Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[imapiratearg]

Stuff about Silkworm.

Thanks, Tommy!

[valley_parade]

A whole lotta Silkworm.

Liz,

[boni]

Well, at least page 100 turned out to be something special. This is one of the best pages I have ever seen online. Anywhere.

[Christophe]

Why do I hearing it referred to as SKWM? I mean, the name is Silkworm, that isn't a very long name.

Based on the "FMLN" insignia. I think Joel thought up the idea. All the "Chain/Our Secret" singles were silkscreened from the same screen we used to make the first 50 or so shirts. I don't know what happened to the screen and I don't wanna know, because if I knew, I'd probably feel obligated to screen a bunch more shirts by hand, and it's a pain in the ass, let me tell you.

And speaking of shirts...



Salut, Misconceptions! You have made my morning with more lovely Silkworm!

[Broken_Drum]

The Kilimanjaro Darkjazz Ensemble- The Kilimanjaro Darkjazz Ensemble

Code: [Select]

http://www.mediaf!re.com/?mamwhyczgyz
If you don't like this there is something wrong with you

Thank you!

[LittleKey]

If today that is the sum of your worldly concerns, consider yourself truly blessed.

You know, that WAS the sum of my wordly concerns that day, so i guess i am blessed. And yeah, I like it, that SKWM symbol with the star.

[emmygrey]

Been a long-time visitor of this thread, but never got around to sharing anything. I think I'll start to now! And I'll start with this:

Anathallo - Engine Glow (2008)

Code: [Select]

http://www.mediaf!re.com/?inlnmm2gjia
From the band referring to the leak:

Well! Where to start? FIRST, this leaked today. And go ahead and click! Why not? But the next part is tricky because I don't want it to sound like a gimmick. I received both an e-mail (thanks Marah) and a facebook message (thanks Grant) letting me know that the record had found an internet home. I will admit - I was pretty excited by the news. I'm past ready for everyone to hear the thing. But! I also have to be honest. What you've been excitedly listening to is "Engine Glow." The first version of the final thing, masterfully mixed by Neil Strauch of Engine Studios. At least if you have your copy of the cd from the link above... well, first! We were planning on leaking it anyways. Matt and I talked about this tonight and we both agreed - Neil is too smart and too talented for his version of things not to have seen the light of day. We were thinking of it as a Christmas present. So consider this an early Christmas? And secondly - fortunately or unfortunately - what you have isn't the cd that will be coming out on Anticon.

Same tracks, different sound.

I promise promise promise we didn't plan it like this. And I'll also say, I fully expect the real "Canopy Glow" to leak between now and November 18th. That's how these things work, right? And when it does, I hope you listen to it! And that you pass it on to your friends. And hopefully you like it and they like it and you all decide to come see us between now and next spring. That's a fair deal, right?

I'd write more but I am sleepy. And not playfully sleepy but the "my eyes keep closing and reopening as I type this and it feels like college when I was writing papers at four in the morning except it is only eleven at night and I feel OLD" incoherent sleepy. Hopefully it doesn't show up in this post? Maybe I'll make an edit or two during my lunch break.

Goodnight all!

[sean]

This thread has no point in continuing, Liz just won it.

Forever.

Like, that post may be worth a zebra cake pack.

[ashashash]

Woah, thanks for the Cocteau Twins!  I was looking for that earlier today actually.

[CamusCanDo]

Silkworm - You Are Dignified  (All really awesome covers, not original material)

Code: [Select]

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

Oh man, it's been removed. Possible reup?

[Random1]

A couple of EP's I have here :

For anyone that enjoys Dallas Green's solo stuff as City and Colour, or Alexisonfire, I've managed to get a cope of the Helicon Blue selt-titled EP. Helicon Blue
was his band before Alexisonfire and his solo stuff, DEFINITELY WORTH CHECKING OUT, at least to see his progression if you're a fan of his.

Helicon Blue - Helicon Blue EP

Code: [Select]

http://www.mediaf!re.com/?myjdndjnyng
Next band is a band from Kelowna, B.C. that I heard of through my cousin who went to school with the drummer. The Archer and The Eagle have a nice up-beat rock
feel to them, and the lyrics / song names are pretty interesting if you look into them.

The Archer and The Eagle - The Ice Cream Social EP

Code: [Select]

http://www.mediaf!re.com/?ycjwmgngj52

[DarkAvenger]

Reup for Silkworm - You Are Dignified

Code: [Select]

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

EDIT- Re-Reup... I think... Mediaf!re is being annoying for me tonight...

[MiltonHorton]

The Sea and Cake - Nassau
The Go-Betweens - 16 Lovers Lane

Thanks for these!

[valley_parade]

No review but take my word: It's good. Their only album. Also if you didn't know The Crust Brothers is as Ptommydski already said "SKWM + Stephen Malkmus of Pavement"

Finally got a listen in last night. Good god that's amazing.

[Unibang3r]

Not to request anything but Tim Seely's Funeral music.  Can not find it using google or in sordo.  Since im at a uni they blocked the ports for torrenting or p2p as well so can anyone give me any hints on where to find it? 

[imagist42]

I actually had my former roommate's copy of that on my computer for a while. Then I discovered it bored me pretty much every time I tried listening to it, so I deleted it. Otherwise I could upload it for you! Sorry.

I'll give the album one thing, it had fantastic packaging.

[deviant]

Can someone be kind enough to re-up the albums from Bound Stems please?

[valley_parade]

Here's some more ambient/electronic/minimalism goodness

Fonica - Ripple

Code: [Select]

http://www.mediaf!re.com/?mxytyw2iyzn
Daisuke Mitayani - Diario

Code: [Select]

http://www.mediafire.com/?itqzcezz3mx

[McTaggart]

The Go-Betweens - 16 Lovers Lane

Code: [Select]

http://www.mediaf!re.com/download.php?o34oy2n0kem

I've heard really good things about this album and I'm stunned at how well it lives up to them. This really is a great album. Thanks a lot.

[GnarlsBroccoli]

Let's get some more blues up here.  Here's some of the African variety...

Ali Farka Toure - Savane

Code: [Select]

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

Savane, the great African guitarist and bluesman Ali Farka Touré's final solo studio album, was recorded in his native Mali toward the end of his life, when the artist knew his days were numbered. He spent his last years in his home village of Niafunké, concentrating on farming and family matters, jamming with local musicians of an evening. This impassioned, roots-drenched, mostly acoustic valedictory finds the Maestro's stalking rhythms and high-noon-at-the-crossroads, dusty desert-to-delta vocals in no less than life-summing form. "Soya" (track 5) seems to stand still in a million directions, while "Hanana Soko" (track 9) features a searing njarka fiddle spinning delirious circles around its throaty accompanying percussion. Pee Wee Ellis (sax) and Little George Sueref (harmonica) each manage to make strong impressions while adhering to the groove at hand. Afel Boucoum, a talented younger musician who has been mentioned as Touré's most likely successor (as if such a thing were possible!), graces "Njarou," the last tune. The other players are also at the top of their game, as fluttering ngoni (a West African spike lute) riffs weave in and out and airy female vocals float like a breeze off the river Niger. There are reports that Touré senior sat in on his son's upcoming album and scads of archival material will undoubtedly materialize. But his unsentimental, voluptuously masculine, spirit-guided magic is captured at its best, for all time, in this magnificent farewell. --Christina Roden 

I saw someone posted Bad Brains' self-titled album, so here is there greatest hits.  Hope it's not too redundant; a lot of the songs seem more raw and a little faster.  It also has unreleased track "Riot Squad"  Enjoy, and again- play this one with the volume cranked.

Bad Brains - Banned In DC: Bad Brains Greatest Riffs

Code: [Select]

http://www.mediaf!re.com/?z1a2t4mmn2l

Bad Brains were a beautiful mess of a band, a crew of black D.C.-area hardcore fanatics with Rastafarian leanings and an astounding gift for taut, aggressive, snarling blasts of punk. Banned in D.C. spans their Eighties work: Early tracks such as "Pay to Cum," "I" and "Banned in D.C." display a band in unrestrained fury -- quick, sinister guitar lines, unhinged drumming, lyrics just this side of comprehensible. Even when the group veered toward metal, on later songs such as "Re-Ignition," it never gave in to indulgence, never once aimed to be pretty.

word.

[Tom]

Hey, you guys should go check out the virtual 7", Maybe Logic that Bradford Cox just put up on the Deerhunter/Atlas Sound blog. Like most of his Atlas Sound stuff, it crosses the boundaries of ambiance and noise with beautiful percussive sounds and an over all summery feel.

[DarkAvenger]

Alright a few random albums that people should listen to:



Ola Podrida - s/t

Code: [Select]

http://www.mediaf!re.com/download.php?0n2lyj0zotr

Ola Podrida is a cohesive, confident album full of folky, quiet guitars and thoughtful lyrics that coalesce into complete songs. But what sets the group apart from similar acts like Iron &  Wine and Paul Duncan is its cinematic flair: Wingo treats his words like images, so that the music acts like a soundtrack that gently reinforces their meaning and impact. These songs are like short films-- action sequences (the fiery "Cindy"), montages (the humorous "Photo Booth"), denouements (the stark closer "Eastbound")-- but the band's spartan sound never makes that idea too obvious. Ola Podrida, which began with Wingo as its sole member but has grown to a full lineup, make the most of only a handful of instruments: Acoustic guitars pluck ruminative melodies while synths softly suggest atmosphere. Singing with an open twang that sounds both observant and expressive, Wingo performs most songs by himself, even playing piano on "Eastbound". Appropriately, Wingo's lyrics emphasize the visual, and his songs are full of off-hand concrete imagery, such as these lines from "Day at the Beach": "I played in the waves like a five-year old, timing my jumps with the rolling tide". However, the songs are most effective when he leaves certain specifics to the listener's imagination. In the middle of the plaintive "Run Off the Road", in which a woman gauges her life's course through the changes in her old home, he sings, "When you showed up at the farm, visions of the summer flying past you/ The foxes had torn up the mother and her pups, and the well was full of flies." The violence occurs off-screen, but its aftermath lingers in this southern gothic quatrain, feeding the song's meaning and mystery. All is not so bleak. "Photo Booth", about lovers slowly growing apart, repeats a playful refrain: "Dog's asleep out in the yard, cat's up on the roof/ We're out drinking at the bar, down each other's pants in the photo booth." Wingo's characters-- all of the lovers, friends, acquaintances, passers-by who inhabit these songs-- hover teasingly between real and fictional, suggesting typical songwriterly confessionalism but slyly undermining those expectations. For this reason, "Jordanna" is one of the album's many triumphs, showcasing not only Wingo's shapeshifting songwriting (in which verses bleed into choruses with such fluidity that it's often difficult to distinguish the two) but also his descriptive powers. The song is an ode to a powerful performer, and the words and music give listeners front-row seats: "You drink from your flask and ask if anyone here has a favorite," he sings, then adds, "I don't care what you play, just do it in your old fashioned way." Wingo sounds like he wants to believe in the power of music to set the world to rights, and on "Jordanna" he comes away with what seems at first like cold comfort, but reveals a musical generosity that's almost like a mission statement: "I don't know if there's any point to it all, but I sure like hearing your voice."

Belle & Sebastian - If You're Feeling Sinister: Live at the Barbican

Code: [Select]

http://www.mediaf!re.com/download.php?rjdvmyy1mu0
No reviews that aren't really long... But awesome, even better than the original




The Who - Live at Leeds

Code: [Select]

http://www.mediaf!re.com/download.php?zmnmqyyiw1i
Extremely long review from AllMusic so heres a Robert Christgau:

This band has never even tried to simulate stage power in the studio except on its raw debut, which makes side one, with its first-ever recordings of two key live covers and the first version of the classic "Substitute" available here on LP, doubly valuable. But side two extrapolates the uncool-at-any-length "Magic Bus" and the bish-bash climax of "My Generation," which has to be seen to be believed. I much prefer the raw debut. B

Much better than he says




Les Savy Fav - After the Balls Drop

Code: [Select]

http://www.mediaf!re.com/download.php?dymdtrm2y14

The digital-only After the Balls Drop is the live recording of that raucous night/morning, which surely saw most in attendance end up on the tiles at some point. The set was heaving with tracks from 2007's Let's Stay Friends, the band's first full-length since 2001, and was peppered with old favorites, and they wrapped up with some very choice covers. From the opening pulses of "The Equestrian," the superb lead-off track, the boys set the tone for a show that even on record proves Les Savy Fav to be one of the best live bands around. From Tim Harrington yelping "Oh, I love this one!" before they played "The Lowest Bitter," to wishing a happy birthday to the new year and then kicking into a ripping version of "The Year Before the Year 2000," these recording shows the band as all-around goofballs with wicked art-punk chops. Harrington even does a decent Glenn Danzig for a moment on their sing-along cover of the Misfits' "Astro Zombies."  The muddy production detracts a bit from how incredibly energetic and sparkling Les Savy Fav was that night. As a whole the set list is full of songs that begged to be done live, and the covers -- the Pixies' "Debaser" and Love's "Everybody's Gotta Live," in particular -- are worth wading through the dead zones of crowd noise in some of the tracks. This is a live recording that stays true to the night.

Built to Spill - Live

Code: [Select]

http://www.mediaf!re.com/download.php?yfmmyemjjzh

Although the sensibility did show up on most of their studio recordings, Built to Spill were long renowned for their ability to stretch out in concert, where the balance between two of their most dominant influences -- noisy, electric Neil Young and noisy, angular Pavement-esque pop -- tilted decidedly toward the former's extended jams. In fact, Live's defining performance is a 20-minute cover of Young's "Cortez the Killer," on which Doug Martsch's vocal and guitar work bear an amazingly accurate similarity to Young, almost to the point of flat-out imitation. Yet somehow, the performance doesn't feel derivative -- it seems more like Martsch is staking out long-coveted territory and one-upping his way into something very much his own, making the expanded length of the already epic song absolutely necessary. It's a powerful, majestic performance that makes the preceding songs seem like a perfect buildup, and it also has the effect of dwarfing the extremely good performances that follow it. The exception, of course, is another 20-minute jam that closes the album, this time the Built to Spill original "Broken Chairs," which essentially underlines the point made with "Cortez." As for the nonepic songs, there are five other well-chosen Built to Spill originals, plus terrific versions of the Halo Benders' "Virginia Reel Around the Fountain" (actually a Martsch side project) and Love as Laughter's "Singing Sores Make Perfect Swords." What's more, the sound quality is excellent, even crystalline (for a concert recording). It's as definitive a concert document of the band as you're likely to get, and it's close to being essential listening even for fans who aren't keen on live albums.

And John K. Sampson's first solo album Slips and Tangles

Code: [Select]

http://www.mediaf!re.com/download.php?4dki2alihgy
No album art or review


EDIT: Ola Podrida is now online

[iliveinsalemor]

Hope this works.

the Nodding Tree Remedies - Shepards of the Valley

local band from Salem, OR. This cd came with a free nail!!!

http://www.mediaf!re.com/?sharekey=a218d463611f44e2ab1eab3e9fa335ca78179fbb8378e197

tell me if this link works

anyone like Billy Childish?

[MobyDickhole]

Bootleg of Sigur Ros at the Greek Theatre in LA on October 2nd 2008

Amazing performance and best show I've ever seen.
This bootleg sounds really good.

http://www.zshare.net/download/20352203f28212f7/

[Scandanavian War Machine]

Rules:

Post your link using code tags. It's the # icon above the policeman 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.

[MusicScribbles]

I haven't made a post on here in a while due to quitting the internets for a bit.
So, instead of uploading anything just yet, I'll revive a few uploads I made a ways back before I went intarwub cold-turkey.


COIL - Love's Secret Domain

Though Coil's John Balance and Peter Christopherson were inspired by the acid house revolution of the late '80s, their drug-inspired "dance" album isn't quite as indebted to the style as the contemporary work of Psychic TV. The influence comes through mostly in the deranged effects and vaguely surreal air, though several tracks do increase the rhythmic wattage. For the most part, the duo retained the gothic synth pop of Horse Rotorvator, but with a special emphasis on stuttered cut-and-paste sections rather than organic instruments and environmental sublimation.

Code: [Select]

http://www.mediaf!re.com/?cnujhit31xo
COIL - Musick To Play In The Dark Volume 1

From the opening pairing of "Are You Shivering?" and the gorgeously titled "Red Birds Will Fly Out of the East and Destroy Paris in a Night," it's apparent that Coil was making a return during 1999 that would prove to be as influential on the post-industrial scene as its 1984 debut, Scatology. The group never really went away in the ensuing period, of course, but had maintained a cult status underground for the better part of the '90s. The duo consistently produced stunning albums, but the recordings were often in scarce limited editions that usually reached only hardcore fans. The Musick to Play in the Dark CD and LP were available through mail order only, and featured the core duo of Peter Christopherson and John Balance joined by collaborator Thighpaulsandra. The CD is the first full-length album Coil released on its own Chalice label as a subscription only release. Later in 2000, the album was thankfully re-pressed by Word Serpent, assuring wider availability. The album is a masterpiece of the caliber of the classic '80s trilogy Scatology, Horse Rotovator, and Loves Secret Domain, which gave Coil the highest stature in the post-industrial music scene as one of the most inventive, original, and courageous groups of the genre. Musick to Play in the Dark is an utterly mesmerizing work, and is nothing short of brilliant. The album's scope takes in the music of the '90s, the bleak digital processing and glitch music (Oval, Coh, and Nurse With Wound all spring to mind), but here these often sterile sounds are married to a human warmth that is inimitable Coil -- a sound that carries through the group's career as one of the most distinctive in the post-industrial canon. Along with the essential Coil '80s recordings, Musick to Play in the Dark cannot be recommended highly enough. It represents a chapter in British music that goes beyond the term industrial and into untapped realms of experimentation that place Coil, along with Current 93 and Nurse With Wound, among the '90s British groups more deserving of attention than their obscurity may ever permit.

Code: [Select]

http://www.mediaf!re.com/?emv1s1d4dfy (Part 1)
http://www.mediaf!re.com/?cxkm99o3mxn (Part 2)
Tim Buckley - Blue Afternoon

Blue Afternoon was Tim Buckley's first self-produced record and his debut for Herb Cohen and Frank Zappa's Straight label. Buckley's first two albums were very much of their time and place, with their psychedelically tinged folk-rock compositions; naďve, romantic lyrical content; and moments of earnest protest. The introduction of acoustic bass and vibes into the arrangements on Happy Sad signaled a change in direction, however, and Blue Afternoon displayed similar jazz tendencies, using the same group of musicians plus drummer Jimmy Madison. Several tracks on Blue Afternoon are songs Buckley had intended to record on earlier albums but had not completed. The brooding "Chase the Blues Away" and the lighter, more upbeat "Happy Time," for instance, are numbers he had worked on in the summer of 1968 for possible inclusion on Happy Sad. (Demos can be heard on Rhino's Works in Progress album.) Here, as he did on Happy Sad, Buckley takes the folk song as his starting point and expands it, drawing on jazz influences to create new dynamics and to emphasize atmosphere and mood. This approach can be best appreciated on the mournful "The River," as simple acoustic guitar, cymbals, and vibes build a fluid, ebbing, and flowing arrangement around Buckley's beautiful, melancholy vocals. The period between 1968 and 1970 was an intensely creative one for Tim Buckley. Remarkably, during the same four weeks in which he recorded Blue Afternoon, he also recorded its follow-up, Lorca, and material for Starsailor. It's not surprising, then, that Blue Afternoon hints at Buckley's subsequent musical direction. While not in the experimental, avant-garde vein of the more challenging material on those next two albums, "The Train" foregrounds Lee Underwood's quietly intense, jazzy guitar and Buckley's vocal prowess, prefiguring the feeling of tracks like Lorca's "Nobody Walkin'" and Starsailor's "Monterey."

Code: [Select]

http://www.mediaf!re.com/?0bsjh80zuuw
Q And Not U - Different Damage

In 2000, Dischord records signed two unique new bands that both embodied the sound of their forefathers while pushing the boundaries of Dischord-style rock to new arenas. Q and Not U, formed from ex-members of Elusive, John Davis, Harris Klahr and Chris Richards, were the more straightforward and enigmatic of the two (Faraquet being only slightly on the more technical end). Their full-length debut, No Kill No Beep Beep, proved their ability to write complex yet catchy rock songs with quite a bit of repeat value. Through extensive touring, they began to cement a die-hard fan base with their live shows characterized by wild and upbeat good times for all. In early 2002, bassist Matt Borlik left the band for artistic reasons. They continued without him as a three-piece and released the slightly more offbeat single "On Play Patterns" later that year. Q and Not U didn't waste much time; tour dates planned for North America, Europe and Japan coincided the band's third Ian MacKaye-produced full-length, Different Damage into early 2003. Power appeared in fall 2004.

Code: [Select]

http://www.mediaf!re.com/?6hxtmxmadon
Devendra Banhart - Rejoicing In The Hands

When Michael Gira's Young God label issued Devendra Banhart's glorious home-recorded debut, Oh Me Oh My, on an unsuspecting world, its gorgeous yet sparse primitivism, complete outsider lyric sensibilities, and infectious melodies grabbed hold of listeners all over the world. It offered them a bona fide fissure between popular and underground American culture. Banhart's aesthetic is no pose; his iconoclastic songwriting could not be farther away from officially sanctioned "alternative" music. However, given the unanticipated coverage and success of the album (by modest indie standards, folks, not those dictated by the biz), a quandary was presented in how to follow it up. Should his new songs -- and there were many -- be recorded in exactly the same way to preserve the notion of "authenticity?" Or should he not be penalized by having to adhere to the same economic realities, and be nurtured as the developing artist he is? Wisely, Gira and Banhart saw through the smokescreen what a word like "authentic" implies. Banhart's songs are the authentic outsider article even if he were to record them in Barry White's studio, so why punish for the sake of a media construct? Gira and Banhart chose a simple but very effective recording studio in engineer Lynn Bridges' house on the Georgia/Alabama border as their location, getting down 57 songs(!) and choosing 32 for two different albums from the treasure trove. Rejoicing in the Hands is the first of these albums -- another will be issued in the fall of 2004. Simply stated, it is a stunner, form start to finish. Banhart's Muse may be furiously active, but she is tender all the same. The sonic ambience on this disc is breathtaking. Gira and Banhart brought the master tapes back to Brooklyn for some minimal and tasteful overdubbing -- a guitar track here, a cello or trumpet there, a piano ghosting through the mix in another place, some spare drumming, hand percussion or vibes somewhere else. Over it all, though, is Banhart's reedy tenor and edgy, angular guitar playing with its hypnotic insistence carrying the tunes from deep in the interior of his image and sound world to the fore, where listeners can encounter and engage with them. Elements of blues, ragtime, Appalachian rural styles, country music, European and Celtic folk songs: all weave in and out of one another in a seamless yet crackling whole, each of them serving their role in articulating Banhart's sublimely prismatic, loopy vision. Singling out tracks or quoting from his words would amount to nothing more than sacrilege. This music is simply rendered, to be sure, but unspeakably profound and mercurial; it's funny, warm, heartbreaking, and evocative of another place and time. There are glimpses here of Greil Marcus' "old weird America," the all-but-visible inner terrain that informed certain spiritual, social, and aesthetic elements in our culture. Banhart's music is utterly unselfconscious and poetic. Rejoicing in the Hands is a whole -- each song an inseparable part of an offering for listeners to be, quite literally, enchanted and even awed by.

Code: [Select]

http://www.mediaf!re.com/?63zbtoqjes2
Devendra Banhart - Cripple Crow

Cripple Crow marks a departure for Devendra Banhart. It's obvious from the faux Sgt. Pepper-meets-Incredible String Band freak scene cover photo that something is afoot. The disc is Banhart's first foray from Michael Gira's Young God label, and it's more adventurous than anything he's done before. This is not to imply that the set is a slick, over-produced affair, but it is a significant change. The instrumental, stylistic, and textural range on this 23-song set is considerably wider than it's been in the past. Working with Noah Georgeson and Thom Monahan, a backing band of friends known as "the Hairy Fairies", Banhart's crafted something expansive, colorful, and perhaps even accessible to a wider array of listeners. There are layered vocals and choruses of backing singers, as well as piano and flutes on the gorgeous "I Heard Somebody Say," while the electric guitar and drums fuelling "Long Haired Child," with its reverb-drenched backing vocals, is primitive, percussive, and dark. There is also the 21st century psychedelic jug band stomp of the second single, "I Feel Just Like a Child," that crosses the nursery rhyme melodics of Mississippi John Hurt with the naughty boy swagger of Marc Bolan. There are also five songs in Spanish, Banhart's native tongue, in a style that's a cross between flamenco and son. The title cut, "Cripple Crow," is one of the most haunting anti-war songs around. In it, Banhart places a new generation in the firing line, and urges them to resist not with violence, but with pacifistic refusal. A lone acoustic guitar, hand drums, a backing chorus, and a lilting, muted flute all sift in with one another to weave a song that feels more like a prayer. The lone cover here, of Simon Diaz's "Luna de Margaerita," drips with the rawest kind of emotion. Ultimately, Cripple Crow is a roughly stitched tapestry; it is rich, varied, wild, irreverent, simple, and utterly joyous to listen to.

Code: [Select]

http://www.mediaf!re.com/?3jtu9dis35w
Tangerine Dream - Electronic Meditation

Electronic Meditation is Tangerine Dream's debut album. It features the Tangerine Dream lineup of Edgar Froese, Conrad Schnitzler, and Klaus Schulze (his only album with Tangerine Dream). This CD, while very strong in many ways, has some serious flaws. It is about as far from e-music as it gets but still shows promise at the same time. Wildly experimental timbres, passages, and textures dominate this sound world. It is definitely a rock & roll effort and decidedly avant-garde. And at the same time it is very accessible. It is hard to dislike this CD. It is very similar to the music of Pink Floyd and Amon Düühl of the same era.

Code: [Select]

http://www.mediaf!re.com/download.php?5wh74eohwmz
Now, for Growing I honestly didn't expect to find a review on this. 1000 AD as it is known, or, Anno Domini, was possibly the first release by the band, and was released as a cassette. I know there are some Growing fans here, so here you go, if you didn't grab it last time or don't already have it.
Growing - 1000 AD: Anno Domini

A drone-fueled, almost entirely instrumental duo in the tradition started by the Velvet Underground and perfected by the likes of Spacemen 3 and Acid Mothers Temple, with just a hint of doom metal heaviness for spice, Growing formed in Olympia, Washington in 2001. Guitarist Joe Denardo, bassist Kevin Doria and drummer Zack Carlson released several self-distributed cassettes before making their vinyl debut with the 7" EP Dry Drunk On Woman (later reissued on CD-r). The small Michigan indie Animal Disguise reissued two of those self-released cassettes, Fear of Life/Death and Five Patterns, on a single tape in 2002, along with a double cassette called Above/Below Sea Level, consisting of two cassettes meant to be played simultaneously a la the Flaming Lips' Zaireeka. The following year, Kranky Records released Growing's first CD, The Sky's Run Into the Sea, after which Denardo and Doria relocated to Brooklyn and Carlson left the band. Continuing as a duo and expanding their use of effects and loops to fill their now drummerless sound, Growing released 2004's The Soul of the Rainbow and the Harmony of Light on Kranky before moving to the Troubleman Unlimited label for 2005's His Return and 2006's Color Wheel. Following a lengthy series of archival live releases that returned to the band's cassette-only roots, Growing returned to the studio for 2007's Vision Swim. Shifting to the new label The Social Registry later that year, Growing released a vinyl single as part of the label's ongoing Social Club series in early 2008, followed by the atypically brief four-song EP Lateral.

Code: [Select]

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

[David_Dovey]

LOTS OF SKWM

Firewater is missing. It must have got taken down D:

[imagist42]

Not exactly. It was never there! And I was slightly disappointed, because I downloaded Libertine to listen to once a while back, and it was not for me. But since everybody raves about Firewater I was willing to give them a second chance by trying that one out! Only I couldn't. Sad day.

[Tom]

I'll upload Fiirewater now, that is if you really really want it.

[David_Dovey]

Not exactly. It was never there!

I'll upload Fiirewater now, that is if you really really want it.

OH YES PLEASE

Edit: Oh hey page-break and 5000 posts.

Rules:

No hot-linking images or albums. You can re-host images 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 policeman 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.

Also, please do NOT request albums.

Repost the rules at the top of each new page.

[Tom]

PLACE HOLDER FOR 3/5, FIREWATER and A COMPILATION OF LIARS B-SIDES/NON ALBUM TRACKS.

Silkworm - Firewater

Code: [Select]

http://www.mediaf!re.com/download.php?z2i5timzmje
Les Savy Fav - 3/5

"B-but where are my extras? My rare and unreleased tracks, demos, B-sides, live performances, videos, and valuable ephemera?" I hear your cries, and I feel your pain. If you need consolation, however, try putting on the Inches DVD-- you know, the one you watched half of once?-- to reaffirm your devotion. 3/5, Les Savy Fav's debut album, has been reissued for the oldest and dullest of reasons: It up and went out of print.

The new art is a clever facsimile of the original vinyl that actually came packaged inside three shower caps (which was actually a terrible idea if you ever planned to listen to it). Your legacy is not at the forefront of your mind when you're wrapping your first record in bath gear, and listening back to 3/5 only makes this clearer. "Teen Anthem" is not quite as advertised, and the band's original two-guitar setup made a noise that was convincing, if not so discernible from the other noise of the time. "Cut It Out" shows singer Tim Harrington's ability for turning nearly any innocuous couplet into a come-on or a manifesto (I'd long misheard a lyric from "Pluto" as, "Every song's a sex commercial." If only that were true: I couldn't be more concise than that.) Despite Harrington-brand non sequiturs, "J'Taime" is the album's real anthem, though nearly any lyric would sound that way over that track's cutting sobriety. In between, there's a non-stop saturation of jagged guitars that often lags without the dynamics of the band's later work. The record's lost none of its bite or charm-- and I've always appreciated of the vicious rhythms of "Cut It Out" or "Scouts Honor"-- but it's still a long way from the confidence in their songs and in the studio exhibited on Go Forth, or the bold Inches compilation.

I get all moist in the face reading the list of comrades in the "Chorus" section of the faithfully reprinted liner notes-- the Make-Up, Brainiac, Trans Am-- but the Fav were still playing catch-up at this point, not quite redefining their influences like they would from the Emor EP onward. While LSF managed to cram more then enough mania, muscle, sexual frustration, and French-speaking people into their record to instantly assert themselves as a cut above the rest, 3/5 is outshined by each of the band's subsequent releases. It's a shame that a merely great record gets dusted by a band that improved with every step, but there you have it. There's just a little more punk here than personality, the twin-guitar crunch overcrowding Harrington's delivery and the band's more distinctive corners. A pre-DFA James Murphy recorded the album, but the reissue sounds as unvarnished as it ever did. 3/5 does its best to capture the raucousness of their live show, but Les Savy Fav records only got really interesting once they realized they didn't have to. 3/5 is a document of the undocumentable; coming up short was just inevitable.

Tim Harrington's behavior at shows has become so consistently unpredictable that all fans must trade anecdotes and all reviewers feel inclined to include their favorites. But back then, they were playing to small audiences, and those audiences weren't into moving. I've always thought Harrington's extremism was nothing but inclusive in spirit, but would that reckless shtick have developed if most backs weren't turned? Would Les Savy Fav have pushed themselves so hard in concert if digital pictures and smoke-blowing live reports were showing up on a dozen blogs the following day? And would they have pushed themselves in the studio in the same way, or rested on their laurels, as they have now that everyone knows about which curly hairs your face might get rubbed in if you're too close to the front of a Savy Fav show?

Pitchfork writer "Chip" Chanko wasn't misled in his enthusiasm when this was originally handed an 8.2. However, I knock it back a few tenths for how it measures up to the rest of the catalog now, and maybe a couple more for a lack of extras-- an oversight that's hard to complain about considering this was seriously out of print. Don't get me wrong: Every savvy Fan should own this, should have "J'Taime" and "Blackouts" mentally marked for their own internal best-of comps, and should know just what 1970s omni-hit they're quoting in the beginning of "Cut It Out". These details are so essential that you can take them for granted, just assuming the record's on your hard drive and moving on. Some extras would have been rad, yeah, but there's no need to see the naked baby pics when these guys, now full-grown, are still wearing tin foil hats and putting cucumbers in their Speedos. This record-- a sweet souvenir from the last word-of-mouth band-- is just sweetly awkward enough as it is.
- Jason Crock, August 2, 2006

Code: [Select]

http://www.mediafire.com/?dkt2jtmty2iCoincidently only 3/5ths of the oricinal line-up remain in the band's present day line-up.

Liars collection of b-sides ans non album tracks consisting of:
Catchy Like Brains On Gangs
We Were Still Young Enough To Lay Face Down In Front Of The Speakers
Pillars Were Hollow And Filled With Candy, So We Tore Them Down
Every Day Is A Child With Teeth
Rose & Licorice
All In All, A Careful Party
Dorothy Taps The Toe Of The Tinman
We Got Cold, Coughed, And Forgot Things
You Know I Hate Stupid Phones
Every Two Hours With A Ducks Fan
Skull And Crossbrooms
Broom
Leaving for Dubbo In A Panda Bear   
Fountain And Its Monologue   
Sex Boy
Frozen Glacier Of Mastadon Blood
Bingo! Count Draculuck
Do As The Birds, Eat The Remains
Mimic The Hurricano
Volcano Police   
Red Dirt
Dear God
Houseclouds (Tiny Masters of Today Remix)   
Drum and The Uncomfortable Can (Liars Remix)

Code: [Select]

http://www.mediafire.com/?dz1navdtmzz
Nice page break btw.

[kraemandrummer]

I know this is only one song, but if you're as big of a Blind Guardian fan as me, it doesn't matter.

Its a full length mp3 of their song Sacred for the upcoming release of the game.

I know the quality isn't outstanding but here you go.

Code: [Select]

http://www.mediafire.com/?agzxjdz3egt

[sandwich]

Liars collection of b-sides ans non album tracks consisting of

Hey YOU! yeah YOU!......your fucking awesome , thanks

[sandwich]

Code: [Select]

http://www.mediaf!re.com/?ogz2izmzedd The Swans- White Light from the mouth of infinity


The frontman of Angels of light, this is his band before that pretty good stuff.

[Dimmukane]

I have a MASSIVE POST for you all.

To start, some Bongzilla

Amerijaunican

Stoner sludge stalwarts Bongzilla keep on chugging (or should that be "smoking"?) with 2005's typically self-explanatory Amerijuanican -- their fourth full album of original material, but, amazingly, their 12th release overall in less than a decade's activity, if you count EPs, split singles, and the like. Not bad for a bunch of unapologetic reefer-heads, don't you think? -- who says herb abuse stunts productivity? And that's but one of the widely held misconceptions about stoner rock dispelled here by the Madison, WI, quartet; the other being that sonic evolution within the style is an impossible goal. Sure enough, although the opening title track and ensuing favorites like "Cutdown" (at times near silent, at others exploding into distortion) and "Champagne & Reefer" (a Muddy Waters cover ground up into an Eyehategod pipe) still qualify as textbook Bongzilla acid-groove-grinds, ever-distinguished by Mike Makela strangulated rasp, the majority of these songs surprise and astound in both their brevity and abounding energy. Firmly rooted in Black Sabbath's doom legacy they may be, but prime samples like the driving "Kash Under Glass," the circular-riffed "Tri-Pack Master," and the amusingly named "Weedy Woman," don't just endlessly pound along, they actually rock! And since previous efforts often left the impression that riffs were being hammered to death for lack of other options in the band's stash box, here the newfound sense of economy contributes to what is arguably the most satisfying, and certainly most immediate, Bongzilla album yet. It may not offer as many extended head-nodding opportunities for the band's hardcore followers (though these are handed an olive branch via the 12-minute colossus "Stonesphere," complete with bubbling-bong sound effects!), but it does welcome "newbies" like never before, and should therefore help to expand the band's appeal.

Good old-fashioned stoner-metal in the vein of Electric Wizard.  They're not exactly trying to hide their purpose.

Code: [Select]

http://www.mediafire.com/?exwnmtzyz1w
Shake: The Singles



Bongzilla are also not notable for evolving their sound, so if you liked the first one, or stoner-metal in general, this is what I consider to be their best album.

Code: [Select]

http://www.mediafire.com/?uytwj2il4mn


Secondly, some of you may recall the Brightblack Morning Light that Onewheel put up here a while ago.  They released a new album recently, and it's just as floaty and ethereal as the first.  Makes me think of Chicago on a hot day in the 70's.



Brightblack Morning Light - Motion To Rejoin

Code: [Select]

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

Next, two movie soundtracks that I'm extremely fond of.  Conan the Barbarian's was loosely based off of Rimsky-Korsakov's Scheherezade, and is my absolute favorite.  Oldboy's has the best use of oboe I've ever heard in a score.



Conan The Barbarian - OST

Code: [Select]

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


Oldboy - OST

Code: [Select]

http://www.mediafire.com/?mtfwjm0hgi4

Next, we have two prog/post-metal bands.  I couldn't find reviews for either of them, unfortunately.

Grayceon is probably most conveniently described as Opeth with violins.  A few of their songs have that same type of meandering structure that's so prevalent in Opeth's music, which is why I make the comparison.



Grayceon - This Grand Show

Code: [Select]

http://www.mediafire.com/?etdlzowo4du
General Lee, on the other hand, shares a lot in common with Agalloch, such as it is REALLY FUCKING GOOD.



General Lee - Hannibal Ad Portas

Code: [Select]

http://www.mediafire.com/?3m02zzqjjnn

Now I come to two post/prog bands.  Again, no reviews.

Ostinato is sort of an indescribable form of prog.  Their form of prog does not rely so much on wanking, although they do throw in sufficient scales/chord changes/time signature changes.  Each of their songs has a noticeably different sound than the others, which makes it a pretty entertaining album.  I guess to draw a comparison, I would say Mogwai. 



Ostinato - Left Too Far Behind

Code: [Select]

http://www.mediafire.com/?hwvhz4fymn5
Werckmeister Harmonies was a fucking awesome movie.  Probably the best one to have come out this decade (2000).  These Japanese guys borrowed the name, released two really good post-rock anthems, and were never seen or heard from again.

Werckmeister Harmonies - Bastille Drone

Code: [Select]

http://www.mediafire.com/?j2mhottaozh

And lastly, BLACK MOTH SUPER RAINBOW.  This is a small album of unreleased stuff that originally came out on a vinyl that had one of five possible scratch-and-sniff odors.  It's Black Moth Super Rainbow, I shouldn't have to say anything, all their stuff's been put up here already, and they're just the raddest experimental band around.



Black Moth Super Rainbow - Bonus Drippers

Code: [Select]

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

[sean]

Oh man I just downloaded that General Lee album from SirensSound. It looked really good! I think I'll listen to it now. (edit: it is awesome. they also sound a bit like a slower version of envy. in a way.)

Also, is Grayceon like Opeths older stuff or their newer stuff?

[Dimmukane]

I guess closer to newer...less of a death metal vibe.

[Kat]

Joey Cape - Bridge 2008

After taking forever to complete, Joey Cape's solo album is wrapped up.

The Lagwagon front man's acoustic solo album, Bridge is finally in the can. Cape had been sporadically working on the album while juggling other projects, and was forced to re-record large portions after his un-backed-up hard drive crashed. His foot dragging was also due to thinking too hard about the finished product and second-guessing himself.

"It is my first attempt at making a solo record, something I am totally unfamiliar with. I know this, I will never make a record this way again," he wrote on his MySpace blog. "From now on, no second guessing or obsessing. Ultimately, I am proud of this record. I made something I like and it's time to move on. I hope most of you will appreciate it."

Code: [Select]

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

[windinthewires]

Panda Bear - 2007: 06/18, Bowery Ballroom

Code: [Select]

http://www.mediaf!re.com/?rfmzqtvyuyg
Fucking amazing quality for a live bootleg. Enjoy!

[Catacombs]

I know how much requests are looked down upon here, but has anyone heard of a band called 'God Street Wine'?

[kraemandrummer]

Beef- Beef

Code: [Select]

http://www.mediafire.com/?hmdz4izgnq3
A reggae/ska group from the Netherelands. Definately check them out

[bff]

General Lee, on the other hand, shares a lot in common with Agalloch, such as it is REALLY FUCKING GOOD.

Code: [Select]

http://www.mediaf!re.com/?3m02zzqjjnn

Concur whole-heartedly. 

----------------
Now playing: Toadies - Away (Live)
via FoxyTunes

[theoryC]

I have a feeling that Copeland isn't a cool band to listen to, but man, screw that.  Their new album is great.

Copeland - You Are My Sunshine (2008)

Code: [Select]

http://www.mediaf!re.com/?5ndem2mygvfNo amg yet.  The press release: "Copeland returns on October 14th with "You Are My Sunshine", a brand new record delicately crafted by a production wonderteam: Aaron Sprinkle, Aaron Marsh, and mixer Michael Brauer (Coldplay, John Mayer, My Morning Jacket). With an eleven track offering of lush soundscapes, driving guitars and brilliant lyrics Copeland has never been more prolific, heartfelt, or sonically dynamic. Teaming up with Tooth & Nail Records on the release, a special edition will also be available complete with an 11 song filmtrack, documentary about the band and other unique footage all packaged within a deluxe box. With three critically acclaimed records under their belts and an army of adoring fans impatiently awaiting the next installment, the timing could not be more perfect for a grand open-armed reception of "You Are My Sunshine". "

And as long as I'm at it, here's their three previous CDs (and an outtakes thingy), all of which are damn fine, thank you very much.

Copeland - Dressed Up and In Line (2007 - Live cuts and unreleased material)

Code: [Select]

http://www.mediaf!re.com/?5dds3zmqtf1

Copeland's Dressed Up & In Line is neither fish nor fowl, neither a new album nor the stopgap collection of rarities and outtakes it at first appears to be. Originally announced as a two-CD set but scaled back to a single disc just prior to release, Dressed Up & In Line gathers 15 songs from the length of the earnest Florida emo kids' career, from their first EP to outtakes from the previous year's Eat, Sleep, Repeat. Several are acoustic versions of fan favorites like "You Love to Sing" and "Careful Now." Two others are needless covers of Soundgarden's "Black Hole Sun" and the Police's "Every Breath You Take," the former adding nothing to the unimpeachable original, and the latter bad enough that it somehow makes even the original song sound worse than it used to. The others are DJ remixes, B-sides, and outtakes. What's unusual about this album is that rather than merely gathering the odds and ends onto a CD-R and calling that the master, singer Aaron Marsh and cohorts went back and remixed and selectively re-recorded most of the songs; according to Marsh's long, chatty liner notes, some were basically thrown out and redone anew. The results have an admirable sonic consistency, at least -- a casual fan might not even recognize at first that this was a compilation and not a new album -- but the uneven quality of the songs themselves makes Dressed Up & In Line more of a curiosity for the devoted than a truly necessary release.

Copeland - Eat, Sleep, Repeat (2006)

Code: [Select]

http://www.mediaf!re.com/download.php?mnwnjnyq3zd

Eat, Sleep, Repeat is the third full-length from Florida-based Copeland, and it's their most accomplished record yet. The band continue in the vein of soft and introspective indie rock, as is their specialty, but there is a definite sense of the music being fuller on this album than ever before. And this is a very good thing. Copeland still rely on hushes of piano, light percussion, and gentle strumming to craft each graceful track, but subtle touches, like the added horns on the lovely "Love Affair" and the strings on "I'm a Sucker for a Kind Word," noticeably enhance Eat, Sleep, Repeat's overall effect. Copeland aren't afraid to try out different elements, and their confidence is more than welcome. But despite the elegance and restraint they use to make their point, they're just sometimes so relaxed and unassuming in their approach that songs can easily blur into one long, yawn-inducing track upon initial listens. Don't give up -- multiple spins move the record past the blurred, so-soft-it's-boring feeling, and the clouds part to illuminate how truly inviting and pleasant a band Copeland really is. Aaron Marsh's feathery voice has always been borderline effeminate, but he really stands strong on this record, and it's hard to imagine anyone else making a song like the wonderful "When You Thought You'd Never Stand Out" sound so great, especially paired up with the backing female vocals. Elsewhere, the straightforward pop of "Control Freak" stands out as a much more aggressive track for the band (relatively speaking), its anxious piano notes propelling an apprehensive Marsh along, which makes up for cuts like "I'm Safer in an Airplane" that don't really seem to go anywhere at all. With Eat, Sleep, Repeat, Copeland has made a record that doesn't immediately demand attention, but rather one that steadily opens up to the delight of listeners. Anyone in the market for an album for simply sitting back and lounging around, this will put a contented smile on your face in no time at all.

Copeland - In Motion (2005)

Code: [Select]

http://www.mediaf!re.com/?1l3q3hedl91

The line between "angelic" and "wimpy" is a pretty subjective one. The Militia Group calls Aaron Marsh's vocals "angelic" and "breathy" -- others might hear lightweight and wimpy. But there's no denying the beauty his throat generates when he's at his best, and he's at his best more often than not on Copeland's sophomore effort. In Motion is a surprisingly varied album, offering everything from the muscular emo attack of "No One Really Wins" to the waltz-time accordion-and-falsetto strangeness of "Kite." Although the band's configuration is the standard rock & roll lineup of two guitars, bass, and drums, the vocals are layered so elegantly that the band often sounds much bigger (notice in particular the very nicely arranged "Sleep" and "Love Is a Fast Song"); from time to time the band also brings in woodwinds and strings, which offer a highly effective counterpoint to the slabs of big guitar that generally dominate the sonic landscape. As an added surprise, the package includes a bonus disc that offers four acoustic versions of two songs each from In Motion and Beneath Medicine Tree. Strongly recommended.

Copeland - Beneath Medicine Tree (2003)

Code: [Select]

http://www.mediaf!re.com/download.php?njj5gqzmj3nNo amg for this one.  It's their least polished release, but also one of the best loved by fans.  Has some of their best songs to be sure.

A couple of these are not my links, so if they don't work let me know and I'll up them myself.

[windinthewires]

Vashti Bunyan - Just Another Diamond Day

Code: [Select]

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

Antony and the Johnsons - I Fell in Love With a Dead Boy EP

Code: [Select]

http://www.mediaf!re.com/?ed4q3knrun3

[KickThatBathProf]

Antony and the Johnsons - I Fell in Love With a Dead Boy EP

Isn't the lead in this group the guy that sings on that Hercules and Love Affair album?

Stop me if I'm wrong.

[pat101]

it is indeed

[E. Spaceman]

Yeah, Antony is one of the vocalists on H&LA. Antony and The Johnsons is a whoole different thing though.

[Kyros]

A lot of people hate this dude, but I could probably listen to this over and over again a hilarious amount of times.


Jay Reatard - Matador Singles '08

Code: [Select]

http://www.mediaf!re.com/download.php?nj3jqw5ntij

[RedLion]

And lastly, BLACK MOTH SUPER RAINBOW.... all their stuff's been put up here already.

Uh. Where? I must have missed this, and I love this band.

[LittleKey]

I have a feeling that Copeland isn't a cool band to listen to, but man, screw that.  Their new album is great.
A couple of these are not my links, so if they don't work let me know and I'll up them myself.

Great upload, but the new album is somehow down already. So yeah, I'm letting you know and I hope you'll upload it yourself. Thanks .