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[Albatron]

thank you for the infected mushroom. i <3 you

thanks, here's more

Infected Mushroom - Classical Mushroom



Pt 1

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http://www.mediaf!re.com/?gczfmymyk5cpt 2

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http://www.mediaf!re.com/?0lozcxeyewi
This is my favorite Infected album.  "Bust a Move" and "Dracul" are simply incredible. The rest is good too although they don't don't quite as much movie sampling as on The Gathering. It's great i don't know what else to say. 

[trr005]

I apologize if you guys don't really like when someone posts things like this, but I'm going to anyways because I feel like it would be for the good of the thread even so.
The links provided on this site have so far been 100% virus/infection/adware/spyware free and I've downloaded over 200 of the albums...even so though, I'll provide the warning though of PROCEED AT YOUR OWN RISK...

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http://www.centerfuse.net/board/1/6846411
Have fun, and I realize that it is perhaps plaigirising from another board, but still, have fun

[exomni]

The new Coldplay is better than expected. A few of the songs even move closer towards the "Radiohead Zone" where Coldplay started off.

Yeah, I'm definitely going to vehemently disagree there. This album is way too reserved, dialed-down, made-for-middle-aged-U2'ers-drinking-starbuchs, don't-push-the-envelope-too-far, to be compared to Radiohead.

So far I haven't heard anything very memorable at all on this new album. Pretty much like X&Y, which I now only throw on when I want to listen to "The Hardest Part".

Not that it isn't a decent album.

[coldenginelogic]

How about three more Philosophers, explored in 90 minutes, this time we have
HEGEL
MARX
Nietzsche

If that does not scream Friday Night Throwdown then I must be getting old

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http://www.med!afire.com/download.php?m2znjm4m9yg

Marx is probably the "coldplay" out of the bunch

[tigrar]

I apologize if you guys don't really like when someone posts things like this, but I'm going to anyways because I feel like it would be for the good of the thread even so.
The links provided on this site have so far been 100% virus/infection/adware/spyware free and I've downloaded over 200 of the albums...even so though, I'll provide the warning though of PROCEED AT YOUR OWN RISK...

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http://www.centerfuse.net/board/1/6846411
Have fun, and I realize that it is perhaps plaigirising from another board, but still, have fun

Thanks a lot for this. This was the only site that I've found with the Emocapella albums, but the link was gone or broken or something. O well.  There is still a lot of other great stuff.

[trr005]

Thanks a lot for this. This was the only site that I've found with the Emocapella albums, but the link was gone or broken or something. O well.  There is still a lot of other great stuff.

You're welcome...I've got another few links that may cover more, but I havn't had time to go through a whole lot..
A-L

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http://streetlamps.perdomocore.com/index.php?showtopic=5528&st=0M-Z

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http://streetlamps.perdomocore.com/index.php?showtopic=8049

[pat101]

I should have the new deerhunter up tonight, it's quite different than their previous stuff, less "noisy" I suppose

thanks for all the amazing shit overall

Deerhunter - Microcastle [2008] 256kbps

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http://www.mediafire.com/?d2xhbix1man
here it is, enjoy.

[michaelicious]

Antelope - Reflector

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http://www.mediafire.com/?jxib2trz1z4
Pretty ballin' Dischord band.

[coldenginelogic]

QUICKSAND-discography
S/T
Manic Compression
Slip





Comprising Walter Schreifels (vocals, guitar, ex-Gorilla Biscuits), Tom Capone (guitar), Sergio Vega (bass) and Alan Cage (drums), hardcore quartet Quicksand were formed in New York City in the early 90s. They instantly recalled the established traditions of CBGB's hardcore with a disciplined musical engine, adding a strong pop sensibility with compulsive hooks. They made their debut in 1993 with Slip, an insistent collection of passionate songs with staccato rhythms that recalled Fugazi. It was rigorously road-tested during 250 live shows.By 1994 Quicksand were playing major venues across the USA alongside Offspring, who invited them back the following year for their European tour. This coincided with the release of Manic Compression, another bracing collection of cerebral punk songs. Railing against apathy and injustice without ever descending to rhetoric, Quicksand's arrival was the next step forward for hardcore, their departure in October was less spectacular. Tom Capone joined Pete Mengede in his new band Handsome and Alan Cage joined Seaweed. Schreifels took on some projects as a record producer and in 1996 formed a new band, World's Fastest Car. In May 1997, there were rumours of a Quicksand reunion, which were confirmed with a live performance in Osaka, Japan, the following February.
A tour with the Deftones and Snapcase followed, but recording sessions for a new album raised old tensions and the band split for good in autumn 1999. Schreifels reunited with several old colleagues to form a new outfit called Rival Schools United By Fate (later changed to Rival Schools).

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http://www.med!afire.com/?bwex2ztzyzm

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http://www.med!afire.com/?jmmmxgrr9dx

[Catacombs]

I remember a few pages back someone explaining how to open .7z files on a mac.  Anyone remember how to do that?

[crickitobs]

Get the Unarchiver to open pretty much anything on a Mac.

[DMart]

Spun Rivals - s/t EP

Spun Rivals are two Aussies and one Scot employing angular guitar hooks, pounding toms, distorted bass and weird noises to create sounds that dance around the pigeonholes of Brit inspired-indie, post-punk revival, new wave, prog and pop. Lyrical social commentary inspired by Britpop songsmiths Damon Albarn and Jarvis Cocker, is backed by driving and chaotic sounds likened to Bloc Party, Klaxons, Franz Ferdinand and even The Mars Volta. With blistering performances, Spun Rivals are gaining a reputation as an exciting, tight and edgy live act.

World class electro-punk from a Melbourne based three-piece which is fronted by spittong Scotsman Rich Davies Jnr. Nineteen Ninety Eight rattles with agro dance fever, a blistering refrain breaking down in creepy xylophone notes and a post-rock guitar squall.

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

Also: Check their Myspace

[Tom]

Sounds really promising.

[TheFuriousWombat]

That first blurb confuses me a lot. Can anyone point me towards the Bloc Party or Franz Ferdinand songs where "chaotic sounds" are a prominent or driving force?

[pat101]

Bodies Of Water - A Certain Feeling [2008] 192 kbps

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http://www.mediaf!re.com/?9zmhyz5yezz

from the label (Secretly Canadian)

A Certain Feeling CD / LP  (SC177, released: 07/22/08)
One year after self-releasing the acclaimed "Ears Will Pop & Eyes Will Blink," Bodies of Water have created another full-length offering. "A Certain Feeling," their first record for Secretly Canadian, was written, arranged and recorded in David & Meredith Metcalf's house in the Northeast L.A. neighborhood of Highland Park.

The strains that one can hear running through all of Bodies of Water's music are fully exhibited here; instantly familiar melodies, rich harmonic color, expansively deft arrangements, and compositions that ebb, flow, and double back on themselves in cathartic synchronicity. Though no two songs sound entirely similar, it's a cohesive collection that comes out feeling like the anthemic prog/gospel/psychedelic/kraut-tribal movie score that Ennio Morricone and Phil Spector never got around to collaborating on. The choral hugeness that typified "Ears Will Pop" still rears it's emphatic head, only here its more often held in reserve as we marinate in each movement before being pulled along into the next passage of the narrative.

"A Certain Feeling" is the sound of a band carving out an ever-evolving, but distinct aesthetic niche for themselves. Steve Reich organ figures blend into a Wagner meets Sabbath riff. A shape-note choir is dropped into the midst of an Upsetters/ESG jam. Musique concrete meanderings beget Velvet Underground plodding that escalates into a five-time tropicalia workout. In spite of (or because of) the record's breadth, its easy to see the group's fingerprints all over. The singing, playing, compositions, lyrical themes (obsessive meta-physicality/spiritual surrender/human frailty) are unmistakably Bodies of Water's. "A Certain Feeling" is a step forward, but assuredly filled with the same beautiful urgency that we have come to expect from them.

Lotti Golden - Motor-Cycle [1969]

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


From Tiny Mix Tapes

I look forward to a time when labels will once again release hard-driving soul albums that play out like one long, campy musical. I guess R. Kelly’s episodic soap opera “Trapped in the Closet Pts. 1-whatever” is sort of in the ballpark, but while Kels offers his own Serge Gainsbourgian lecherousness, Lotti Golden leads us into the bizarre excursions of the late-’60s underground freaks. So fertile was the music scene of that period that an album of restlessly epic roadhouse suites could be released on a major label.

Golden gets help on Motor-Cycle from an impeccably arranged Atlantic Records session band. They give the album a wall-of-sound heft when called for and lay the foundation, in the midst of all that brass, with a flawless, swinging rhythm team. Then, at key moments, the curtain goes up and they’ve got rows of saxes, trumpets, vibes, and churchfuckingbells behind them, and you begin to realize that this is not the same song and dance. Furthermore, everyone is committed never to repeat the same progression for more than, say, 30 seconds, but also knows that at some point the song will return to each segment, just to remind you how great it was the first time around.

So, there’s that, and the emcee for this aberrant cabaret is Lotti Golden, nexus of the intemperate adventure starring a cast of sex fiends, drug addicts, and other proponents of the In The Now school of living. Motor-Cycle is exactly the sort of hazy deviant party you always hoped the late-’60s was. It plays out roughly like this: Lotti’s got a thing for this kid Michael, who “lets me ride his motorcycle.” But Michael’s truth machine was starting to breakdown, so she heads to Fay’s, the meet-up spot for her coterie of malcontents. Anabell’s gonna be there, Silky’s gonna be there, Billy is gonna drop by, Celia’s gonna come by. But for Fay, whose French poodles keep her satisfied, it’s her doctor’s pills that keep her high, and she’s in trouble with the meds.

“Hey man, did you hear what happened to Fay? Yeah, it’s really a drag, what a bring-down. So where do you want to go? Rosie’s? That’s cool. Out of sight man, we’ll dig it!”

And so the whole party up and moves to Rosie’s. No pause for introspection on poor Fay’s demise, no lessons learned, none of that crap; the good times must roll on. That’s kind of the M.O. of Motor-Cycle. If something heavy happens, slow the music down for a second, give a wail, then move on. With a crowd this colorful, there’s always another story to tell. Silky “had to get married quick in her mama’s red dress in a civil courthouse in Georgia.” Her baby was baptized on a Monday, an occasion for Lotti to sip milk from a champagne glass in the rain. Problem is, Silky’s got a thing for drag queens, who have great parties but make shitty fathers. Silky wants a straight man this time, a real butch guy. A bit of soul searching ensues, but not enough to interrupt the groove. Fact is, that groove is so infectious and permeating that you really have to pay attention to pick up on all the freaky storylines. It’s much simpler and just as pleasurable to latch onto that bass-line and horn hook and just ride along.

Motor-Cycle is that rare party record that’s got a bizarre story behind it while still being a freak-show record that you can throw on at dance parties. To make a crude comparison, it’s as if The Velvet Underground recorded for Motown. In short: debauchery with a beat. Dig it.

1. Motor Cycle Michael
2. Gonna Fay’s
3. A Lot Like Lucifer (Celia Said Long Time Loser)
4. The Space Queens (Silky is Sad)
 5. Who Are Your Friends
6. Get Together (With Yourself)
7. You Can Find Him

[Seal]

Spun Rivals - s/t EP

Spun Rivals are two Aussies and one Scot employing angular guitar hooks, pounding toms, distorted bass and weird noises to create sounds that dance around the pigeonholes of Brit inspired-indie, post-punk revival, new wave, prog and pop. Lyrical social commentary inspired by Britpop songsmiths Damon Albarn and Jarvis Cocker, is backed by driving and chaotic sounds likened to Bloc Party, Klaxons, Franz Ferdinand and even The Mars Volta. With blistering performances, Spun Rivals are gaining a reputation as an exciting, tight and edgy live act.

World class electro-punk from a Melbourne based three-piece which is fronted by spittong Scotsman Rich Davies Jnr. Nineteen Ninety Eight rattles with agro dance fever, a blistering refrain breaking down in creepy xylophone notes and a post-rock guitar squall.

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

fuck yes.

though i'm gonna wait till mine comes in the post. is it nice packaging?


i highly recommend people get this, they pretty amazing. Dont let the Frank Ferdinand and Coc Party references put you off, they are nothing of the sort.

[Yoeni]

Spun Rivals - s/t EP

http://img341.imageshack.us/img341/9865/folderaa0.jpg

Spun Rivals are two Aussies and one Scot employing angular guitar hooks, pounding toms, distorted bass and weird noises to create sounds that dance around the pigeonholes of Brit inspired-indie, post-punk revival, new wave, prog and pop. Lyrical social commentary inspired by Britpop songsmiths Damon Albarn and Jarvis Cocker, is backed by driving and chaotic sounds likened to Bloc Party, Klaxons, Franz Ferdinand and even The Mars Volta. With blistering performances, Spun Rivals are gaining a reputation as an exciting, tight and edgy live act.

World class electro-punk from a Melbourne based three-piece which is fronted by spittong Scotsman Rich Davies Jnr. Nineteen Ninety Eight rattles with agro dance fever, a blistering refrain breaking down in creepy xylophone notes and a post-rock guitar squall.

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

Shit this is great, get this people!

[Seal]

isn't it just?


hang on,  i'll up an early demo of their's. fucking special too.

[Seal]

SPUN RIVALS - Demo (2006)

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http://www.mediaf!re.com/?szjwzkslnkw
listen to the song 'too fast at the bend' on this.. you shan't regret it.
there are some live tracks on their myspace too.. one of the best band i've ever seen live. i almost shat myself the first time i saw them.

[KurtMcAllister]

So, I know that requests are out of the question, but what about asking for re-uploads?

[quoraptor]

Would anyone appreciate some Agalloch/Isis/Arcturus/Ulver/Wolves In The Throne Room/really any intelligent metal? Just wondering if there's anyone else that's like me and listens to The Decemberists and Bat For Lashes one second and Arsis and Neurosis the next. My collection is vast, show interest and thou shalt recieve.

GRATUITOUS EMOTICON WANKERY
 

[Tom]

If you wanna post something, just post it.

[imagist42]

So, I know that requests are out of the question, but what about asking for re-uploads?

General consensus is it's okay, but you're better off PMing the person who originally posted it so that it doesn't take up too much space coordinating in-thread.

[RickyDiamond]

This is my first post here.  Not sure if anyone will be interested in these, but none the less felt the need to contribute.  I apologize in advance if any have already been posted.


Yamasuki Singers - Le Monde Fabuleux de Yamasuki

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http://www.mediaf!re.com/?tvj0f3lqxmy

Le Monde Fabuleux Des Yamasuki was a pseudo-Japanese concept album from prolific French production duo Jean Kluger and Daniel Vangarde. Based on a dance named the "Yamasuki", it was originally released in very small quantities on the independent label Biram in 1972, inadvertently becoming a useful educational tool for French students keen to learn Japanese.

Le Monde Fabuleux Des Yamasuki is a collection of beautiful pop songs, sung by a Japanese choir, offset to pounding drum patterns, vibes and fuzz guitar work-outs.

Ssion - Fool's Gold

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http://www.mediaf!re.com/?mjbuiiucgn2

Mama always said, "Don't judge a book by its cover," so you may want to take a second look at this one: a dude with a glorious '70s porn star handlebar mustache, his face rouged up and painted like a kewpie doll. What lies beneath this fella's grill is a cache of dance-trash tracks performed by an androgynous mafia, cavorting around meat locker clubs in tight pants and enough makeup to make Tammy Faye Baker roll in her grave. Raunchy songs sizzle with poppy delight and every track sends an unshakable wave of rainbow boogie pulsating through the dirty underground. At the visualized epicenter of this thumping low-brow beat glamazon women wiggle their tushes and guys sporting gold chompers tip their hats while catwalking down a red carpet. Ssion is holding a disco prom in a hot tub. You're invited; bring friends. The partylicious suffix (pronounced "shun") is a wacky collective of colorful characters with an even more eccentric two-man core the cover dude with the Hollywood mole, Cody Critcheloe (who also designed the jacket art on the Yeah Yeah Yeahs Fever To Tell), and the slightly less outlandish writer/producer J.A.M. Apologies to anyone who assumed this was straight out of a trendy metropolis full of art school kids, or a locale with a notoriously alluring dance scene this camaraderie, running ten years strong, busts their moves in Kansas City. Ed Droste (Grizzly Bear) and Johnny Jewel (Glass Candy) are just a few of the high profile elements of the rag-tag outfit, while additional contributors include, according to the liner notes, "other women who choose to remain anonymous." --College Music Journal

The Double - Loose In the Air

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http://www.mediaf!re.com/?s4n13lgit1x

NYC's The Double deliver their Matador debut, a worthy successor to 2004's "Palm Fronds". The massed Ace Tone/Vox/Casio keys and floating vocals have led some staff members to liken the sound to music as diverse as '60s British folk mixed with theatrical synth bands. But the spooky/paranoid vibes and insistent, inventive rhythms of the percussion build up a wall of sound more nervous and intense than the comparison might suggest. Irresistible pop melodies are laid on top. An indescribable and lovely mess.

Teenage Jesus and the Jerks - Everything

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http://www.mediafire.com/?uexm1cnngtf

Teenage Jesus & the Jerks' Everything is a fine artifact of late-'70s no wave, boasting Lydia Lunch's vicious vocals and wild, atonal playing by the band. This certainly isn't for all tastes, and even fans of hardcore punk may find this a little inaccessible, but it captures the essence of a brief era in post-punk. - AMG

Vampire Can't - Key Cutter

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http://www.mediafire.com/?b2uwcpmpjwm

This 2005 recording collaboration of VAMPIRE BELT, the long running Western Massachusetts duo of CHRIS CORSANO (frequent YOD associate and collaborator with JANDEK, JOHN OLSON, and PAUL FLAHERTY) and BILL NACE (X.0.4.). VAMPIRE BELT specializes in all over the kit percussion on deeply audio effected guitar histrionics. They have two releases out on Hot Cars Warp, which will be soon re-released on Ben Chasney’s (SIX ORGAN OF ADMITTANCE)record label. Their sound is overblown but features long prarie stares as punctuation.

CAN’T is Jessica Rylan’s long standing vocal/electronic project. Her sound is self described as “ friendly, intimate and creepy like anonymous postcards sent to you by a rain soaked prisoner”... And I am in no mood to argue.. Its got moments of beautiful song and scary blurt.

The collaboration sound, you ask? Very much the collision of these two entities: the soundz of RYLAN’s homemade electronics butting up against NACE’s splayed guitar, all the while punctuated by the free jizz drum rambo of CORSANO. The record has several burners, and plenty of moments of parking lot moan and search. Really, a record like this has not come out since ESP-DISK its last batch of mid 70's weirdness. - Load site

[Kai]

SSION are from Kansas City, so I have to have a little bit of love for them, but they are also an excellent band! get the record. Then buy it. It is ridiculously fun.

[quoraptor]

Anyway, since nobody seems to be interested in good smart metal, here's something entirely different, apologies if this has gone up before:

BLACK MOUNTAIN - IN THE FUTURE



Good fuzzy Canadian stoner-indie.  Imagine Pink Floyd having a cute little kid that suddenly got hit by a Black Sabbath tour bus and you have a pretty good idea. Plus great lyrics.

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http://www.mediaf!re.com/?t2igxw0uy7n
*edited image size, it was obnoxious.

[onewheelwizzard]

Rules:

No hot-linking images or albums. You can re-host images at http://www.photobucket.com or at http://imageshack.us

Ensure your tags are correct and that you have specified both Artist/Album in your post.

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

Post your link using code tags. It's the # icon above the afro emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.

Do NOT request albums, it's annoying. Requests that have been disguised are not allowed either.

Repost the rules at the top of each new page..

quoraptor, it's not that we're not interested, it's that people just upload what they want others to hear.  Just put up what you think is really, really, really, really good, and then it'll be up to us whether or not we download it and give it a shot.

Incidentally, that Black Mountain album is fantastic and I second the recommendation implicit in its posting.

[KickThatBathProf]

Hey guys, remember that Labradford CD I uploaded a few pages back that was damaged?

Well, it is now re-upped

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http://www.mediafire.com/?yden5djmdb0

[amok]

Incidentally, that Black Mountain album is fantastic and I second the recommendation implicit in its posting.

Yeah, I've been loving that album, absolutely great stuff.

Nothing else to add for the mo but getting internet sorted properly this week so should be back to uploading stuff soon.

[Proper House]

Saw this girl open for Animal Collective and she is both beautiful and talented.

Tickley Feather - Tickley Feather

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http://www.mediaf!re.com/?yyfgw1siymr

[MiltonHorton]

Royworld - Man in the Machine (2008)



A little electronica, a little pop. Good lyrics, and a great Bryan Ferryesque lead singer.

Review from Music Express:

HATS OFF to Royworld, responsible for creating 12 euphoric anthems that will no doubt be blasted from every car radio this summer. It’s catchy, chilled out pop with a satisfying build and climax in every track and it doesn’t come close to cheesy. Man In The Machines opens with hooky road trip anthem Elasticity – windows down, wind through the hair stuff. But track four Brakes is the catchiest tune of the lot – I challenge you not to have the lyrics “Put on Your Brakes, Yeaaaaaah” in your head all day. Billed as “an eccentric brand of indie-pop” Royworld are named after a disused Welsh Bowling Alley. Their excuse is “We are absurd people, life is absurd so we wanted an absurd name.” Eccentric and absurd may be how Royworld see themselves but their music suggests otherwise. This is my premature album of the summer and it’s only a matter of time before the radio stations catch on. Buy it now. OUR VERDICT: 5/5

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http://www.mediaf!re.com/?1mxyinxspn9

[ieatphishraw]

Sigur Rós---Með suð í eyrum við spilum endalaust

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http://www.mediafire.com/?fwv9b0ux4wx

[imagist42]

I'm assuming the above is just a recording of the stream from the official website? Not a leak of some kind of advance copy?

[gardenhead_]

Deerhoof - Friend Opportunity

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http://www.mediafire.com/?bidddy1s919

[Tom]

Third time it's been posted, if you don't have it fucking get it already.

[quoraptor]

Thanks to onewheelwizzard for enlightening me as to the spirit of this thread. Well, if ever there was an album that I REALLY wanted to reccommend, it would be this.

AGALLOCH - ASHES AGAINST THE GRAIN

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http://www.mediaf!re.com/?5eblnddzfrb
Brain tickling mishmash of post-rock coated with black metal, with a chewy folk centre. Kind of like nougat except not nougat at all.

Not Unlike The Waves is probably one the best songs I've ever heard.

[Dimmukane]

Another one of those "if you don't have it, get it, in fact, you should probably have it by now" albums.

[tigrar]

I'm assuming the above is just a recording of the stream from the official website? Not a leak of some kind of advance copy?

I don't think it's just a recording of the stream. It leaked a day or two before the 9th.

[TheFuriousWombat]

Yeah, the SR link is much higher quality ( 320kbps) than the stream. I ordered the CD and I'll be ordering the vinyl when it becomes available but this is awesome for now.

[imagist42]

Um, what? The link is all 128 Kbps, except for Gobbledigook which is 320 Kbps (the version SR released for free). I still think it's just a recording of the stream, since I haven't found anything about an advance copy leak anywhere else, and the stream was made available June 8th, not 9th.

[schimmy]

Royworld - Man in the Machine (2008)

I'm two tracks in and this is fantastic! Thank you so much.

[TheFuriousWombat]

Um, what? The link is all 128 Kbps, except for Gobbledigook which is 320 Kbps (the version SR released for free). I still think it's just a recording of the stream, since I haven't found anything about an advance copy leak anywhere else, and the stream was made available June 8th, not 9th.

Hmm...you're right! Wow, I guess I just looked at the first song's info and assumed all the rest were like it.

[a pack of wolves]

Holy fucking shit. The new Racebannon's leaked!

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http://www.mediafire.com/?4svdtak1ouy
Racebannon - Acid or Blood

It's been a long time coming but my god is it worth it. It's funny, and noisy, and strange, and sassy, and damn but these boys have been binging on the sludge and riffs. It sounds like they've all grown massive beards and filtered Karp and Iron Monkey through their own twisted minds. Or maybe it's what would have happened if Fu Manchu had been on Skin Graft and prevented from listening to anything but Void and Rorschach. I don't know, this is so good it's hard to describe. It's Racebannon at their absolute best, it's just not right and lurches and raves and refuses to be boring for even a second. Just when you think you're getting into the groove of it they decide to mock your complacency by tearing into an all-out hardcore assault for half a song then drag the whole thing down into feedback, building the next song up with electronic beats and whirling noises. It's not long before the coiling, swaying riffs are back around again though. I haven't even finished listening to this through for the first time and already I'm gushing and can't wait for the vinyl, to drop the needle on this and spend some good time trying to wrap my head around it. Until then, this will do. It's good to have you back Racebannon. You've been missed.

[imagist42]

Royworld - Man in the Machine (2008)

I'm two tracks in and this is fantastic! Thank you so much.

I felt that way too, and then I got to about the fourth or fifth track and was incredibly turned off. Some of the songs are too "radio-friendly alternrock" for me, and the singer's voice starts to sound a little like Mika...

[pat101]

Bun B - II Trill [2008] 192 kbps (VBR)



pt 1

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http://www.mediafire.com/?xdvjtz2neij
pt 2

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


From coke machine glow

Bun B
II Trill
(Rap-A-Lot/Asylum; 2008)
Rating: 73%

Here is a record heavy with precedent. In name II Trill evokes Bun’s previous solo effort, 2005’s, you know, fun Trill, and in chronology it comes swiftly after the double-disc exegesis of last year’s Underground Kingz. That record was a herculean act of actualization, an exposition of everything UGKesque about being in UGK, all UGK sounds and UGK words, and so called Underground Kingz, a.k.a. UGK. Few records have ever deserved to debut at number one more. It wanted to be nothing more than that which it invariably was and became: the definitive recorded document of Bun B and Pimp C. I suppose its legacy in this regard is now assured.

II Trill, on the other hand, recalls neither one of its prequels so much as it does T.I.’s King (2006), via its exhausting slew of singles nor guests, its chintzy dirty South sonics, and its unabashed grab for hip-hop greatness. In passing one may spot a bum track, but front-to-back and turned loud enough one finds that II Trill (like King) has been rigorously refined. No second is misplaced. Each track bangs confidently, individually, and thoroughly. The only real similarity to Underground Kingz is that singular artistic intent, encyclopedically solipsistic and vice versa, although the vainglorious egotism of yore is here supplanted by an avid universality. Bun B is attempting to alchemically transform his time-worn Houston bounce into mainstream swagger, and through sheer effort he almost wills it so. For example, the first five tracks contain (respectively) rolling regal bombast, acidic slow-mo faux-reggaeton, Lil Wayne, baleful self-aggrandizement over a keyboard line that seems to be screwing and chopping itself, and some zany “in the club” braggadocious bullshit. Elsewhere we find up-tempo romanticism, a quaintly misogynist “Drop it Like It’s Hot” interpolation, and, like, Webbie.

In other words, the gang’s all here! II Trill‘s carnivalesque air is, largely, a self-fulfilling success. Each guest—and they are legion—delivers extravagantly, in particular a smart sprint from Lupe Fiasco who wisely realizes that rapping over a martial brassy beat while Bun B talks shit about cars is an offer akin to that of a piggy back ride by Shaq. Something about the notion of this project seems to elicit the strongest from each of its contributors. Bun B is, after all, a sort of rapper’s rapper, held in high esteem behind closed doors but not really universally agreed upon outside of them. As usual, a lot of Bun’s charisma here comes simply from that voice, at once calm and bellowing, swift on the beat but cocksure enough to hang back, booming. Since allowing himself room from the UGK title during Pimp C’s early-00s incarceration, he’s developed a strong grasp on material outside of shit-talk and car rap, and throughout the album he expands from the catchphrase misogyny and glib homophobia of UGK to express a worldview something like compassionate conservatism.

This is all kinda interesting and worth debating, but the real star of II Trill isn’t Bun B—it’s II Trill itself. The record attempts nothing: it doesn’t stretch or break a sweat but celebrates its easy victory ecstatically, like some asshole Olympic sprinter racing against a middle school track team. Take that metaphor as you will. The record outclasses its competition, shows that everyone involved is still capable of strong hip-hop that doesn’t have to incinerate us like Hell Hath No Fury (2006) or New Amerykah or even The Bake Sale, just be good raps and good beats in the exact manner that we already define those things. I wish he were free to do more—certainly the man is capable—but I’m grateful that Bun B continues to define the lowest common denominator in the most gracious possible way.

[FireAarro]

Speaking of Racebannon, anyone here heard of Rapider Than Horsepower? It's Racebannon's singer's other band, I think.

[a pack of wolves]

I've never really heard too much by Rapider, but I've always like what I have (although I prefer his vocals in Racebannon, he's just less restrained). What's a good record to start with for them?

[pat101]

heard it for the first time tonight and enjoyed it quite a bit

Animal Collective - Hollinndagain  [2002] - 226 kbps (VBR)

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http://www.mediaf!re.com/?bntv3nzonfz





AMG

Originally issued as a limited-edition LP, Hollinndagain is a live album recorded during American performances in 2001. Seven tracks and just over 40 minutes in length, it stands as one of the earliest recordings by Animal Collective. Their transcultural technological brand of post-postmodern tribalism is already in play here. Static opens the set for the first four-and-a-half minutes of "I See You Pan," only to be added to by solo voice, a simple childlike keyboard line, and harsh white noise that dissolves by the end of the cut's nearly 11-and-a-half minute length, only to be segued into the glorious "Pride and Fight," a transmutational campfire song if there ever was one. Using an organic Native American rhythmic approach -- via the sound of bare feet on a floor and a Björk-like sung line in the lyric, where high moaning chant is atmospherically treated with another voice, lapping over, slipping, and sparsely circling around, one can hear the skeletal formation of the sonics that went into creating Here Comes the Indian issued nearly two years later. It's quite beautiful; it feels natural and relaxed and is just out of its head, off its nod creative. By the time you get to the percussion orgy that is "Forest Gospel," you're ready for anything as listeners. One can only speculate as to what it might have been like to witness this performance. This is the terrain that the Virgin Prunes were trying to mine in their brief but entirely adventurous run. "Tell It to the Mountain," is another, briefer such exercise, full of off-the-rail drums and chanted vocals. The remaining three tracks are studies -- if you will generously allow them to be called that -- in free-form electronic and vocal freakout, and they simply don't work because the playfulness and musicality at the heart of Animal Collective is missing and the direction is far from focused. That said, Hollinndagain is worth the purchase price for the first two cuts -- "I See You Pan" and "Pride and Fight" alone, which will claim nearly half-an-hour of your day, or night, should you choose to allow them to transform you into a pre-verbal child again. This is an indulgence that's warranted, and among the first recorded attempts by this wild and wonderful group to go past the norms of all things in "alterative culture" in order to create an adjoining, but wholly different sonic universe.

The Ponys - Another Wound EP [2005]

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http://www.mediafire.com/?mf1kx3urpny



from amg

This EP offers up one tune from the Ponys' fine 2005 album Celebration Castle along with five non-LP cuts, and while "Another Wound" certainly sounds like the hit single in this context, that's not to say that the other tunes are just along for the ride. The Jesus and Mary Chain-esque "Good Good Things," the hard-charging "Looking out a Mirror," and the poppy-in-spite-of-itself "I Wanna Fuck You" would have added to the batting average of either of the Ponys' two long-players, and demonstrate the band's trademark approach of garage rock melodies married to post-punk guitar skronk in high style. Fans who liked both Laced with Romance and Celebration Castle can get more where that came from on Another Wound, while the uninitiated looking for a bite-sized sampler will find this a worthwhile introduction.

[Broken_Drum]

'Cavalcade Of Glee And Dadaist Happy Hardcore Pom Poms'- Venetian Snares

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http://www.mediafire.com/?jyzxw2mmhz1
Genre: Breakcore

After reviewing an earlier album of Venetian Snares' titled Rossz Csillag Allat Szuletett, and fixating on how he (Aaron Funk) expanded his pitch-based material instead of his beat-based material, it'd be easy to make some logical progression that he can now release albums that blend the best of both worlds, but that's not the case after listening to Cavalcade of Glee and Dadaist Happy Pom Poms (which will now be referred to as COGADHPP). I can't tell if his more tangential, Hungarian-themed Rossz Csillag Allat Szuletett was a diversion and an experiment, meant to be a project, or if it was really a next logical step forward. COGADHPP doesn't commit to either or those two rationales, and if anything leads me to believe the former, because on the surface this album sounds like most of his others, with a focus on the beat and by having mostly electronic background music, but I like to think there is some progression that shows the twofold forward movement of both beat and melody. This album hints at that progression, but its manifestation is not obvious, and may even be illusory.

For one, the emphasis is definitely back on the beat. The beats are crazy focused and varied. Particularly on songs like "Pwntendo" and "Vache," there are a freaking galaxy of little blips and glitches that are difficult to take in as individual sounds but overall give the songs their frantic energy. Also, instead of having more natural snare and cymbal sounds, he completely embraces a range of inorganic sounds like the Nintendo samples on "Pwntendo" and synthesized Rhodes piano noises on "Cancel." Also, as if consciously making his beats more abstruse and challenging, there are a lot of oddball time signatures, giving crazy flows to even crazier beats. "Cancel" and "Twirl" indulge greatly in a 10/8 feel, and both songs have some of the more dissonant and harsh background harmonies, amping up the intensity even more.

However, as maybe one would infer from his complementary pairing of asymmetric time signatures and grinding dissonances, there's an elegance of matches sounds and pitches that may be suspect on other records. This album is definitely a step up from some of his other "inorganic" offerings of the past, like the awkward heavy yet open percussion mixed with lightly dabbled electronica flairs of Huge Chrome Cylinder (see the song "Huge Chrome Peach"). On this album there are no moments that make me question the pairing, because they all flow very smoothy, or I guess, very juttingly and harshly, based on the desired effect. I feel like COGADHPP benefitted from the expansion into pitched territory that occurred on Rossz Csillag Allat Szuletett, in that it didn't necessarily change Vsnares' approach to collecting material and in creating flavors in his songs, but it ingrained an x-factor that always yields tasteful matchings of beats and harmonies, that may have been lacking on other albums.

There is more evidence for this case all over the album. His overall album structure reflects a willingness to lay off at certain moments and allow songs time to build up before becoming really intense. "Plunging Hornets" takes over a quart of its run time to promp the background motif before launching into an actual breakbeat. Tracks like "XIII's Dub" and "P" are much more laid back than his others, allowing "P"'s beatless ambience to prep the listener for the final, and very aggressive track of "Cancel" (which also uses its first quarter to build tension with artificial flute trills before unleashing its breakbeat), and allowing "XIII's Dub"'s creepy atmosphere to cast a slower, more unsettling pall over the album in between really fast breakbeaten tracks. Also, zooming into a microcosmic level, I just prefer his tone and beat choices on a lot of songs. "Pwntendo" is wonderfully kitschy with its invocation of 8-bit noises. Overall, I feel this album, though it in general uses harsher and more aggressive sounds than those found in some albums, is able to maintain a wide variety of tones (jumping from harsh and dark on the opener "Donuts" to smooth on the very next one "Swindon") very casually, as if to round out the album, which as a Venetian Snares one, is invariably going to be weird and fringe. Though this album is no masterpiece, it contains a wider spectrum of sounds, tones, and flavors compared to previous Venetian Snares albums, and feels like a progression, even if mostly in the electronic, beat-based way and via harsher, crazier sounds.

Recommended Tracks: Swindon, Plunging Hornets, Twirl, Cancel

[johnny5]

i think leaks are discouraged, generally, but i know a few people were excited about this new indie pop flavor of the moment, born ruffians. their EP was pretty decent also.

Born Ruffians - Red, Yellow and Blue

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http://www.mediafire.com/?zyytydyx5yg