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[michaelicious]

I don't even know what you're talking about.

[Lhefriel_Medies]

I don't even know what you're talking about.

Neither do I. The most problem I've ever had with ads from Mediafire is the occasional popup window, which happens once a week at most. Adblock Plus is always an option if it's the banner ads which are troubling you.

[mberan42]

I enjoy a diverse and eclectic library of music. Thusly, please enjoy the first of four parts to Wagner's epic (in the true sense of the word), The Ring: Das Rheingold. (Split into scenes; 1&2 make up disc 1, 3&4 are disc 2.) I'll work on the rest of the cycle later this weekend.



Disc One
Scene One:

Das Rheingold begins with a 136-bar unmodulating prelude based on the chord of E flat major that is meant to represent the eternal unchanging motions of the River Rhine. It is considered the best known drone piece in the concert repertory, lasting approximately four minutes [1]. It was claimed by Wagner in his autobiography Mein Leben [2] that the musical idea came to him while he was half asleep in a hotel in La Spezia in Italy, but this has been disputed by Deathridge and others [3]. The music grows in power, and the curtain rises. At the bottom of the River Rhine, the three Rhinemaidens (Woglinde, Wellgunde, and Flosshilde) are playing together near the Rheingold. Alberich, a Nibelung dwarf, appears from a deep chasm and tries to woo them. Struck by Alberich's ugliness, the Rhinemaidens mock his advances and he grows angry. As the sun begins to rise, maidens praise the golden glow atop of a nearby rock, Alberich asks what it is. The Rhinemaidens tell him about the Rhinegold, which their father has ordered them to guard: it can be made into a magic Ring which will let its bearer rule the world, but only by someone who first renounces love. They think they have nothing to fear from the lustful dwarf, but Alberich, embittered by their mockery, curses love, seizes the gold and returns to the depths, as the Rhinemaidens flee in despair.

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Scene Two:

Wotan, ruler of the Gods, is asleep on a mountaintop with Fricka, his wife. Fricka awakes and sees a magnificent castle behind them. She wakes Wotan and points out that their new home has been completed. The giants Fasolt and Fafner built the castle; in exchange Wotan has offered them Fricka's sister Freia, the goddess of love. Fricka is worried for her sister, but Wotan is confident that they will not have to give Freia away.

Freia enters, terrified, followed by Fasolt and Fafner. Fasolt demands payment for their finished work. He points out that Wotan's rule is sustained by the treaties carved into his spear, including his contract with the giants. Donner (god of thunder) and Froh (god of spring) arrive to defend their sister Freia, but Wotan stops them; he cannot stop the giants by force and renege on their agreement.

To Wotan's relief, Loge (the fire god) makes his entrance; Wotan has placed his hopes on Loge's cunning to find a way out of the bargain. Loge tells them that Alberich the dwarf has stolen the Rheingold, and made a powerful magic ring out of it. Wotan, Fricka, and the giants all begin to lust after the Ring, and Loge curtly suggests the best method of acquiring it: "Durch Raub!" ("Through theft!"). Fafner demands it as payment in lieu of Freia. The giants depart, taking Freia with them as hostage.

Freia's golden apples had kept the Gods eternally young; with her absence, they begin to age and weaken. In order to win Freia back, Wotan is forced to follow Loge down into the earth, in pursuit of the ring.

An orchestral interlude follows that "paints" the descent of Loge and Wotan into Nibelheim. As the orchestra fades, it gives way to a choir of 18 tuned anvils (indicated in the score with specific size, quantity and pitch) beating out the dotted rhythm of the Nibelung theme to give a stark depiction of the toiling of the enslaved dwarves.

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Disc Two
Scene Three:

In Nibelheim, Alberich has enslaved the rest of the Nibelung dwarves. He has forced his brother Mime, the most skillful smith, to create a magic helmet, the Tarnhelm. Alberich demonstrates the Tarnhelm's power by making himself invisible, the better to torment his subjects.

Wotan and Loge arrive and happen upon Mime, who tells them about Alberich's forging of the ring and the misery of the Nibelung under his rule. Alberich returns, driving his slaves to pile up a huge mound of gold. When they have finished, he dismisses them and turns his attention to the two visitors. He boasts to them about his plans to rule the world. Loge tricks him into demonstrating the magic of the Tarnhelm by having him transform into a snake (or dragon - the German word Wurm can mean both). Loge points out that it might be better to transform into a small creature in order to escape danger more easily, so Alberich turns into a toad. While he is a toad, the two gods quickly seize him and bring him up to the surface.

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Scene Four:

On the mountaintop, Wotan and Loge force Alberich to exchange his wealth for his freedom. They untie his right hand, and he uses the ring to summon his Nibelung slaves, who bring the hoard of gold. After the gold has been delivered, he asks for the return of the Tarnhelm, but Loge says that it is part of his ransom. Finally, Wotan asks him to surrender the ring. Alberich refuses, but Wotan seizes it from his finger and puts it on his own. Alberich is crushed by his loss, and before he leaves he lays a curse on the ring: until it returns to him, whoever does not possess it will desire it, and whoever possesses it will receive unhappiness and death.

Fricka, Donner, and Froh arrive and are greeted by Wotan and Loge, who show them the gold that will ransom Freia. Fasolt and Fafner return, carrying Freia. Reluctant to release Freia, Fasolt insists that there must be enough gold to hide her from view. They pile up the gold, and Wotan is forced to relinquish the Tarnhelm to help cover Freia completely. However, Fasolt spots a final crack in the gold, and demands that Wotan also yield the ring. Loge reminds all present that the ring is rightly property of the Rhinemaidens. Wotan refuses to relinquish it, to Loge's displeasure, and the giants prepare to abduct Freia.

Suddenly, Erda the earth goddess, a primeval goddess in many ways superior to Wotan, appears out of the ground. She warns Wotan of impending doom and urges him to avoid the cursed ring. Troubled, Wotan surrenders the ring and sets Freia free. The giants start dividing the treasure, but they argue over the ring. Fafner clubs Fasolt to death and leaves with all the loot. Wotan, horrified, realizes that Alberich's curse has terrible power.

At last, the gods prepare to enter their new home. Donner summons a thunderstorm to clear the air. After the storm has ended, Froh creates a rainbow bridge that stretches to the gate of the castle. Wotan leads them across the bridge to the castle, which he names Valhalla. Fricka asks him about the name, and he replies that its meaning will be revealed if all goes well.

Loge, who knows that the end of the gods is coming, does not follow the others into Valhalla; he admits he is tempted to destroy them and what they have deceitfully acquired. Far below, the Rhinemaidens mourn the loss of their gold. The curtain falls.

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[KvP]

Hey i haven't signed onto these forums in a long time because my computer crashed a year ago and i lost A LOT of music and just never had the energy to get back into rebuilding my collection... but there's one thing I'm fairly certain I got here and I can't find anywhere else... and i hate to come back just to break the no request rule but I can't find this anywhere else.

it's a limited tour album from Buck 65 that I'm pretty certain was called "Live and in Private." I just remember it mostly for the remix of blood of a young wolf but i've really been wanting this album again lately... so if anyone still has it i would love them forever if they reupped it.

Yeah yeah here it is

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http://www.mediaf!re.com/?qltwv2damtnyou should also consider acquiring Dirtbike, which I posted some time ago.

Also Emiliobear mediaf!re's got a lot of nifty new features that come with the free registration, don't know if you knew. Basically there's still the 100 meg limit per file but you can specify multiple files per upload (it will upload one, then move to the next one, etc.) which makes uploading lots of stuff at once very easy. There's also the library aspect, which is quite nice and there doesn't seem to be an upper limit on storage. Without it I wouldn't have any of my Fabriclive stuff up.

Speaking of Fabriclive...


Fabriclive 25 - High Contrast

Drum'n'bass that sounds happy and fun rather than dark and menacing is worth its weight in gold. Lincoln Barrett, a young British DJ who came to the junglist trade by teaching himself to use a demo version of the Cubase software, has already shown himself to be a master of cheerfully eclectic drum'n'bass; his relative inexperience and self-confessed ignorance of the genre's traditional boundaries have led him to transgress them in revelatory and exciting ways. His contribution to the Fabriclive series finds him bringing together a varied but consistently brilliant assortment of mostly British junglists who either share Barrett's sunny musical disposition or were amenable to having it imposed on their work, and the result is thrilling: from the soaring vocal snippet that gives "Restart" (by DJ Marky, Bungle, and DJ Roots) its emotional lift, to Martyn's sharper and more spare "Nxt 2 U," to Klute's gorgeously piano-driven (and utterly mistitled) "Hell Hath No Fury," everything on this continuously mixed album delights and uplifts while providing a kaleidoscopically shifting array of variations on the basic High Contrast sound. The packaging is innovative and classy, if a bit inconvenient in actual practice. Very highly recommended.

part 1

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Fabriclive 26 - The Herbaliser

The Fabriclive series has suffered few misses -- nearly every volume has featured high-class DJs mixing more dangerously and adventurously than they would anywhere else, with better results than appear on any other commercial releases. Jake Wherry and Ollie Teeba of the Herbaliser certainly haven't lacked for opportunities to host freewheeling mix albums -- they do record for Ninja Tune, after all -- but another chance is always welcome. Fabriclive.26 is equal to their 2003 mix Herbal Blend for the Solid Steel sessions, and that's heavy praise. Differences, though, are apparent, beginning with an indication that the Herbaliser is less willing to dredge the vagaries of pop culture than on Herbal Blend. This is a straight hip-hop mix for all practical purposes, with only a few choice funk nuggets strategically placed when necessary. And for energy, it's unmatched by any recent hip-hop releases, beginning with the opener, "Dogsz N Sledgez," where Million Dan punctuates his dancehall raps with interjecting growls and whistles. An up-to-the-minute track from Blufoot with Yungun moves into a golden-age classic from Hurby Luv Bug and Antoinette without pausing a beat (or sounding like they're reaching for material). Most of the transitions are quick cuts that fit the mood perfectly, even when they drop their own "None Other" (featuring Cappo) in the middle of the mix. British rap specifically, and underground rap in general, never get enough exposure (and don't think the grime fad solved anything), but with any luck, hip-hop fans will be hearing a lot more of British producer Blufoot and 7L & Esoteric disciple Apathy (who might get an album out on Atlantic if the White Stripes don't mind the sample).

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Fabriclive 27 - DJ Format
(no Allmusic quote on this one)

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Fabriclive 28 - Evil Nine

Keeping things sonically diverse was the hallmark of the Fabriclive series in 2006, and the London superclub-meets-record-label wasted no time in commissioning Evil Nine to keep the trend consistent with this edition in the series. He gets right down to business with the Will Saul/Ursula Rucker collaboration "Where Is It?," and then does a stylistic right turn with contributions from Simian Mobile Disco and the Mr. Oizo-produced "Ready to Uff." The only thing that stays the same from one song to the next is the sure bet that nothing will stay the same. The mix goes through many of the peaks and ebbs one would expect, and never really has a moment of filler to speak ill of. Things get kicked into overdrive with the Digitalism remix of Daft Punk, followed by a Justice rework of Franz Ferdinand, before landing most appropriately with the grand finale of the Clash's "London Calling." Definitely not the best of the series, but far from the worst.

Having a deep appreciation of repetitive, propulsive drum loops, this one's a favorite of mine. You can also hear quite a bit of this guy on the Adam Freeland Fabriclive (16) which is my second favorite Fabriclive mix, just behind Spank Rock's (33).
part 1

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That's all the Fabriclive I have for now. I'll up more if I find them. At the moment all such uploads are here

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http://www.mediaf!re.com/?sharekey=bccef3fa14dc0f56ab1eab3e9fa335ca6b4f853483f44dcain case you don't want to go back and dig up all the old ones. Most of the series is there. If you're going to share the links with people please take the same precautions that you'd take here, and if it's at all possible don't share the whole folder link.

Also, here's the new(ish) Benga. Good dubstep.


Benga - Diary of an Afro Warrior

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http://www.mediaf!re.com/?wrjgjm12gzk

[Samchez]

Here's my Barrage of Hip-Hop Volume 2:

Aesop Rock - Labor Days

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


Atmosphere - Lucy Ford EPs

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Blackalicious - Blazing Arrow

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Brother Ali - Shadows on the Sun

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http://www.mediafire.com/?nm5ecjnu5zz


Deltron 3030 - Deltron 3030

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Diverse - One A.M.

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Jedi Mind Tricks - Violent By Design

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Little Brother - The Listening

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Talib Kweli & Hi-Tek - Reflection: Eternal (Train of Thought)

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


Zion I - True & Livin'

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[MiltonHorton]

Was someone looking for these?

Wintersleep - S/T

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http://www.mediafire.com/?wnkoujq2ymk
Wintersleep - Welcome to the Night Sky

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Happy Thanksgiving!

[Clintaga]

Coming on to discover the God is an Astronaut Discography was kind of like the free music equivalent of losing your oral virginity to Elizabeth Hurley.

Totally perfect, extremely gratifying, will fuel me for probably years to come, but the likelihood of something that awesome ever happening again is now substantially reduced (except, with this forum, that still leaves a fairly massive chance.)

So, I've been reading up on Fabric live, but it seems like such a massive undertaking, where do i begin? I love a lot of electronic music, but my favorite artists are Daft Punk, DJ Shadow, Bassnectar, Beats Antique, and basically any Dubstep that Onewheel played for me. What Fabriclives would anyone care to suggest with those in mind? (I'll get to it on my own eventually, but a nudge in the right direction would be ballin.

[E. Spaceman]

Off hand, I reccomend you get the Cut Copy and Diplo ones.

[InitiateFailure]

Oh i love you.

I guess I'm gonna have to come back for real now... plus new zune is giving me a reason to have music on my computer again. So i'll try to upload some things as I rip them to my computer.

I just saw Lucy Ford a few posts up. Are there any other Atmosphere albums people would be interested in? i have all the main albums and a bunch of sad clowns somewhere if there's any interest there.

[Scarychips]

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.

[Mr. Tool]

Was someone looking for these?

Wintersleep - S/T

Wintersleep - Welcome to the Night Sky

I stumbled upon this thread while looking for Welcome To The Night Sky. I've already found it but I do not have the s/t. Thanx.

Be sure to check out the Contrived record I posted on page 107. It's Wintersleep w/ members of Holy Fuck. Good stuff.

[michaelicious]

You should try to get Wintersleep's untitled LP too. It is their best one. Since I never give up a chance to try to force people to listen to Canadian bands, here is a lovely album by a band called Ohbijou!

Swift Feet for Troubling Times

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I saw them live in a church last Friday and the show was absolutely stunning. Their songs are generally soft-spoken and very pretty with ephemeral female vocals and strings and finger-picked clean electric guitar and such. They are one of my favourite winter-listening bands.

[E. Spaceman]

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Fabric are not only proving to be one of the finest club’s in the world, but their CD series have also proven to be of the highest quality. Their latest installment, that of the Fabriclive series (03), this time offers fans of Drum & Bass an aural feast. DJ Hype has been chosen to mix this one up, and does so very well.

Right from the outset, the pace is intense with Moving Fusion’s “Thunderball”. One thing that stands out are the really heavy baselines, which I’m sure go down a treat with the fantastic sound system they have at Fabric. Bad Company’s “Planet Dust” is such an example. Krust supplies his usual class with “Snapped It” and DJ Hype includes his very own production in “True Playaz Style”.

Overall, this release is definitely one for the Drum & Bass aficionados. But worth a check if open to suggestions!

[Rubin]

This is something I picked up from one of those "people who bought this also bought" thingies at amazon.

The Shaky Hands - Lunglight

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From the musical hotbed of Portland, Oregon comes the band the Shaky Hands with its second full-length, Lunglight. The record is reportedly a bit of a darker affair than the band's self-titled 2007 debut. But the Shaky Hands still brings the jangly, scattershot fun that PDX bands have always been known for. 2007 also saw the Shaky Hands win the title of Best New Band from the Willamette Week, an honor previously betowed on bands including Talkdemonic and Menomena. The incarnation of the Shaky Hands that appears on Lunglight is a quintet, fleshed out by lead singer Nick Delff's brother Nathan, who played a bevy of different instruments.

[mberan42]

Parts & 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.

One of my favourites this year.

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Russian Circles - Station

For those who celebrated the intricate heaviness of Russian Circles' debut album, Enter, or better yet saw them devastate live audiences with the sheer metallic roar of it all, Station may seem a little underwhelming -- at first. Brian Cook of Botch/These Arms Are Snakes has replaced bassist Colin DeKuiper (on record at least). That said, one should expect a wall of sonic attack that would make the gods cower, right? Not exactly. Texture and dimension have become a big part of Russian Circles sound on this seven- track album. They've tried to get themselves out of the post-rock "build up and up and up and finally explode" equation that has actually hampered the growth of the music. They haven't left metal behind, but have tempered it somewhat with some softer sounds, a more gradual expansion, and layered textures on any given theme, or some set thereof. About half the album relies on this technique, and admittedly, it can be a bit frustrating on first listen because there are so many parts folded into one another it simply isn't as obvious as Enter was. Mike Sullivan's guitar playing relies as much on fingerpicked swells that shimmer and refract as it does power chugging riffs. Dave Turncrantz's drums won't announce the shifts and twists and turns, either. He jumps in with the rest of the band, playing to the sense of drama and tension that get spread beautifully over the dimensions of space and power, framed perfectly by producer-engineer Matt Bayles. "Harper Lewis" takes the ominous heaviness that Russian Circles are known for, pours paranoid ambient sonics around the drum kit, and allows Cook to let that low end bass just throb wide open, until Sullivan just crushes the entire thing with his wall of squall stun riffing. It takes a little while to develop, but the payload is big. This is also true to a greater degree on the title track. Back and forth guitar and bass thrumming becomes a push and pull between the two players until only the thudding drum fills can breach the gap. It becomes almost unbearably tense even as the tonal and time signatures shift. The same kind of metal effect takes place in "Youngblood." Think of the menacing guitar intros of vintage Iron Maiden or Judas Priest paired with the sense of distortion, detuned feedback, and the noir transcendence of Isis or Pelican. The softer tunes, such as "Verses" and "Xavi," are really compelling puzzle pieces loaded with tricky corners, intricate spaces, and floating guitar and bass parts that open the door of power rock infinity but stop at the threshold. The bottom line is that this diversity is not a lack of focus, but growth and development that make the band stand out from the pack, making the effort to spin this a few times yield very big rewards.

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Computer vs. Banjo - Computer vs. Banjo

Music happens to be one of those things that is always ever changing, constantly astounding, and never unenjoyable. If music can do that, then logically the previous statement should also apply to music's creators… or at least some of them.

Nashville, Tennessee band Computer vs. Banjo happens to be experimenters of a surprising unique blend of folk electronica, a musical mix thankfully already coined "folktronica." It might sound like a silly subgenre, but listening to the resulting fusion of two seemingly contrasting (both in age and sound) styles can prove the term's validity.

CvB is comprised of a couple of experienced artists, both hailing from successful bands despite different originating musical backgrounds. Johnny Mann was a jazz studies major before playing guitar for Gran Torino; while Beau Stapleton taught himself, focusing on roots music before playing the mandolin for Blue Merle.

What started out as a side-project for the two turned into a 12-month odyssey of musical exploration, culminating in their band's self-titled debut. Stapleton revealed in a public statement that he felt "really lucky to have had that time to just experiment and be creative."

The opening track "Jubilee" helps kick off the album with the kind of subdued quasi-soul that only dudes could provide. The pseudo funky folk of "Guitars Need A Sinner's Touch" extends the duo's commitment to the almighty thing called love, which is later highlighted by the two managing to turn an adolescent poem about a crush into a workable make-out song ("Magazine Queen").

That's not to say CvB is all fluff and no puff. They show off their edge with the air of dusty endlessness and the breath of hesitant lawlessness in the Beck-like "Give Up On Ghosts", in the dour rebelliousness of "San Joaquin," and in the uncertain nature of romantic courtship with "Lost." Say what you will, but juxtaposing themes of starry-eyed happiness and realistic misfortunes isn't easy.

Computer vs. Banjo is a pleasant debut for the Nashville duo, who crafts the brisk minimalism of folk's blunt and depressing core with the peppy modernism of electronica's penchant for getting anything to sound remotely body-movable.

Another favourite of mine this year.

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This Is Your Captain Speaking - Eternal Returns

“Attention passengers, This is Your Captain Speaking.” A disembodied, calm, authoritative voice, one that is meant to soothe and assuage the fears of those who have placed themselves in its charge – this is This is Your Captain Speaking. There's no better way to put it than that. The sophomore effort from the criminally-underrated band from Melbourne is every bit as sedate and calm as their critically-acclaimed debut, Storyboard, but it manages to set itself apart from this monument to craftsmanship. It seems as if the band is more comfortable in their role – more stately, or more determined, if you will. But the scrupulous attention to detail that characterized the debut is still there, perhaps stronger than ever. There's very little flash, and even less in the glitter department on Eternal Return, but all the special effects in the world won't land the plane when you need them to – they blow stuff up, rather than bringing you home.

This is Your Captain Speaking trades the overwhelmingly solipsistic attitude of most instrumental artists plying their trade today for one of communal import. Eternal Return is not a release that draws the listener in upon herself, leading her to meditate only upon listener-as-individual, but instead ushers said individual to her place within her personal "society." This is evident through the album's organization: of five tracks, only two are given titles proper, and these are nestled safely between Parts 1, 3, and 2. This lack of detail gives us reason to place more emphasis upon the two “named” tracks. Between “Incirculation” and “Lullaby”, it is easy to see the thematic connection to a protective social community, itself being shielded by the strength of the “Part” tracks. The content of the tracks backs up the titles' suggestive thematic element with their warm repetition and resistance to the overbearing, melodramatic emotional outbursts of the band's peers.

Perhaps most interestingly, This is Your Captain Speaking manages to escape the inherent paradox of community-centered instrumental music (in that it is music that is best appreciated when listened to through some sort of headphone device, obviously severing the listener from the community) through the album's title and development. The title, Eternal Return, along with the band's moniker, suggests that the album is a return from a trip. The listener is not meant to stay within the confines of the album, for that would prevent the return that is promised – we are always, eternally returning, encircled by those we care for and lulled to sleep by their soothing voices. The album allows us to experience this feeling of return twice – once, vicariously through the album's slow, subtle development, and then again once we finish the release, coming out of the vicarious experience and into the actual experience of the friends and family around us. The listener does not only get to enjoy the music itself, but also comes to appreciate her own real-life returns with a greater understanding than would be possible without the experience. I do not need to tell you that an album having this kind of effect on the real-world interactions of its listeners is as rare (and refreshing) as an oasis in the desert.

But how does the music actually do all of this? It should not surprise veteran TiYCS listeners that the album revolves around subtle, contemplative repetition of guitar melodies, slowly developing and growing until the track becomes something completely different from where it began. With this sort of methodology, the band recalls ambient music more than the post-rock crowd they are normally lumped together with, and approaching Eternal Return from this perspective is essential to a proper understanding of the work. Make no mistake, though, this is not a completely ambient release – instead, it navigates between the genre and instrumental post-rock, taking what is best of the two genres and bringing them together under the band's incredible eye for detail and thematic power of the release. Nowhere is this more apparent than on the magnificent “Incirculation”. The first impression offered by the track is merely of an average post-rock track without a devastating climax – apparently a let-down. But once the listener begins to spend more time with the album, and the track in particular, the delicate movement of the track becomes apparent. It is linear, though it is driven by repetition, and though there are minor cathartic moments, the real joy of the track comes through the little changes - the tiny, meticulous developments that eventually produce the most momentous changes. Much like Tulsa Drone's (another instrumental outfit that takes many cues from ambient works) exquisite piece, “The Catch”, the only way to understand the piece is through close, focused listening – but once all is laid bare, the effort is undoubtedly worth it.

This is not an album for those with short attention spans, for those that need to be entertained rightnowatthisverysecond. This is not an album to be judged by first impressions, or even fifth impressions, for that matter. It is one to spend time with, to absorb over days and weeks of listening. As you begin to understand how the album grows, it grows on you, more and more, until it is difficult to resist the transformative experience the album suggests. This is the sort of album that the synthesis of post-rock and ambient music is designed to produce – and I don't think I've heard it done better. This is the sort of album that is the definition of why we listen to obscure, instrumental music, spending hours sifting through the weak stuff in order to find what's important. It does what pop and its related genres cannot – provide a real, genuine experience that can alter the way we interact with the world around us. This is perhaps the most important record of the year. Do not miss it.

Code: [Select]

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

[MrBlu]

A couple of those Rap albums are already there, but thanks for the Aesop Rock and the Zion-I.

[Hyperbowl]

This Is Your Captain Speaking - Eternal Returns

Code: [Select]

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

Thank you so much for this, been waiting ages for this one to come out.

Here's their first one, Storyboard

Code: [Select]

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

[kraemandrummer]

The new Helios album. In my opinion, just as good as Eingya. This is just in case someone hasn't got it already.

Helios-Caesura

Code: [Select]

http://www.mediafire.com/?twm52m3fzfn
The Kilimanjaro Darkjazz Ensemble- Mutations EP
The darkjazz's new remix EP

Code: [Select]

http://www.mediafire.com/?zzzmemeugfy
the original KDJE album can be found on pg 100.

[imapiratearg]

Oh my god, you guys.  I downloaded the new Helios album a few days ago, it is every bit as good as Eingya, if not better.

[Patrick]

God Is An Astronaut - Far From Refuge

Code: [Select]

http://www.mediaf!re.com/?wm2gziiidyy


Fixed the link. This is the first band I've grabbed from here since May, and having heard this amazing recording, it would be such a shame if nobody else got it!

@ Samchez: I plan on grabbing that Brother Ali as soon as these God Is An Astronaut albums are done. All I've ever heard by him is "Uncle Sam Goddamn" (DynamiteKid linked me on YouTube), but whoever did the beat on that song is a fucking ace, and the guy spits a flow sicker than a TB ward. Bonus lulz: white guy (and coincidentally, an albino) from Wisconsin.

[VSnaresFreak]

I've snatched so much music from this thread so I'm going to contribute some from my own collection.  There's this instrumental jam band called Lotus for those who haven't heard of them.  They are off the hook, and I highly recommend you download this album.

Lotus - Nomad

Code: [Select]

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

Opening with a peppy two-step acid riff, this debut studio album by the Philadelphian five-piece combo Lotus soon reveals the band to be not so much a dance act, but rather an electronically inclined jazz-funk outfit, led by the minimal guitar pluck of Mike Rempel. But that doesn't mean the electronic influence becomes moot. Quite the contrary; Rempel's quick-picked soft blues six-string style often merges with the arpeggiated keyboards of Luke Miller, making it difficult to tell where one ends and the other begins. Similarly, Steve Clemens' drum playing scoots right along with Chuck Morris' electronic percussion which skips at a tempo faster than your average downtempo offering. Pushing up towards the house music zone, "Livingston Storm" and "Travel" ride a steady thump while "Plan Your Root" offers an easy listening version of the drum'n'bass break. This interesting fusion of light jazz motifs with dance/club rhythms and effects makes for strange bedfellows. In fact, over the course of any given song, the group can't seem to decide on which side of the fence they wish to sit. The result is not an uncomfortable coupling, but rather a wishy-washy affair that never settles into its own sense of self. While many classic- and jazz-trained artists have made the transition to club music with success, John Arnold and Jeremy Ellis (both originally of jazz-funk band Jazzhead) come to mind, this group of skilled players are considerably less adept at knowing when to put aside their light rock tendencies and just get on with the groove.

[KickThatBathProf]

Holy shit guys.  That Helios album...

[VSnaresFreak]

Here is Lotus's newest recording, Hammerstrike.   The band has formed a particularly new sound, transforming their funky-spirited vibe to a new, more fluid sound.  Everyone check this album out, it's fucking great.  Their music is generally appreciated and listened to by hippies and stoners, but anyone can enjoy this great instrumental band.


Lotus - Hammerstrike

Code: [Select]

http://www.mediaf!re.com/download.php?2ncym0zt5ag

On its third studio album, Lotus continues to come off as a mixture of disparate influences. The instrumental quintet (there are some occasional desultory vocals, mostly contributed by guests) often recalls the sound of Neil Young & Crazy Horse (particularly on the opening track, "Behind Midwest Storefronts," and on "Invincibility of Youth"), as a stinging guitar, presumably the one played by Mike Rempel, leads the way through meandering melodies and the rhythm section lurches along behind. But then there are the electronic influences, apparent on such tracks as "Age of Inexperience," which recalls Pere Ubu and Devo, and "Bellwether," which reveals that somebody's been listening to Afrika Bambaataa's "Planet Rock." Classic grunge rock, angular new wave, and electronic dance-rock are not styles many people would try to mix, nor are they ones many would be likely to enjoy in the same set, but Lotus manages to make all of it work, at least for the length of the disc.

--------Also, if you guys want some more great Lotus, check out archive.org.  There's a ton of fantastic shows on there, many of them soundboard recordings, or matrix (even better.)  Check it our everyone.  I will upload some more soon too.--------------------------

 

[Dimmukane]

Holy shit guys.  That Helios album...

What do they do?

[Broken_Drum]

The Kilimanjaro Darkjazz Ensemble- Mutations EP
The darkjazz's new remix EP

Code: [Select]

http://www.mediaf!re.com/?zzzmemeugfy
the original KDJE album can be found on pg 100.

Thanks!

[Patrick]

Gotye- Like Drawing Blood

(PICTURE)

Code: [Select]

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

THIS IS A GOOD ALBUM LOL

Quoting because this album is so good

[Mr. Tool]

Cat Power - Dark End Of The Street EP



Six songs recorded for Jukebox that weren't on the album. As such, they're all covers

1. Dark End Of The Street (James Carr, Aretha Franklin)
2. Fortunate Son (Creedence Clearwater Revival)
3. Ye Auld Triangle (The Pogues)
4. I’ve Been Loving You Too Long (To Stop Now) (Otis Redding)
5. Who Knows Where The Time Goes (Sandy Denny / Fairport Convention)
6. It Ain’t Fair (Aretha Franklin)

Code: [Select]

http://www.mediaf!re.com/?mmwuozzdtqw
And in case you don't have it...here's Jukebox

Code: [Select]

http://www.mediafire.com/download.php?2pluovzlexg

[KickThatBathProf]

Holy shit guys.  That Helios album...

What do they do?

Beautiful, beautiful things

[Catacombs]

Oh my god, you guys.  I downloaded the new Helios album a few days ago, it is every bit as good as Eingya, if not better.

I'm so excited to hear this!  I nearly exhausted Eingya.

[onewheelwizzard]

Dert Floyd is fucking amazing.  I mean, holy shit.  I know I'm a page late but damn.

[VSnaresFreak]

The Kilimanjaro Darkjazz Ensemble- Mutations EP
The darkjazz's new remix EP

Code: [Select]

http://www.mediaf!re.com/?zzzmemeugfy
the original KDJE album can be found on pg 100.

thank you so much for this kraeman.  ive been waiting for this one for too long.  Kilimanjaro is the bomb!  EVERYONE must listen to them.

[Patrick]

And in case you don't have it...here's Jukebox

(album cover)

Code: [Select]

http://www.mediaf!re.com/?7gbonxsmdoi

Files are fuxx0red. Could you possibly re-up this? I got the EP and was stunned into submission. It's like taking Norah Jones and making her voice and her band not suicide-inducing.

[Mr. Tool]

Files are fuxx0red. Could you possibly re-up this? I got the EP and was stunned into submission. It's like taking Norah Jones and making her voice and her band not suicide-inducing.

Sorry 'bout that. I had the EP ready to go and decided to include Jukebox at the last minute, and that was the mediafire link I found on Sordo.

The original post is fixed and the new link should be problem free.

onewheelwizzard I'm glad you liked the Dert Floyd. I've gotten plenty of stuff from your old posts (I'm listening to Bellevue right now-awesome stuff) so it's my pleasure to return the favor.

BTW Dert is set to release a new mixtape, this time using only Bjork samples. Should be interesting.

[kraemandrummer]

The Kilimanjaro Darkjazz Ensemble- Mutations EP
The darkjazz's new remix EP

Code: [Select]

http://www.mediaf!re.com/?zzzmemeugfy
the original KDJE album can be found on pg 100.

thank you so much for this kraeman.  ive been waiting for this one for too long.  Kilimanjaro is the bomb!  EVERYONE must listen to them.

I totally agree. The first album blew me away

[Patrick]

Sorry 'bout that. I had the EP ready to go and decided to include Jukebox at the last minute, and that was the mediaf!re link I found on Sordo.

The original post is fixed and the new link should be problem free.

onewheelwizzard I'm glad you liked the Dert Floyd. I've gotten plenty of stuff from your old posts (I'm listening to Bellevue right now-awesome stuff) so it's my pleasure to return the favor.

Thanks for fixing it up for me, grabbing now. I've been meaning to thank onewheel for Bellevue as well, that shit is excellent. Picked that one up way back in May before my summer-long Mediaf!re hiatus (read: before I got super fucking busy). Have enjoyed it several times.

[David_Dovey]

Oh fuck this thread I just spent $180 buying records that I downloaded from here.

[pwhodges]

Something you can't buy: my gig last night.   First half is baroque anthems and organ music, second half is a percussion piece, and Ramírez Misa Criolla.

Catholic Music from Latin America

Code: [Select]

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

[VSnaresFreak]

Here you go guys, Lotus's first album.  It's not a studio, but is one of their finest live recordings ever, and it sure sounds like one.  This album is so god damn rare I had to buy it because I couldn't find it anywhere online.  Nevertheless, its great stuff, I know all of you will enjoy it.

Lotus - Germination



Part One -

Code: [Select]

http://www.mediaf!re.com/download.php?qa2mgwkxi5i
Part Two -

Code: [Select]

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

Lotus, a Philadelphia-based quintet, has created a strong underground buzz and gained a dedicated fan base over the past few years. Their live debut release, Germination, showcases the band's talents right out of the gate with the opening three tracks. "Umbilical Moonrise," "Flower Sermon" and "Crescent" clock in at over thirty-five minutes, immediately giving the listener a taste of the various styles Lotus can produce in a live, exploratory setting. "Umbilical Moonrise" is early evening, smooth jazz, with the beautiful interlocking play of guitar and synthesizer from Luck Miller and Mike Aempel. "Flower Sermon" moves into the techno and house genres with a heavy dose of electronic percussion and loop samplers. The third track, "Crescent," shifts gears again to ambient electronica with hypnotic vibes you might find in a New York City dance club. Demonstrating their diverse influences even further, African and Latin rhythms shine through on the earth-toned "Caywood." Ultimately descending into the serenity of daybreak, "Umbilical Moonset" completes the melodic journey, combining all of the band's creative energies in the unassuming gem of the album.

[VSnaresFreak]

Dert Floyd is fucking amazing.  I mean, holy shit.  I know I'm a page late but damn.

Dert Floyd is okay.  Personally I think the guy could have done a better job with the samples and loops, it was EXTREMELY repetitive.

[Clintaga]

Dert Floyd is okay.  Personally I think the guy could have done a better job with the samples and loops, it was EXTREMELY repetitive.

Yeah, it is extremely repetitive, which is good for their sound, IMO. Dert Floyd is stupid fine, and I am really looking forward to, uh... Djork? Derty Bjork? Bjork Floyd? Either way, sounds hella pimp.

Also, having seen Lotus once in Philly, I can safely say that they groove to a very organic feel, and the show I saw could have been described as oceanic, their bass is very bubbly, and their guitarists are very clean and... I really can't describe their sound, but the best I've heard was Instrumental/Jam Rock with a fairly groove inducing overtone and flow, and they get a little post-Rocky at times, which is extra awesome, so again, I highly recommend you grab all three albums.

And the Benga album, Diary of an Afro Warrior is totally fucking sweet. I need to get more into Benga right now.

[Christophe]

Boys Life- Boys Life

Code: [Select]

http://www.mediafire.com/?dmqjy1zy3z0

It's fitting that Boys Life's first full-length was recorded with Mark Trombino, who used to be a member of Drive Like Jehu. Though the band doesn't quite rival Drive Like Jehu's feverish pace, on its first full-length effort they exhibit the same frenetic anger, that sense of disrupting the maddeningly sanitized world of white, middle-class suburbia, that Jehu did. This is music that is hardly ‘tight', and whether intended or not, it's what set the Kansas City, Mo., foursome off from the pack of emo bands surrounding them at the time. If you can see the human error underlying what you're reading about or listening to, it makes things more honest. And this album smacks of brutal honesty from track one to nine. From the opening number, "Golf Hill Drive", guitars are strummed cleanly and off-key, giving way to intentional storms of distorted feedback, then it's back to clean and quiet. Brandon Butler's hushed voice rises a tone with the onset of dusk, he screams and then it's back to a near-whisper. This simple formula of alternation seems to work well on every track; whether the band is going haywire like they do for most of "Breaker Breaker" or keeping things (a little) quieter like in "Cloudy and 47", each song's cadence flows less like a rollercoaster than a Moebius strip: the sound goes around in circles infinitely, never collapsing in on itself, but cycling through predictably. This is not to say that Boys Life don't give it their all -- they embody sheer energy. This formula was what made them unique and this album showcases them at their most raw point, before they began to progress musically, lessening the impact of their unrefined beauty.

Keep in mind that this is in .WMA. You've been warned.

[VSnaresFreak]

to the guy a few posts up, im glad someone agrees with me.  Lotus is one-of-a-kind folks.  Also, check out STS9, EOTO, Disco Biscuits, all those guys. I'll post more of all four soon.

[Clintaga]

So, Endtroducing has been posted like 10 times, and that 4-Track remix album a few pages back totally motivated me to get up some more from THE MOTHA FUGGIN' DJ SHADOW (Just your favorite DJ saviour, usin' and confusin' beats that ya nevah heard!)

Code: [Select]

http://www.mediafire.com/?myqwtzztttx
A live album recording, and a totally awesome one, in which he gets extra funky. I really like it for just kinda dancing around my apartment.

Code: [Select]

http://www.mediafire.com/?otymzimmztu
This is a collection of some of his singles released on the UK Record Label Mo' Wax.
I'm gonna go ahead and name this my #1 "Listen to this when totally fucked up" record of all time, in particular, one of my favorite past times is listening to "What Does Your Soul Look Like (Part 2)" – 13:51 and drawing a picture ofmy greatest nemiss at the time, whatever it may be. It's an excercise I've been doing for a few years, and it always provides me with a pretty serious insight.

And finally the runt of the liter (U.S. Release):


Part #1 Tracks one Through 10

Code: [Select]

http://www.mediafire.com/?zmrjmvztug2
Part #2 Tracks 11-18

Code: [Select]

http://www.mediafire.com/?djwzz0gvjgi
This is a dedicated departure from DJ Shadow's other sample fueled work, but it's STILL A GOOD ALBUM. There are some songs on it that I don't like, for example there is this one poppy rap song "Keep Em Close" that just grates on me for how totally formulaic it sounds and it totally jives with the rest of the album, but then he has stuff like "Erase You", which is this awesome D&B track with Muse-like Irish Vocalist Chris James out the UK Band Stateless, and it is totally awesome. Definitely also just like the chilled out guitar solo that is "Broken Levee Blues".

The only album I'm missing is 2002's The Private Press, and I'd also appreciate a re-up of the Lost & Found (S.F.L.) (Split 12" with DJ Krush - Kemuri)

[nekooo]

Boys Life- Boys Life

Code: [Select]

http://www.mediaf!re.com/?dmqjy1zy3z0

It's fitting that Boys Life's first full-length was recorded with Mark Trombino, who used to be a member of Drive Like Jehu. Though the band doesn't quite rival Drive Like Jehu's feverish pace, on its first full-length effort they exhibit the same frenetic anger, that sense of disrupting the maddeningly sanitized world of white, middle-class suburbia, that Jehu did. This is music that is hardly ‘tight', and whether intended or not, it's what set the Kansas City, Mo., foursome off from the pack of emo bands surrounding them at the time. If you can see the human error underlying what you're reading about or listening to, it makes things more honest. And this album smacks of brutal honesty from track one to nine. From the opening number, "Golf Hill Drive", guitars are strummed cleanly and off-key, giving way to intentional storms of distorted feedback, then it's back to clean and quiet. Brandon Butler's hushed voice rises a tone with the onset of dusk, he screams and then it's back to a near-whisper. This simple formula of alternation seems to work well on every track; whether the band is going haywire like they do for most of "Breaker Breaker" or keeping things (a little) quieter like in "Cloudy and 47", each song's cadence flows less like a rollercoaster than a Moebius strip: the sound goes around in circles infinitely, never collapsing in on itself, but cycling through predictably. This is not to say that Boys Life don't give it their all -- they embody sheer energy. This formula was what made them unique and this album showcases them at their most raw point, before they began to progress musically, lessening the impact of their unrefined beauty.

Keep in mind that this is in .WMA. You've been warned.

Fuck yes dude! I am so glad that someone else in this world likes Boys Life. They are easily one of my favorite bands, especially from that era of emo/hardcore bands.

[AdAstra]

I want to introduce you all to Facing New York. I was introduced to them in '05 in a cramped 100 + degree club in Portland, OR., where along with Steel Train they ripped an opening set for the RX Bandits. Words would not do their live show justice; just do a nice thing for yourself and go see them if you get the chance. Stayed in contact with them and my band ended up opening a few of their shows in our neck of the woods, and never to this day have had more fun with other musicians on the bill. They continued and still continue to amaze, as their lineup changes with members leaving to go back to school and other natural disasters familiar to bands. I'll post their s/t debut from '05 and the just released "Get Hot," which is minus the guitarist and keys-man heard on the s/t. I have their earlier EP "Swimming Not Treading" sitting around somewhere, which I can dig up if folks are into this.


Facing New York - s/t

Code: [Select]

http://www.mediafire.com/?4zmnyg2ymmd

The endearing charm featured on Facing New York's full-length debut is that of an artistic honesty not often seen these days - even on the indie label circuit. A dreary, yet bright-eyed venture into the world of progressive space rock with angular indie rock propulsion, the bands material can invoke a charming instrumental haze, that while densely constructed, remains accessible and direct.

Much of the album is comparable to the works of bands like Engine Down, and given enough time, Facing New York may just be able to fill in some of the void left by the aforementioned outfit. But while their approach is garnished by organic resilience, doting keys and jangling instrumentation; the punchy rhythm section and occasional riff-driven freakouts, not too mention distinct choruses, can at times place the band somewhere more along the lines of a group like Cave In.

Undeniably talented, the only real pitfall found here is the tendency to drag things on with droning notes and repetition. Yes these moments can be atmospheric, but they can also dilute the materials focus. Sure, not every track seems fully fleshed out and songs like the cascading "Flagstaff" or the jazzy At The Drive-In-esque "Styrofoam Walls" stand head and shoulders above the others. But even at their most timid, Facing New York still deliver a sound both as immense and diverse as the city they take their moniker from, making this an album more than worthy of praise.

Facing New York - Get Hot

Code: [Select]

http://www.mediafire.com/?mai0yqhmy3m

All bands go through hardships but there are few that could survive the onslaught of bad luck Facing New York has had over the past three years since the release of their debut self-titled full length. At one point with a tour already booked, lead singer Eric Frederic underwent surgery but they soldiered on with guitarist Matt Fazzi temporarily taking over vocals. A more permanent problem came about when keyboardist Renee Carranza left to pursue other avenues. The band took on that challenge by having Matt and Eric split keyboards duties on tour not to mention adding another drum kit to their repertoire. In mid-2008 though, they faced their toughest test yet after Matt moved on to join forces with Taking Back Sunday. How would the band bounce back?

By creating the funkiest, most dynamic and strongest songs of their career. The biggest progression on this release is the new influences that burst through. With only three members left, you see each individual shine through more than ever on this album. Lyrically, Eric gives us a look into the glasshouse of his life for example in ‘Me N’ My Friendz’ where he struggles with his unsure future in lines like “me and my friends are all waiting for something/but I don’t know what it is.” Much of the album is like an audio version of “Being Eric Frederic.” You peer into his love life on ‘Hardwood Floors’ and his rough trip to college in ‘Give Love.’ He also takes on subjects bigger than himself in ‘Cops On Bikes.’ While the silly lyrics can initially throw you off, the band takes a hard stance against those in power and the abuse of authority.

Words need a vehicle though and the rhythm section of Facing New York, Brandon Canchola on bass and Omar Cuellar on drums, take the steering wheel on this album. Omar’s drumming has always been my favorite part of this band. With irregular beats he creates a bumpy yet all the more enjoyable ride throughout the entire album. Brandon also steps up to the mic on ‘Man Up’ to engage in some vocal volleying with Eric. As with the band’s previous work, keyboards also play a vital role in the album especially in ‘Cops On Bikes’ and ‘Comin’ Up.’

With only three members though, the band further layers the album with scattered wind instruments such as a saxophone solo on ‘Man Up’ and female backing vocals on ‘Comin’ Up’ adding yet more dimension to the already complex songs. It may seem there is too much to grasp at once but that is part of what makes this album so great: with each listen you hear something new that adds to the record’s personality. Although it still has a bass heavy sound perfect for any car ride, this album was made for headphones. It has so many intricacies that you really need to examine it close up for example the whispered words at the beginning of ‘Give Love.’ It is hard to imagine that a band can take so many of life’s toughest shots and keep on ticking but that’s exactly what Facing New York has done. Out of it, the band has created something totally their own and again proved why they are bar-none, the best thing you’ve never heard.

And a big thank you to the poster above who introduced me to Gotye. Mixed Blood is a remix album, so it's not going to be more brilliance straight from Gotye, but it's worth grabbing just for the first track, mixed by Joe Hardy.

Gotye - Mixed Blood

Code: [Select]

http://www.mediaf!re.com/?mqtiyq24l2m

[David_Dovey]

Hey cool, I'm really glad you guys enjoyed the Gotye album. Tell your friends!

[fatty]

holy shit. So much good hiphop right now <3

[Catacombs]

So I'm kind of going in a different direction, but since today is December 1st, I decided to upload Trans-Siberian Orchestra's Christmas Eve & Other Stories.

Code: [Select]

http://www.mediafire.com/?xflzdkcvmmz
I'm in the process of uploading their other album too, though this one is my favorite.

[Patrick]

I want to introduce you all to Facing New York. I was introduced to them in '05 in a cramped 100 + degree club in Portland, OR., where along with Steel Train they ripped an opening set for the RX Bandits.

Holy fuck yes, I love RX Bandits. You've got me sold on these new guys already. Grabbing their s/t right now.

Such a shame all my RX Bandits was lost when my laptop's XHD died. HINTTTTT

[Christophe]

Didn't one of the dudes from FNY join Taking Back Sunday?

In any case, I'm giving them a cursory listen and I like what I'm hearing so far. Salut!