - Especially For You (1994)

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http://www.mediafire.com/?czadml40cen
35007 - 35007/Into the Void We Travelled (1997)

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http://www.mediafire.com/?jstwhtmldm1
35007 - Sea of Tranquility EP (2001)

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http://www.mediafire.com/?w1dy7ujgmyz
35007 - Liquid (2003)

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http://www.mediafire.com/?sjlnxgxm2qz
35007 - Phase V

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http://www.mediafire.com/?cmitqmxcjrx
Two of these (the last two) are re-ups of albums I've put on this thread before, and of the 5 they're probably the best ... but I've got the whole discography so it makes sense to put it all up.

BONUS!  I just found a download link to an awesome new album I hadn't heard of before.  My Sleeping Karma are very similar to Ahkmed, Leech, and other psychedelic post-rock bands of that nature.  I've listened to half of this album on their Myspace page and it is quite good indeed.  Recommended for fans of the aforementioned Ahkmed, and for that matter, anyone who likes the 35007 on this post.

My Sleeping Karma - My Sleeping karma

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http://www.megaupload.com/?d=44M42307

[KvP]

Somebody said something about the Analogue Bubblebaths, so I am in the process of upping them.

Aphex Twin - Analogue Bubblebath EPs 1, 2 and 4 (3/3.1 and 5 are too big for mediafire and are being uploaded separately)

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http://www.mediafire.com/?43mkjxnx9ae
Aphex Twin - Analogue Bubblebath EPs 3, 3.1

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http://www.mediafire.com/?3etrdwixg7m
Aphex Twin - Analogue Bubblebath EP 5

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http://www.mediafire.com/?znhgrwtzzzo
I've got more RDJ stuff I can up tomorrow. The Color EPs, Donkey Rhubarb, a live set, etc.

[McTaggart]

Iron and Wine & Calexico, Darren Hanlon, Augie March, John Vanderslice, Ellen Allien & Apparat, Mylo, bits and pieces of the Bright Eyes

<3

[Caspian]

dutch space rock stuff

My man, you have excellent, EXCELLENT taste in music. Thanks so much for all the psychedelic stuff you've uploaded, it's all been of excellent quality.

Out of curiousity, have you heard the Bardo Pond/LSD March collab? Excellent stuff, should be right up your alley. If it wasn't a double disc (and if my internet wasn't screwed up) I'd up it myself.

I'll upload some Alasehir (Bardo Pond side project) a bit later, as it's relatively small, so I should be able to upload it before my intarwebz implodes.

[_yoda]

Somebody said something about the Analogue Bubblebaths, so I am in the process of upping them.

Aphex Twin - Analogue Bubblebath EPs 1, 2 and 4 (3/3.1 and 5 are too big for mediafire and are being uploaded separately)

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http://www.mediafire.com/?43mkjxnx9ae
Aphex Twin - Analogue Bubblebath EPs 3, 3.1

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http://www.mediafire.com/?3etrdwixg7m
Aphex Twin - Analogue Bubblebath EP 5

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http://www.mediafire.com/?znhgrwtzzzo
I've got more RDJ stuff I can up tomorrow. The Color EPs, Donkey Rhubarb, a live set, etc.

YOU DA MAN. thankyou

In return I shall provide Squarepusher EPs

[pilsner]

Yeti Five

featuring musical contributions from and/or interviews with: Jeff Mangum (who not only contributes visual art but also supplies us with 4 of his favorite, never anthologized sides from old 78s for the CD), Iron & Wine, Akron/Family, Will Oldham, Dean and Britta (covering Galaxie 500 on the CD), Deerhoof, D+, Mt. Eerie, Anglin Brothers, A Hawk and a Hacksaw, the Spiritualaires, Cooper Moore, and more. Also: Awesome travel journals from the Western Sahara by Sublime Frequencies co-founder Hisham Mayet; Erik Davis on P.G. Six; Mike McGonigal going off about Blind Willie Johnson's "Dark Was the Night, Cold was the Ground"; Scott Seward on "the marriage made in hell between folk music, dead cultures, myth & highly technical modern extreme metal"; drawings by German Surrealist Unica Zürn; an excerpt from Meredith Brosnan's new novel; an interview with Nicola Bowery about iconoclastic '80s fashion icon Leigh Bowery; fiction by Kevin Sampsell; dirty AIM conversations courtesy of BloodNinja; visual art from the likes of Saul Chernick, Kevin Arrow and Kyle Field (from Little Wings) -- we're psyched about this one!

Part 1:

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http://www.mediafire.com/?1amojwwnewf
Part 2:

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http://www.mediafire.com/?bzz3loe0lcp
This is the last word in musical eclecticism, and a mind-expanding journey.  Highly recommend, and if you enjoy it, please order a copy of your own for fascinating music journalism and never before published Jeff Mangum art.

[Dimmukane]

dutch space rock stuff

My man, you have excellent, EXCELLENT taste in music. Thanks so much for all the psychedelic stuff you've uploaded, it's all been of excellent quality.

Out of curiousity, have you heard the Bardo Pond/LSD March collab? Excellent stuff, should be right up your alley. If it wasn't a double disc (and if my internet wasn't screwed up) I'd up it myself.

I'll upload some Alasehir (Bardo Pond side project) a bit later, as it's relatively small, so I should be able to upload it before my intarwebz implodes.

That sounds sick.  Do it.

As a side note, I'm ingesting...something wednesday and the past few weeks of uploads have been pretty good for this kind of thing.  Pat yourself on the back, QC.

[exomni]

Yeti FiveThis is the last word in musical eclecticism, and a mind-expanding journey.  Highly recommend, and if you enjoy it, please order a copy of your own for fascinating music journalism and never before published Jeff Mangum art.

Just curious, do you know which five tracks are from Jeff Mangum's collection?

[KvP]

More Aphex Twin.

Aphex Twin - Classics (Digeridoo + Xylum Tube EP)

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http://www.mediafire.com/?ieom4y2igmk
Aphex Twin - Caustic Window Compilation

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http://www.mediafire.com/?pvxgmxmmrvd
Aphex Twin (as Polygon Window) - Surfing on Sine Waves / Quoth EP

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http://www.mediafire.com/?yeb70i9mwrr

[bff]

Here's the 35007 discography! 

Many thanks for this.  I acquired Phase V somewhere a while ago (maybe this thread?) and loved it, I can't wait to hear the rest of their stuff.

[KvP]

Aphex Twin - Come to Daddy / Donkey Rhubarb EPs

Come to Daddy has been interpreted by some as Richard D. James' sly send-up of the Prodigy's massive hit "Firestarter." If that's the case, it only goes to show how clever the Aphex Twin really is. Built around an intense drum loop and a deliriously demented, booming voice yelling "Come to Daddy!," the track could be the biggest sonic assault James has ever constructed, and even with the underlying menace, it remains one of his most accessible and memorable songs. The EP is filled out with several "Come to Daddy" remixes that reveal subtleties in the main track, plus a few tracks like "Flim" that show Aphex still capable of the gorgeous, fragile melodies of his early ambient work.

Continuing his twin fascinations with the avant-garde and the humorously populist, James cooks up some fun on this four-song release, which followed I Care Because You Do by some months and borrowed a bit of its cover art. The title track is reminiscent of "On," more stylistically than musically, with a lovely main melody dressed up with quick beats, bleeps, and the like; it's a madcap little whirl that gets more stripped down in the second half before fading out with the lead melody once more. "Vaz Deferenz" is comparatively more straightforward; it's also fast-paced but rides everything a little harder -- it's not "Quoth," for instance, but this is more nervous laughter than giddy. "Pancake Lizard" in contrast has a more deliberate pace, with a rough drum loop offset by soft strings and even a bit of acoustic guitar. The real surprise is a version of "Icct Hedral," an I Care track which is covered here by none other than Philip Glass, a vocal Aphex fan for some time. The connections between avant-techno's minimalism and that of Glass' variety have often been spoken of, but here it finally comes to life, the original's chilly melody made even more serenely beautiful and disturbing all at once thanks to Glass' fine orchestration.

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http://www.mediafire.com/?huyjrecmm1zWorth downloading just for the Icct Hedral orchestration.

And my favorite -
Aphex Twin - On + Remixes

On was one of the first tastes of Richard D. James' bizarre, icy electronic music for many listeners. It's a great place to start. The title song is pretty and fragile, yet with a dark, throbbing heart. Plunger sound effects threaten to overtake a high-pitched Pray for Rain sound-alike melody, amid other random ambience. Foreshadowing later releases, Aphex Twin lays out many of his trademark sound effects, from squishy, dying electronics, to twitching noise boxes. "73-yips" shares more in common with James' releases under his Caustic Window moniker. It's a defining moment in the genre of drill'n'bass, with an aggressive box-springs-on-fire feel. "Xepha" marries the styles of the previous two songs, but concentrates more on mood than melody. The song would fit perfectly on the soundtrack to one of David Lynch's darker films. On the final track, Reload reworks "On" into what sounds like a score for a somber sci-fi film; it's not as emotional as the original, but it's still quite accomplished. On is an excellent, EP and a fine sampler of Aphex Twin's many talents.

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http://www.mediafire.com/?cg9x911hmw3

THOUSANDTH POST YESSSSSSS

[DMart]

Augie March - Sunset Studies

Those buoyed by Doves' and Elbow's retrenchment in Britain, away from the rueful, ego-bloated Brit-pop excesses and back towards more vintage, challenging subconscious post-punk pop (going back to such titans as Joy Division, the Comsat Angels, the Sound, the Chameleons, And Also the Trees, and early Cure), are advised to pick up Sunset Studies. It's right up there with those two groups in scope, ambition, and beauty, only very different. Voted "Top 5 LP of the Year" by the listeners of powerful Aussie national station JJJ, this simmering, sweet powderkeg is perfectly produced by the band and (mostly) engineer Paul McKercher. Each guitar chime, bass burble, and cymbal crash registers serenely on such a sinewy, methodical work. It's got all those spine-tingling elements, but this is not dream pop, nor is it strictly mood pop. Instead, this is a quartet that uses quiet, and hints of disquiet, to infect their beguiling art. The album really gets you when they drop the electric guitars on track three, "There's No Such Place," in favor of a melancholy piano and picked acoustic bed — and you become, in the lyrics, "frozen in a waking instant." Singer/songwriter Glenn Richards exhibits a honey voice as he pulls off this bittersweet, lulling, cat-hair-soft material, continuing on the light waltz "Tulip," and later on the striking, Byrds-like folk track "Men Who Follow Spring the Planet Round." Without any filler for an hour-and-a-quarter, Augie March are in no haste, meditating in little passages and dropping in bits of vibey instrumentation. A major-label LP from the other side of the world, it's worth the effort to track down, particularly for those who think there are no more musical craftsmen out there.

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http://www.mediafire.com/?gcm1jtcwvg1


Augie March - Waltz



Nothing on AMG about this EP, but typical of their work (see above)

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


Augie March - Moo You Bloody Choir



(this review is kinda funny, since after this album was released their popularity exploded (in Australia at least) with 'One Crowded Hour topping Triple J's Hottest 100 for '06)

Despite being a reasonably solid effort, Augie March's third full-length, Moo, You Bloody Choir, likely won't do anything that the much-superior Strange Bird didn't do to expose the group to a larger fan base four years prior. This isn't an entirely surprising outcome, however; though many promising elements shine through the Australian outfit's mid-tempo dream pop — leader Glenn Richards' excellent craftsmanship, striking lyrics and pretty, well-molded vocal work and harmonization, to name a few — ultimately the group gets bogged down by the very things that initially make them so pleasant. Their too-smooth, incredibly homogenous sonic textures relegate half the album to almost nondescript blather, which largely lacks a distinctive spark. The soft and downy instrumentation is the most significant culprit; the wash of piano and strummed, reverb-drenched electric guitar quickly wears thin, and is broken only on the big-band novelty opening of "The Honey Month" and on a handful of other songs. That said, the group still manages to reach a fair number of peaks, which provide reason enough to not ignore the album entirely. The strong first three tracks are starkly pretty, lilting songs in the passionate vein of Jeff Buckley's more subdued, romantic work, utilizing some subtle dissonances and a very satisfying harmonic balance, particularly on the circular flow of the opener, "One Crowded Hour." It's also hard to argue with such evocative imagery as "But for one crowded hour, you were the only one in the room/ I sailed around all those bumps in the night to your beacon in the gloom." Unfortunately, by the time "Stranger Strange" rolls around, the plaintive mood settles into repetition and listeners' attention spans are likely to wander for several tracks. Things certainly pick up with the much-needed kick of the rocker "Just Passing Through," which leaves in its wake several of the album's more alluring tracks as the mood settles back into subdued melancholia. Richards evokes another of indie rock's more romantic figures — Ryan Adams — on "Bottle Boy," where his voice achieves an expressive interplay with the guitar and background harmonization that is somehow lacking in much that precedes or follows. Moo, You Bloody Choir picks up once again for the last time on the lengthy simmer of "Clockwork," where Richards sings "Oh singer, I don't believe your song, or your lying lines." While that's far from the case with the singer's own fine lyrical poeticism, it's hard not to take most everything else about this album as anything more than for granted.

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


Great Lake Swimmers - Bodies and Minds

Released just five months after their acclaimed self-titled debut, the Canadian indie folk collective's sophomore release treads the same cold waters as before, but with a batch of songs that are as confident as they are heartbroken. Listeners who felt drawn to singer/songwriter Tony Dekker and fellow Swimmers tales of northern woe the first time around will likely find the more band-oriented Bodies and Minds to be an improvement. Like the Cowboy Junkies before them, the tracks were recorded in a church (the previous release found the group crammed into a silo), resulting in an intimacy that feels both peaceful and urgent. Dekker's vocals are less shaky this time around, and his glorious falsetto, which salutes Thom Yorke and Neil Young without ever coming off as derivative, bounces off of the cathedral walls with such quiet grandiosity that one barely notices the subtle banjo, electric guitar, and brushed snare drum that propel it. Granted, the Swimmers songs and overall style are by no means ground-breaking ("Let's Trade Skins" and "Various Stages" echo the Scud Mountain Boys with their deep Wurlitzer underbelly, while "Song for the Angels" sounds like a Red House Painters song circa 1993), but they're well on their way to cementing them with both feet into the "wet as a highway during mayfly season" sadcore genre.

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http://www.mediafire.com/?myr9wmmgamv


Crooked Fingers - Red Devil Dawn

Like a Tom Waits prodigy, Eric Bachmann employs his hopeful rasp on Red Devil Dawn creating a sweet mix of Americana, heartland melancholy and an essentially optimistic outlook. Red Devil Dawn is a welcome masterpiece of emotional subtleties — the great record that Crooked Fingers missed the mark on with 2001's drunken, bluesy and somewhat disappointing Bring On the Snakes. "Big Darkness" jangles along, looking for "a hero coming soon." "You Can Never Leave" moans like something off of Heartattack and Vine or Springsteen's absolutely perfect Nebraska. And speaking of Nebraska, the hauntingly spare "Bad Man Coming" could have easily fit between "Johnny 99" and "Highway Patrolman" on that record — had this song come out in 1981, a 32 year old Springsteen may have covered it as readily as Waits' "Jersey Girl"." The best track on Red Devil Dawn has to be "You Through a Spark," an exhilarating and joyful swirl of horns, guitar and raw feelings, and something closest to Waits' Rain Dogs on a manic binge. In the end, Red Devil Dawn is simply a beautiful album, and the first truly great release of 2003.

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http://www.mediafire.com/?cmtc72mczza


Crooked Fingers - Reservoir Songs

Eric Bachman's alter ego, Crooked Fingers, released this album of cover songs in the spring of 2002. From the beginning, Bachman soulfully makes Kris Kristofferson's "Sunday Morning Coming Down" his own on the opening track. There's a folky feel on the second track, "Solitary Man." The most impressive song might be "When You Were Mine," led by Robert Lloyd Martin's banjo, Wade Rittenberry's bass, and Bachman's restrained vocal attack. The disc concludes with the band's versions of Bruce Springsteen's "The River" and David Bowie's "Under Pressure," which is easily the collection's liveliest track. Bachman seems to make each track his own. Reservoir Songs was recorded in Atlanta in January 2002. Evan Thomas performs on drums, while guest musicians Alex McManus, Andrej Curty, and Eunice Kang perform on euphonium, violin, and cello respectively. With this disc, Bachman continued to distance himself from his previous work in the influential indie rock band Archers of Loaf.

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http://www.mediafire.com/?e5irz02dytx


Arcade Fire - s/t EP

As far as debuts go, the Arcade Fire's seven-song introduction to the world will forever be lorded over by its behemoth older sibling, 2004's commercially and critically lauded Funeral. While the hundreds of people who coveted the self-titled EP prior to its 2005 re-release on the ultra-hip Merge label can rest assured that their copies are indeed original, those who are looking for a prequel to the anthemic, end-of-the-world bombast that emanated like a black-box recorder from Funeral are in for a treat. While there's nothing here that matches the goosebump-inducing electricity that runs through "Tunnels" or "Power Out," there are moments — both musical and lyrical — that portend the fireworks to come. "Old Flame" starts things off innocently enough with a simple melody tied to the even simpler pangs of new love — "My mouth is full/Your heart is an apple" — and "I'm Sleeping in a Submarine" extends that joy with a defiant chorus of "A cage is a cage, is a cage, is a cage!" However, it isn't until the third track that the record begins to take shape — "No Cars Go," with its driving accordion melody line and unified shouts, sounds like the blueprint for Funeral's "Rebellion (Lies)." Régine Chassagne does little to escape the Björk comparisons on the sparse "Woodlands National Anthem," but her distorted, blood-curdling howls on the pulsing "Headlights Look Like Diamonds" are one of the EP's highlights. By the time the listener arrives at "Vampire/Forest Fire," with its familiar themes of pain both spiritual and familial, it's obvious where the band is headed. Like Broken Social Scene or the Flaming Lips, the Arcade Fire are sometimes earnest to a fault. While each of the seven tracks contained herein are fully realized, they are as unfocused as they are beautiful, resulting in an intangible, dreamlike atmosphere that reduces each cut — no matter how deep — down to a mere scratch.

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http://www.mediafire.com/?fmitd9y1yme


Shearwater - Winged Life

A shearwater is a sea bird. Jonathan Meiburg, when he's not busy being the world's leading expert on the South American striated caracara (Phalcoboenus australis), or playing keyboards for Okkervil River, is the winsome frontman man for Shearwater, the band. After releasing two beautiful, fragile, often indulgently miserable records, this talented Southwest collective has found a new muse for its third long-player, Winged Life. While the often uncomfortable silences and quivering lower lips ("Wedding Bells Are Breaking Up That Old...") still make the occasional appearance, Meiburg, Okkervil River lead singer Will Sheff, drummer and vibraphonist Thor Harris, and upright bassist Kim Burke have crafted an indie pop gem that replaces the genre's horn-rimmed irony with actual soul. Like Belle & Sebastian with serious intentions, they navigate emotional territory like big-game hunters, especially on "Sealed," where the weapon of choice is Meiburg's Pete Townsend-like falsetto. It's his gentle voice that is the record's greatest strength — when it's on, it's breathtaking — and it's biggest weakness — when it's not, like on the flat "My Good Dee," the listener is inclined to give up along with him. The up-tempo tacks are the real standouts, and display a band that's well on its way to becoming a true force of nature. The deliciously wicked "Whipping Boy," with its treated drums mirroring its protagonist, finds a deep pocket groove, basking in its own chilliness, much like Radiohead's "Packt Like Sardines in a Crushed Tin Box," before giving up in a wash of strings. "I've Got a Right to Cry," despite its sad-sack title, is a sweet slice of pop pie that deserves placement in a Wes Anderson film. It's this optimistic response to growth that sets Shearwater leagues above their contemporaries. This is a group caught in the beautiful throes of rebirth, and beneath the quiet strums of the guitar, the gentle ripple of the Rhodes, and the soft exterior of Meiburg's vocals lies a heathen beast just waiting to be named.

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http://www.mediafire.com/?1d0byyqxlma


Clinic - Walking With Thee

Right down to its gritty, mod-punk art direction, Walking With Thee seems like it should fit right in with Clinic's previous work. Indeed, the group's second full-length album could've been a carbon copy of their debut, Internal Wrangler, but to Clinic's credit, the band makes a few changes, opting for a smoother production and a quieter, more implosive sound than their previous work offered. Frustratingly, though, most of these changes end up detracting from the group's strengths and diluting the album's impact. Walking With Thee's production is far from slick, but a huge part of Clinic's appeal was that the band seemed to record in an underwater garage, giving their songs a fuzzy, cavernous sound that made their messy, thrashy moments even more dangerously alluring and their ballads that much more affecting. Stripped nearly bare of reverb and static, much of Walking With Thee sounds incomplete, particularly on the almost-punk of "Pet Eunuch," "Welcome," and "The Equaliser," which, with its rattling percussion and driving bassline, could've rivaled Internal Wrangler's ugly-beautiful intensity if had a little more oomph. However, the album isn't a total washout — for every lackluster moment, there's one that connects. "The Vulture" and "Walking With Thee" nearly reach the frenzied, strangely sexy, bottom-dwelling heights (depths?) of Clinic's best work. And beginning with the chilly, hypnotic opener, "Harmony," many of the album's quietest moments are the most compelling. Filmic tracks like "Come Into Our Room" and the dreamy finale "For the Wars" follow suit, though their brooding, stark sound will only strengthen the Radiohead comparisons. There's a lot of promise on Walking With Thee, but nothing here touches the deadpan cool of Internal Wrangler's "The Second Line," the detached poignancy of "Distortion," or the raw energy of "Second Foot Stomp." The band sounds like they're still figuring out how to make the urgency of their previous work jell with a more polished, experimental sound, which makes Walking With Thee not so much a progression or regression as a step sideways. Clinic is still one of the most intriguing acts around, and while this isn't the masterpiece the band has the potential to deliver, an interesting disappointment from them is still better than a successful but boring album from a less-inspired group.

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http://www.mediafire.com/?u2cjvwbvr2m


Darren Hanlon - Early Days

Nothing on this release, but of Darren Hanlon:

A veteran of the Australian music scene, having completed stints as a supporting guitarist and keyboard player for the Lucksmiths, the Simpletons, the Deerhunters, and Mick Thomas, singer/songwriter Darren Hanlon officially stepped out on his own in 1999. A charming and clever songwriter, drawing comparisons to Evan Dando and Billy Bragg, Hanlon wasted little time in establishing himself as a compelling songwriter with his observational wit and memorable pop hooks. Releasing his Early Days EP in 2000, he quickly gained notoriety within the Australian indie music scene (his album topping their independent charts) and began touring Europe and the United States shortly thereafter. In 2002, his full-length debut, Hello Stranger, a wonderful mix of folk-rock and quirky songwriting, was released to comparably favorable reviews.

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http://www.mediafire.com/?jza9vxvvy2b

[timmykillah]

Tragedy- Vengeance

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http://www.mediafire.com/?hj13iyy4wy0

His Hero is Gone fans take note! Not only does Tragedy comprise ex-members of the tragically-defunct (pun intended) His Hero is Gone, but it is arguably better and even more forceful and rousing.

His Hero is Gone comparisons are inevitable, but Tragedy is an altogether different beast than its much more brutal (not to mention very, very good) predecessor. Tragedy takes a much more traditional and melodic approach to hardcore songwriting while still retaining His Hero is Gone’s trademark brutality and energy. Some of the songs ("Conflicting Ideas," "Beginning of the End," "Night Falls") are almost majestic, while songs like "Call to Arms" are decidedly more straightforward in execution. The important thing is that Tragedy understands the importance of nuance and dynamics a hell of a lot more than His Hero is Gone, which isn’t to paint the band in a bad light, but it is testament to Tragedy’s superior song craft.

It is often the case that words/reviews cannot properly convey the overall nature of a particular recording, but mark my words, Tragedy fucking slays. If you fancy yourself a fan of well-written, blindingly fast speed-punk/grind, look no further. (9/10)

Michael Jordan Touchdown Pass - Cash, Money, Etc.

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http://www.mediafire.com/?nvzlznunm9z
Great Brattleboro, VT folk punk, pop.

[imapiratearg]

Dude, how do I not know about these guys?

[Liz]

DMart, you are my new favorite forumite. I love Shearwater so much.

[Catacombs]

I might have gotten this off here, but I'm pretty sure it's from a different blog.  Really, really freaking good electronic/ambient/acoustic/post-rock/whatever.  I really recommend it, even though i couldn't find anything about the album or artist anywhere (though the album is on iTunes).

Eric Barnett - Music for a Picture of a Painting

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http://www.mediafire.com/?mno2d3vvjqn

[Jughead5267]

So the new Raconteurs album came out today... 

[Liz]

Hooray for you, go buy it!

[Jughead5267]

hooray for you,
you just earned asshole of the year

[öde]

Hey why don't you anally masturbate yourself with that attitude.

Rules:
Also, please do NOT request albums. .

[pilsner]

Yeti FiveThis is the last word in musical eclecticism, and a mind-expanding journey.  Highly recommend, and if you enjoy it, please order a copy of your own for fascinating music journalism and never before published Jeff Mangum art.

Just curious, do you know which five tracks are from Jeff Mangum's collection?

Tracks 12-15.  They're all scratchy.

[Liz]

Hey why don't you anally masturbate yourself with that attitude.

Dan, I love you right now. So much.