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[DarkAvenger]

I tried to find the Black Pear Tree EP, but that was released vinyl only, and I could only get one of the tracks, which is called "Thank You Mario But Our Princess Is In Another Castle". I'll let you guess what it's about.

[dancarter]

Som excellent breakcore:


Abelcain & Cdatakill - Passage

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http://www.mediaf!re.com/?then4tyonmxPassage opens with three tracks written by each musician, in which Marty Frank (Abelcain) presents his
staccato drumming and sudden breaks, while Zak Roberts (Cdatakill) already leave space for some dark sci-fi soundscapes
between his breakcore avalanches. These tracks are followed by four from the "Playing With Knives" 12", in which some of each
acts' best known tracks are remixed by the other one (such as Abelcain's hard hitting "Faust" or Cdatakill's epic "Imperial
Passage"). Finally, let's fast forward six years to 2008 and see what sort of new treatment Abelcain and Cdatakill reserved to
each other's material. The first hasn't slowed down his tempo a bit, and adds some extra oomph to two tracks taken from
Cdatakill's moody "Valentine" album. Zak Roberts's gritty and complex remixes of recent Abelcain track close the circle.

[notnamed]

Mentioned a couple times on the forum but doesn't appear to be anywhere in this thread is Diablo Swing Orchestra's album The Butcher's Ballroom. Perhaps this is because everyone already has it, but I leech way too much music from this thread, and this is one of the few things I can give back. DSO is an avant-garde metal from Sweden, according to Wikipedia's classification.

Diablo Swing Orchestra - The Butcher's Ballroom

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http://www.mediafire.com/?m1nghhttihc
And then a semi-local band that I just like. Poppy tunes, the band describes themselves as "an acoustic-pop band that centered around love." I am terrible with classifying bands so I suppose that is the best description I can give.

Rodeo Ruby Love - Vs. The Great American Cities

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http://www.mediafire.com/?m4mwdytyono
Enjoy!

[DarkAvenger]

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http://www.mediaf!re.com/?bjgjj1tq5yt
"Thank You Mario But Our Princess Is In Another Castle" - The Mountain Goats and Kaki King

This is the one track I could find from the Vinyl Mountain Goats EP. Just one song, but it's good. Kaki King also helps out, since they collaborate on the entire EP.

[thefutureisnow]

hey guys, i've lurked for too long so here's some albums i like a lot. hope you do too!

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http://www.mediaf!re.com/download.php?n2zrnmzkmgdHot Snakes - Suicide Invoice

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http://www.mediaf!re.com/download.php?mhtjeznzzw5Trial - Are These Our Lives?

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http://www.mediaf!re.com/download.php?mi4fjgyuqhqCulture - Lion Rock

[Harun]

I'm not sure if anybody wants this, but I liked it and thought what the heck!




God Is an Astronaut - God Is an Astronaut

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http://www.mediaf!re.com/download.php?g1zzmgywyok

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http://www.mediaf!re.com/download.php?m34coy4ddlt

[Ballard]

This band was also terrible live. Granted it was at a Wolf Parade concert and nobody gave a shit or paid any attention to them.

[Tom]

If you don't have the Vivian Girls album Ben just uploaded, get it. Great noise-pop with a fairly decent dash of girl-punk, as in the Slints and Sleater-Kinney.

[michaelicious]

It's more like Talulah Gosh and Cub, I would say.

[look out! Ninjas!]

I'm not sure if anybody wants this, but I liked it and thought what the heck!
God Is an Astronaut - God Is an Astronaut

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http://www.mediaf!re.com/download.php?g1zzmgywyok

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http://www.mediaf!re.com/download.php?m34coy4ddlt

Damn I got the:
NOTICE: No servers are currently available with the requested data on them. Please try again in a moment
For part 2.

EDIT: Ignore this, working now.

[KvP]

Another Planet Mu compilation, this 'un more or less entirely dubstep.

Planet Mu Records - 10 Tons Heavy
(disc 1 part 1)

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http://www.mediafire.com/?dmo2jmfwbdy(disc 1 part 2)

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http://www.mediafire.com/?2mhtz2i2tej
And a second disc, this 'un a single unbroken dub mix, a little over an hour long.
Hatcha & Benga - 10 Tons Heavy

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http://www.mediafire.com/?w2tk3yndnky

[Ballard]

God Is an Astronaut - God Is an Astronaut

THIS. God Is An Astronaut are fucking amazing.

[Ballard]

Wow, did a post get deleted or edited? My post makes no sense now.

I was talking about Plants and Animals.

[Dimmukane]

God Is an Astronaut - God Is an Astronaut

THIS. God Is An Astronaut are fucking amazing.

FUCKKKKKKKKKKKKKKKKKKK...   my ears just came

[Ballard]

FUCKKKKKKKKKKKKKKKKKKK...   my ears just came

I will totally upload the rest of their work (The End of the Beginning, All Is Violent, All Is Bright, and Far From Refuge) if I can get my laptop working for a bit.

[michaelicious]

So there is a new(ish) band that I like a lot called Able Baker Fox. It is comprised of members of Small Brown Bike and Nathan Ellis from the Casket Lottery. I quite liked both of these bands, and if you liked them too you might like Able Baker Fox!

Here is their first album, it came out in August:

Voices

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http://www.mediafire.com/?qmxmwxzjdiu
Also, here is the collaborative split EP that started the friendship that made this band happen:

Small Brown Bike/Casket Lottery Split EP

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http://www.mediafire.com/?zqh2hz2ak3v

[KvP]

Oh God

So much good shit

I'm uploading it

Oh God

[KvP]

Don't know if this has been put up yet

Grails - Take Refuge in Clean Living

The Grails fifth full-length picks up right where Burning Off Impurities left off and goes even further. Their instrumental land of improvised grooves, trance-like drones, Eastern modes and melodies, psychedelic textures, and above all, their very forward moving post-rock music, is unlike Pelican's or Mogwai's; it doesn't resemble Isis' or Godspeed You Black Emperor!'s. The Grails' brand of guitar-centric instrumental music is not given to simply building crescendos. Instead, it is interested in exploring the outer reaches of groove, space, and texture. It seems to be focused on how much they can pack into a given tune to make things like space and time disintegrate in the mind of the listener. Here, 32 minutes can seem like hours, or they can go by in what feels like a heartbeat. Take Refuge in Clean Living contains five tracks, four of which are originals. The lone cover -- an unrecognizable version of the Ventures' "11th Hour" -- is cut three, and is the album's hinge piece on both CD and vinyl (it divides side one and side two). "Stoned at the Taj" is a brilliant opening track. It begins with some spacy telegraphic radio sounds, a big, bad dirty bassline (fuzztone on stun), and a pulse; these build with strummed, fingerpicked electric guitars playing different melodies, and a blues lick or two unhurriedly upping the tension, and then, as the body of the repetitive melody becomes more pronounced, the drums thunder in, waves of organ, a Turkish saz, feedback, wah-wah pedals, and harpsichords all layered on top of one another, just washing over the listener in a pure stoned groove. As the track develops, sounds and instruments coming out from in back of that monster thump and weave it into near silence with just a couple of keyboard lines holding a drone chord to keep the focus. The nocturnal psychedelia moves toward an Eastern mode but it never loses its center. The guitars, more delicate than before, are perhaps even more mysterious and menacing. When it breaks open a second time, it's an entirely different setting for the bass, playing a new line and creating a different groove that just naturally evolves in both tempo and dynamic. The speed and intensity are logical extensions of the groove itself. This is one of those tracks that you can play a thousand times and still not hear everything in it.

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http://www.mediaf!re.com/?nzmin3z4xdy

Jay Reatard - Matador Singles '08

Jay Reatard had another busy year in 2008. His new deal with Matador led him to release 7" singles throughout the first two-thirds of the year. Matador Singles '08 collects all of them and adds a bonus track. If you've been following Jay for a while you sort of know what to expect from the songs, and that's lo-fi blasts of a unique concoction made up of raw garage rock and jittery post-punk, topped with sharp hooks and Reatard's yowling vocals. You can also expect to find him a further step away from the nearly uncontrolled wildness of previous records and projects with a more measured and often, dare it be said, mature approach. Amazingly, many of the songs feature acoustic guitars and a relaxed vocal delivery; the "No Time"/"You Were Sleeping" single even sounds like a sleepy but lovely update on the Buddy Holly sound. Other tracks, like the opening "See Saw" or "Painted Shut," show the Go-Betweens influence that was made clear by the cover of that group's "Don't Let Him Come Back" on a previous single, and you can't get much more mature than that. The restraint shown on most of the songs doesn't mean that the level of excitement has diminished or that the record doesn't jump out of the speakers and slap you around a bit like previous Reatard projects. Thanks to his electric vocals, enthusiastic guitar work, and the raucous rhythms provided by the other two dudes in the band (though it's not clear if they played on the singles or if it was all Jay), there's enough rock & roll energy here to power a small town. Take "Always Wanting More" or "Hiding Hole" out for a spin if you're worried that Reatard is too grown up and has left his wild side behind. What makes the collection, and the direction Reatard seems to be heading, so good is that he is growing musically without leaving behind the fierce intensity and savage power that got him where he is. It's a difficult balancing act to manage but he makes it look pretty simple. Now if only he would do something about those album covers.....

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http://www.mediaf!re.com/?imtuqyw3zw5
Now here's the good stuff.

Jay Reatard / Deerhunter Split

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http://www.mediafire.com/?kgrrt3vgzzoDeerhunter covers "Oh, It's Such a Shame", Jay covers "Flourescent Gray". The Deerhunter track is so, so, so good. I couldn't believe it when I stumbled over it.

I've also got the second disc of Microcastles in the pipeline. Patience, my beauties.

[KvP]

Moar Grails?

Grails - Doomsdayers Holiday

The Grails have embraced open-ended, free grooving, psychedelic rock, open-toned Eastern modalism, assault-worthy hard rock, spooky dub, and even folk music in this heady, stoned out brew. The basic quartet of Emil Amos, Alex Hall, William Slater, and Zak Riles are still intact; they've augmented this set -- in places -- with Kate O'Brien Clarke on violin, vibist Jordan Hudson, Randall Dunn on analogue synths, and even Erik Nugent on flute. Alan Bishop makes a guest appearance as a vocalist on "Predestination Blues." While playing is one end of the spiritually tripped-out Grails' aesthetic, the other is post-production, with intricate dynamic touches, textural embellishments, dramatic flair, space, silence, and even ambience as one track segues seemingly endlessly into another -- this is becoming a real trademark in the way they record.

The title track opens the record with the sound of a far off scream that can mistakenly, at first, be taken for wind blowing through an open window. It is quickly followed by thudding tom-toms, waves of muted feedback, and guitars and violins worthy of Black Sabbath's fuzzed-out bass heaviness and the flanged out space guitar in the instrumental bridge of Robin Trower's "Too Rolling Stoned." It's all overblown, slow, and menacing. It's followed by the wailing power of an Eastern European violin with bass thudding, power-amped guitar riffage and wailing snares and cymbals in "Reincarnation Blues." There are dynamic stops and starts, making the listener yearn for that heaviness to continue. And it does, with slide guitars, electric saz's, and all manner of synthed out wonkiness. But then it changes again in the relative bliss of "Natural Man," where acoustic guitars, washed out synths, reverb, and what sounds like a cembalom (but is probably piano strings being plucked), enters in slow 4/4 before being adorned with minor-key flourishes by a strummed acoustic guitar and the pillowy beauty of a sonically treated flute, vibes, melodica, and tape delays. Taken together, these three cuts have already traveled immeasurable distances musically; they stretch the notions of time and space into pure drift. The astonishing thing is that only 12 minutes have transpired. The remaining four tracks are similarly ambitious and seamless: the incantory acid dub effects on "Immediate Mate," the beautiful speaker blowout in "Predestination Blues," the pure experimental soundscape ocean that is "X-Contaminations," culminating in the glorious and majestic psychedelia of "Acid Rain" (reminiscent in scope of "Echoes" on Pink Floyd's Meddle). The end of the album feels like the nadir of a particularly vivid dream that encompasses both true darkness and ecstatic light. The Grails have once more pushed their own sonic terrain, where all that is familiar to them is woven into a gorgeously textured fabric with all that could be envisioned by them at this point in time, with the listener as the true beneficiary.

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http://www.mediafire.com/?nwmzzwayin2

[KvP]

Here's the second disc to the Deerhunter album I posted a few days back. I didn't even know it had a second disc. How wrong I was.
Deerhunter - Weird Era

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http://www.mediaf!re.com/?mkyeynvlg0k
Also, Parts and Labor.

Parts and Labor - Receivers

Parts & Labor may still be stuck with a "noise" tag for some time to come, but whatever the intent of the group, and having once again switched drummers (Joseph Wong does the honors this time out), the band hits an astonishing new high on Receivers. It's not going too far to say that the group is one of the best exponents of the kind of epic turn underground rock & roll experienced in the '80s, but refracted through later prisms -- most notably, a strong willingness to engage with electronic options beyond feedback pedals. So if every song could almost be an anthem in one universe or another, a tune like "Nowheres Nigh" feels like a summery pop hit yet itself is slathered with cryptic echo and sonic touches which complement rather than drown the performance. This basic model -- a tension between immediate singalong impact and headspinning "wait, what?" -- replays throughout much of the album, with Parts & Labor's best sense being their ability never to sound like they're actually repeating themselves. If "Satellites" serves as a clear statement of intent upfront -- what could late-'60s chanting acid/psych vocals be against a nervous new wave angularity -- the fact that the song gets bigger and more dramatic as it goes without ever being some overblown disaster is a wonder to behold. Other such standouts of an easygoing, unforced magpie nature towards creating memorable songs -- the fuzzy beats and melodic drones underpinning the distanced but still strong singing of "The Ceasing Now," or the slow, assured build of the elegant "Wedding in a Wasteland" -- make Receivers one of 2008's standouts, an open-minded rock record that relies on a wide array of familiar signifiers but never once sounds like it could have been recorded or released any earlier than it was.

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

[Tom]

Two Receivers and the Jay Reatard's Singles Comp. were posted a few pages back.

[valley_parade]

John,

[Albatron]

Moar Grails?

Grails - Doomsdayers Holiday

The Grails have embraced open-ended, free grooving, psychedelic rock, open-toned Eastern modalism, assault-worthy hard rock, spooky dub, and even folk music in this heady, stoned out brew. The basic quartet of Emil Amos, Alex Hall, William Slater, and Zak Riles are still intact; they've augmented this set -- in places -- with Kate O'Brien Clarke on violin, vibist Jordan Hudson, Randall Dunn on analogue synths, and even Erik Nugent on flute. Alan Bishop makes a guest appearance as a vocalist on "Predestination Blues." While playing is one end of the spiritually tripped-out Grails' aesthetic, the other is post-production, with intricate dynamic touches, textural embellishments, dramatic flair, space, silence, and even ambience as one track segues seemingly endlessly into another -- this is becoming a real trademark in the way they record.

The title track opens the record with the sound of a far off scream that can mistakenly, at first, be taken for wind blowing through an open window. It is quickly followed by thudding tom-toms, waves of muted feedback, and guitars and violins worthy of Black Sabbath's fuzzed-out bass heaviness and the flanged out space guitar in the instrumental bridge of Robin Trower's "Too Rolling Stoned." It's all overblown, slow, and menacing. It's followed by the wailing power of an Eastern European violin with bass thudding, power-amped guitar riffage and wailing snares and cymbals in "Reincarnation Blues." There are dynamic stops and starts, making the listener yearn for that heaviness to continue. And it does, with slide guitars, electric saz's, and all manner of synthed out wonkiness. But then it changes again in the relative bliss of "Natural Man," where acoustic guitars, washed out synths, reverb, and what sounds like a cembalom (but is probably piano strings being plucked), enters in slow 4/4 before being adorned with minor-key flourishes by a strummed acoustic guitar and the pillowy beauty of a sonically treated flute, vibes, melodica, and tape delays. Taken together, these three cuts have already traveled immeasurable distances musically; they stretch the notions of time and space into pure drift. The astonishing thing is that only 12 minutes have transpired. The remaining four tracks are similarly ambitious and seamless: the incantory acid dub effects on "Immediate Mate," the beautiful speaker blowout in "Predestination Blues," the pure experimental soundscape ocean that is "X-Contaminations," culminating in the glorious and majestic psychedelia of "Acid Rain" (reminiscent in scope of "Echoes" on Pink Floyd's Meddle). The end of the album feels like the nadir of a particularly vivid dream that encompasses both true darkness and ecstatic light. The Grails have once more pushed their own sonic terrain, where all that is familiar to them is woven into a gorgeously textured fabric with all that could be envisioned by them at this point in time, with the listener as the true beneficiary.

Code: [Select]

http://www.mediaf!re.com/?nwmzzwayin2

Possibly my favorite Grails album yet. Get this.

[Rubin]

Time to share something:

Here's Johnossi's new album. Swedish rock, what can I say. It't pretty good. Later I'll up their old album which is even better, later.

Johnossi - All They Ever Wanted

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http://www.mediaf!re.com/?j0jm3mymozn
EDIT
Here's the old, better album:

Johnossi - s/t



The old one is kinda folksy, while the new one is more straight away rock. If you like Kings of Leon, you'll like this.

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http://www.mediafire.com/?5zjuzlmngow

[iliveinsalemor]

Mike D's Country Album

Country Mike's Greatest Hits

picture:
http://photos1.blogger.com/blogger/2977/1109/200/cover%20me.1.jpg
album:
http://rapidshare.com/files/24243868/cbmike_reupped.rar.html

[valley_parade]

Future of the Left - Last Night I Saved Her From Vampires

Live album woooo! This is almost worth getting just for the witty banter between songs (which includes Falco's hatred of Tool, Jaffa Cakes, and a complete inability to tie shoes)

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

[michaelicious]

Here is an album by J. Robbins' latest band. They are called Channels. They're not as good as Jawbox or Burning Airlines (well, maybe as good as the second album) but I can't really think of many bands as good as Jawbox so I don't think that is really a criticism as much as a caution to not get your hopes too high. I guess I would say they capture the same energy and mood as J. Robbins' other bands did, but they aren't quite as jagged around the edges.

Code: [Select]

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

PS - They have a song called "Helen Mirren". Pretty cool, right?

[Scandanavian War Machine]

that Grails album from the previous page is fucking sweet.

i've never really gotten into Grails (tried and failed at least once) but that is a sweet record.

[tuff_titty]

Tanks and 'h' for the new Deerhunter, I'm kind of really loving it

[Be My Head]

Mentioned a couple times on the forum but doesn't appear to be anywhere in this thread is Diablo Swing Orchestra's album The Butcher's Ballroom. Perhaps this is because everyone already has it, but I leech way too much music from this thread, and this is one of the few things I can give back. DSO is an avant-garde metal from Sweden, according to Wikipedia's classification.

Diablo Swing Orchestra - The Butcher's Ballroom

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http://www.mediaf!re.com/?m1nghhttihc

This band is AWESOME, thanks so much.

[pat101]

Ellen Allien - Berlienette [2003]

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http://www.mediafire.com/?mdwzdzrmzmd
From Pitchfork

 Lately I feel a little shaky. It rains too much and the coffee's too strong and the sirens are too loud, too often. People aren't as pretty as they used to seem, and on top of that they're gradually electing the entire cast of the movie Predator to significant governorships. Minnesota, California: I think I saw Carl Weathers in Central Park yesterday with a stack of leaflets. When late November rolls around and someone asks what I'm thankful for, I might just give up and say Ellen Allien's Berlinette, which has made the past six or seven months a lot nicer.

That's the kind of love she inspires. Another Pitchforker came back from Berlin a few months ago, having seen her DJ at a party for her label, Bpitch Control, and said faux-hawked German boys had been lined up around the deck to bring her drinks. Thom Yorke's been going around talking about how great the label is, the cheat: yes, yet another cadre of ultra-fine German electronics. And earlier this year she released Berlinette, which is "serious," and "pop," and beautiful, and which I've had more success recommending to people than anything in years. It's a record that German techno enthusiasts and Björk fans can agree on; it tweaks and thumps and then pulls gorgeous ghostly pop out of it; it's big and solid and lovely.

How so? The truth is that it's just enchanting, in a way that has to do with something much more than the sonic inventiveness and precision engineering that I'll have to settle for discussing here. It's rare for artists to manage what Allien does-- to take the tweaky cutting edges of techno and IDM and electro and draw from them pop music evocative enough to entrance even people who are usually turned off by electronics and "repetitive beats." It's even rarer for an artist to manage that with anything like Berlinette's sense of mood and personality, which mostly transcends the mechanics of the sound. But Allien manages all of this, in about eleven different ways.

Just try one track: "Trashscapes". Her beats are like tiny hypercomplicated machines, with lots of pistons and articulated limbs; "Trashscapes" kicks in with a stiff, daunting one, one that pounds and then hangs in the air for a second before flipping over and starting again. Then come bursts of gnarled guitar, processed into a grim, extra-terrestrial chug-- the same way Allien's vocals are always processed into what feel like departure announcements from a spaceport on Mercury. At first we can't hear her: just micro-second clips and stutters popping over the mech-beat. Then she's singing and it feels heavy but it hasn't quite gelled into sense: "Wo is where/ What is when/ Why we are here." But when the guitars speed into an evil blur she comes out all steely-eyed with the record's mantra: "The past is a lighttrain to unknown trashscapes."

That's what she does, on the face of it: She blurs the line between "real" sounds and "fake" ones, weaving processed patches of voice and guitar directly into the laptopped complexity of her rhythms; on "Abstract Pictures" it's the clang of a sequencer that rings out clear and natural. On "Push" she indulges in the half-crazy tweakery of some of her labelmates, toying with stompy synth blurts and calling, "Push/ Push/ Kick your ass." When she goes pop it's not by watering down the beats and crooning seductively or anything like that; it's just by gathering her steady tech throb up into gorgeous sweeps of melody. "Sehnsucht", one of the record's other standouts, has a compositional swell that's like the best days of Orbital, another act that always had the same ghostly, personal sheen Allien conjures: the beat here is her second-best machine (see "Wish"), and the vocal is just another micro-processed blip, a half-syllable "Ah." It stutters in and takes its shape, and by the time the song draws up, roaring, there's no lyric that could be more right than the electronically pitched melody of those half-syllables.

But all that's only technical. If it were just that, Berlinette would be an outstanding record, but not so outstanding as this. No, Berlinette has something extra-- the sort of mood and magic that makes you want to bring Allien as many drinks as she'll let you buy her. It's in the hyper-pretty, otherworldly electro-funk of "Secret", in the almost Cure-like cerebral throb of "Open", and even in the embarrassingly bald, maybe even naďve lyric of "Wish", which, like any good moment of vulnerability, makes you like Allien that much more. "Need a planet without cars and wars/ I wish it could be true," she sings-- an almost strange thing to hear on a record full of alien machines.

So that's the thrill: realizing all over again just how evocative and gorgeous the stiff clatter of technology can be. You sit calmly listening, drifting off to somewhere else, and then you notice that the little people dancing inside your head could almost be jacking their limbs off to certain points, or that the sounds of power tools are peeking out between the sounds of androids singing arias. Oh, maybe it's not that amazing: It's just a record, after all, and one of plenty of great ones released this year. But I've spent half the year with it, and it only gets better, and I can't wait to hear how it sounds in a few months, when the Predator itself announces a dark-horse independent bid for the presidency.

- Nitsuh Abebe, November 11, 2003

[KvP]

Here's the new Black Rebel Motorcycle Club album. I only heard about it while browsing through Current's music page. It's all instrumental, and not attached to any label (Nine Inch Nails fans, I guess)

B.R.M.C. - The Effects of 333

Code: [Select]

http://www.mediafire.com/?ziqgweyzhmt
In addition, you can go to www.notforsalecampaign.org and if you donate money there's some way in which you can get an acoustic version of one of their old songs, "Too Real" I think. It's for a good cause, so if you like the band go ahead and donate some.

[Aegir]

What the fuck guys? We're so far down in the page with no rules post yet.

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.

[the_pied_piper]

Many jaffa cakes for valley parade. The FOTL live album is sweet. I saw them live myself and they were awesome.

I know there are too many superlatives and i must seem like a dick but what are you gonna do?

[valley_parade]

Hold on a second, Paul. Are you saying you went all the way to Norway just to buy a mic, and ended up recording a recital?

Maybe I'm just tired, but that's how I read this.

[pwhodges]

  No - I worked for a Norwegian company back then (Norsk Data - then the second largest company in Norway, but now a mere shadow), and I was in Oslo for three weeks training on their operating system and database (I was becoming the second-level tech support for them in the UK).  I already had a Sony WM-D6C Pro Walkman, and I coveted the iconic ECM-929LT mic - I had failed to find one in the UK, but saw one by chance in an electronics store in central Oslo while hanging out at the weekend (when not playing pool with the caretaker of the Norsk Data visitors' hostel, for money, and winning).  I recorded evensong in the Oslo (Lutheran) Cathedral the next day - it was all English music, as they were putting on their quarterly showpiece Anglican evensong - and a very noisy Norsk Data review on the Tuesday (e.g. "Memory" from Cats, sung to Norwegian words about computer memory - I can't get the jokes any more, I fear).  A couple of recordings I made later in the UK using that mic and recorder ended up as tracks on CDs.

Norwegians having fun?!
Staff of Norsk Data (1986) - Hardware Café

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http://www.mediaf!re.com/?2z2gfdnzlt2You've probably never heard the like...  I suggest that you skip the sketches, unless you understand Norwegian and know about computers; then maybe skip the rest - but there's some quite decent jazz piano.

[Kyros]

Cub - Box of Hair

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http://www.mediafire.com/?2t2nulqw40t

If anyone has any other Cub to upload it'd be greatly appreciated. I can't find anything else online.

[michaelicious]

I thought that all of Cub's albums were uploaded in this thread at one point awhile ago. I've got Come Out Come Out. I'll toss it up right now. I used to have Betti-Cola but my hard drive crashed

Code: [Select]

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

[Harun]

The Faceless - Planetary Duality

This is an incredible album. I guess you could categorize them as technical death metal. They are incredible musicians. Heavy Cynic influences w/ lots of yummy polymetrics.  This is not just for metal fans - there lots of jazz influences, especially with the guitars. This is definitely one of those albums where there is so much crazy shit going on that you need to listen to it carefully and more than once. Even if you only listen to Pavement or that Jay Retarded guy or whatever - if you at least would consider listening for the sake of admiring their musicianship, then this band would blow your mind. Also, this album is about encounters with extra-dimensional beings from outer space, so even conceptually this album is awesome.

Code: [Select]

http://www.mediaf!re.com/download.php?lzie1fnwmjn

[valley_parade]

Shuttle358 - Chessa

The beauty behind Dan Abrams' Shuttle358 project has always been its ability to put a warmer face on a music often labeled as synthetic and cold. With Chessa, he not only successfully accomplishes his mission but takes it into territories where so many artists attempt to go but end up falling short. From the opening swells of "Ash," it's more than apparent that Abrams has all but shrugged off the academic notions behind microsound and gone for the heartstrings with warm synth washes and implied rhythms courtesy of chords entangled in one another, frantically trying to fade in and out of each other's paths. "Chessa" is an exercise in granulation and sifting through digital processed guitar strums that wouldn't feel out of place on a Thinkbox compilation. The glacial-paced calmness that is exhibited throughout the duration of Chessa reaches an apex in "Logical," which is far too short for potentially blissful ideas to come to their fruition. These are songs that are painstakingly gorgeous in their rendering, ones that call for microscopic, painstaking detail and an infinite amount of patience just to get the balance right. It's without reservation that this mission is accomplished.

Code: [Select]

http://www.mediafire.com/?m25ukmnmjj2

[Hunter]

DeVotchKa - How It Ends

Code: [Select]

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

Re-up please?

[Tom]

I think I'll upload Nick Thorburn's other side project now.

[Tom]

Argh, mediafire won't let me upload, keeps saying "invalid input - 11".

[exomni]

It's more like Talulah Gosh and Cub, I would say.

Dear Lord, it's not like either. Sleater Kinney transcends its genre as an amazing band of its own. Cub grabs an amazingly unique hook and personally. Vivian Girls is shit, and not in a good way. It's at the very end of the bottom of its genre, barely surviving by leeching the life out of good musicians who keep people interested in that stuff. And the band members themselves aren't the brightest bulbs in the basket, btw.

Out of my ears!


/my elitist rant for the day




And just so I add more than just being a dick to this thread:

Jay Reatard / Deerhunter Split:

FUCKING AMAZING. I am so pissed that I didn't buy that split 7" while my shop had it. I even put the Reatard track under the shop needle.

[KurtMcAllister]

Re-up please?

Sure,

Code: [Select]

http://www.mediaf!re.com/download.php?vdmgrwzow2i
(different username, same person. I reregistered because I lost my password and stuff.)

[DarkAvenger]

Found this lying around, thought I'd leave it here. So as promised:


The Mountain Goats and Kaki King - Black Pear Tree EP

Code: [Select]

http://www.mediaf!re.com/download.php?oxocrwno3en
No Album Art because I couldn't find a decent size but it's out there.

[Liz]

For once, Jens truly is the special one in the bunch!

[zumpano]

Mike D's Country Album

Country Mike's Greatest Hits

picture:
http://photos1.blogger.com/blogger/2977/1109/200/cover%20me.1.jpg
album:
http://rapidshare.com/files/24243868/cbmike_reupped.rar.html

What's the pass on this?

[s0ck ninja]

Are those all in the one upload?

[Hunter]

Re-up please?

Sure,

Code: [Select]

http://www.mediaf!re.com/download.php?vdmgrwzow2i
(different username, same person. I reregistered because I lost my password and stuff.)

Much thanks.